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THE 


MUSICAL   WORLD. 


A  JOURNAL  OF 


gmfHt^SAUtainvt^  t^t  9ramai»  ^m  nvt»^:povtim^taUamti, 


AND  (X)MFTiETE 


RECORD  OF  THE  THEATRES  AND  THE  CONCERT  ROOM. 


PUBLISHED   EVERY  SATURDAY  AT   NOON; 

TO    BB    HjLD    IV    WBBZLT    STVXBBBS,    XOBTHLT    Pl.BTBji.Nl>    JLVBVJLL    TOLVICBB. 


VOLUME    XXII. 


PBHTTED  AND  PUBLISHBD  BY  W.  S.  JOHNSON,  «  NASSAU  STEAM  PRESS,"  60,  ST.  MARTIN'S  LANE,  CHARINa  CROSS. 

MDOOOXLTn. 


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INDEX  TO  VOL.  XXII. 


LEAOINQ  ARTICLES. 

Handdand  Seartetti.  page  l^Mutlc  in  America.  3.-.Robert  Brace,  13 
-"-Handel  and  Scarlatti,  (lecond  notice)  14.— Tlie  Rital  Italian 
Opma,  16.— Society  of  Britiih  Masidani,  29.— The  RiTal  Italian 
Operaj,  80.— Her  Majetty'i  Theatre.  4d,— The  Rival  Italian  Operas, 
61,-The  Royal  Italun  Opera,  77.— A  Chat  with  Rumoar,  97.— 
Sr  ^•'^.t'^,***'*'  113— MaUlda  of  Hungary,  129.— HerBlaJeity't 
?!?"'  ,l^.""Sr  ^^^^*  Theatre,  149.— A  Second  Chat  with 
ifanioar,  IAi.-~The  Beethoven  Quartet  Society,  16fi.— The  Philhar- 
monic  Conarta,  181.— Jenny  Und,  197.— PhUharmonic  ConcerU- 
213.— Her  Maietty'a  Theatre.  229.— Royal  Italian  Opera.  845.— Har- 
monia,  261.— Felii  Godcfroid,  277^Mendelaiohn't  Elijah,  278,— 
Menddaaohn  •  Elijah,  No.  2.  293.-A  French  Critic  in  London.  309.— 
r*,5^*'l!^*""'  ^^J**"'  ^°-  3»  Sll.— CariotU  Grisi,  325— Madame 
JJairc,  325.— Signor  and  Madame  Ronconi,  825.— Jenny  Lind  and  her 
influence.  841.— Mendelsaohn's  Elijah,  342.— Philharmonic  Concerta. 
357.— Cartotta  Griai.  458.— Jenny  Lind  and  her  Indaence.  873— 
Her*  and  Sivori  in  America,  389.— A  Friendly  Chat  with  Ponch,  389— 
J^ny  Und  Teatimooial,  405.— Sequentlaliam.  405.— Mendelasohn'a 
n'^^  iri^^L^^^^^'  437.— Rachel,  437.— The  Muiical  Wortd 
concert,  455.— The  Beethoven  Quartet  Society,  469.— The  Lumley 
Teailmoni^ind  Jenny  Lind,  485.— The  Sacred  Harmonic  Society,  486. 
—Rachel,  601.— The  Swedlth  NighUngale,  517.-The  Operatic  SeaM>n. 
2  iZr!^^*^***  °P*"'  533.— Her  Miyeaty'a  Theatre,  549.— Her 
FintLV %J?'"?;!!  ***""'^  '^"P'  *°  ^^'  581.-The  Glouceater 
S?^  f2!•""^**^'•  697.— A  Trip  to  Paris,  618.— The  Glouceater 
mtivai  030- Letters  from  Paris,  645— Letteia  fkom  Paris,  661— 
latere  from  P*ns,  667.— Letters  from  Paris.  684— Letten  from  Paria. 
699— Letters  from  Paris,  715.— Utters  from  Paris,  731.— Letten 
from  Pans  751.— Drury  Une,  753.-Utte«  from  Paria,  767— 
lietters  from  Paris,  783.— The  Two  Italian  Operu,  799.— Grand  Opera, 
Drury  Lane,  815.  *^ 

ARTICLCS  ORIGINAL,  EXTRACTED,  AND  TRANSLATED. 

^"Hl^'^'V^"^"  '°^  ^®^^'  page  22— Mrs.  Butler'a  Return  to  the  Stage, 
r.  7!?*f?*  •"**  ^"*»tre,  52.— Chriatchurcfa  Concerts.  32,— FeUz 
Godtfroid,     82— Memoir    of    Paleatrina,     47.— Madame     Bishop 
the    ]hrovincea,    48.— Music    at    Manchester,    49.— The    Rival 


in 


'^•*n  Op«'».  60.— GregorianlKTs  v.  Harmonisers,  52.— The 
new  Theatre  in  Leicester  .square.  64.-*Madame  Bishop  in  the 
Provinces,  64.- Memoir  of  Paleatrina,  64.— Sivori  in  America. 
79.— Madame  Bishop  in  the  Provinces,  80.— Anecdote  of  Fanny 
Hasler;  81.— The  Rival  Operas,  82.— Amateur  Musical  Society, 
^•-7*'c™o*«^  of  Palestrioa.  99— Something  about  Nothing,  100.— 
Musical  Critics  and  Criiicisms.  101.— M.  Steveniers  101.— Music  in 
Dabhn,  102.— Amateur  Musical  Society,  103.— Provincial  Information, 
117— Madame  Bishop  in  the  Provinces.  117.— Madame  Bishop  in  the 
Provinces,  133.— Memoir  of  Gretry,  134.— JuUien  at  Manchester,  135. 
T  iJJ^®  B's  and  the  new  Musical  Paper,  152.— Madame  Btohop  in 
the  Pronncea,  15.3.— Jenny  Lind  and  the  German  Studento,  lAS.^ 
U)U  Monies,  167.— Madame  Bishop  in  the  Provinces.  167.— Music  at 
ManchMter,  171 — Jenny  Lind,  183.— Lola  Montes,  184.— Music  at 
Cambndge.  185.— The  tenor  of  the  Corse,  187.— LoU  Montez,  197.— 
Madame  Bishop  in  the  Provinces,  198.— Chappellr.Puiday,  215.— 
Madame  Bishop  in  the  Provinces,  216.— Nichotas  ZingarelU,  217.— 
The  new  Philharmonic  Champion,  223.— Moaic  in  Manchester,  280.— 
Lola  Montes  and  the  nme$,  232.— Her  Majesty's  Theatre,  233.— Dr. 
Baker,  246.- Anticipatory  Criticisms  on  the  de5ttf  of  Signora  Vietti  at 
her  Majesty's  Theatre  in  two  Morning  Papers,  2*7.- Mr.EIU'aMusical 
union,  248.— Jnllien  in  Dublin,  250.— Music  at  Manchester,  261.— 
Dr.  Mendelssohn's  Oratorio^  EUjah.  256.— TkunburinI,  262.— Music  at 
Manchester,  262.— Music  at  CovenUy,  969.— Madame  Bishop  In 
Dublin,  278.— Mendelssohn  and  the  Philharmonic,  279.— Letten  upon 
Musical  Art,  283.— Jenny  Und  and  Mr.  Bunn,  284.— Music  at  Man- 
dieater,  287.— Mr.  Bunn  and  Drury  Lane,  288.— Glasgow  Musical 
Festival,  288.— Bfadame  Bishop  in  Dublin,  297.— Undadi  Chamoual 
In  Dublin,  815.— Jenny  Und  and  Mr.  Bano,  826.— Memoir  of 
MademoiseDe  Alboni,  326.— Vieuxtemps*  new  Concerto,  327.— 
Boucher  and  Beethoven,  827.— StarUIng  Information,  829.— Queen's 
Bench.  330.— An  Analysis  of  the  Human  Voice.  830.— Music  at 
Bermuda,  343.— Mademoiselle  Denain,  346.— Music  in  Dublin,  347.— 
Qriai's  Norma,  374.— -Music  in  Dublin,  377.— Music  in  Uverpool,  375. 
—An  Analyais  of  the  Human  Voice,  379.— Music  in  Manchester,  30l« 
— DuUia  Madrigal  Society,  393.— An  Analysis  of  the  Humui  Voice, 


393.— Music  in  America,  394.— Mr.  George  Buckland,  405.— Madame 
Anna  BUhop,   406.— Spinosa*    his  Merit,  and   his  Defect,   406.— 
An  Analyais  of    the    Human  Voice,    410.— M.  Panofka,    4S9.— 
Tit  Bits  from  the  Bristol  Journai,  423.— Verdi  in  America,  423. 
— LocUe   Onhn,    423.— Prize    Giee,   424.— An   AnalysU    of  the 
Homan   Voice,    427.— John  Whitolcer,  428.— Organ  Performance, 
428.— Hul]ah*s    New    Music    HaU,    429.— Flowers   and    Women. 
433.— Piscatory  Muaic,  438.— Uigh  Hunt,   445— Music  at  Man- 
chester, 455.— Yankee  Criticisms  again,    455.— Jenny  Und  not  at 
Worcester,  458.— Jenny  Lind  at  Uverpool  and  Birmingham,  458.— An 
Analysis  of  the  Human  Voice,  459.— Mr.  Wilson  and  Mr.  Dempster. 
459.— Uszt  at  Constantinople,  463.— The  Musical  Worid  Concert* 
471.— Prospecta  for  Drury  Lane,  473. — Musical  Revolution  In  Swit- 
serland,  474. — Flowen  and  Women,  477.— Drury  Lane  and  its  new 
Management,    487.— The   Sale    of   Shakspere's    House,   487.— An 
Analysis  of  the  Human  Voice,  490.— Jenny  Und  again,  490.— Drury 
Lane  Theatre,  494.— The  Surrey  Zool<M;ical  Gardens,  495.— Music  In 
New  York,  495.— Cariotta  Griai,  496.— Rachel  and  Jenny  Und.  602.— 
The  Queen  and  the  Poet,  503.— Shakspere's  House,  508.— Flowers 
and  Women,  508.— The  Cloae  of  the  Haymarket  Season,  505.— Drury 
Lane  and  ita  Prospects,  506.— The  Drama  at  Uverpool  and  Mancheater, 
506.— A  Country  Paper  PufT,    512.- Shakspere's    House,    518.— 
Ronconi,  619.— Raichel  at  Manchester,  580.— Death  of  Mr.  Egerton, 
623.— An  Analysis  of  the  Human  Voice.  523.— Shakspere's  House, 
694.— Giorgio  Ronconi,  542.— Rachel  at  Bfancbester,  544.— Music  at 
Margate,  544.— Drury  Lane  and  iU  Prospecto,  556^— Mademoiselle 
Rachel  at  Liverpool,  656. — Fiorentino  and  S^dier,  557. — Jenny 
Und  at  Brighton,  557.— Jenny  Und  at  Birmingham,  557.— Ancient 
ConcerU,  560.— Music  at  Margate,  567.— Music  and  Fk>riculture, 
66S.— An  Analyaia  of  the  Human  Voice.  669.— Jenny  Und,  570.— 
The  Gloucester  Festival,  573.— Judges'  Chambers,  574.— Her  Mijesty's 
Theatre,  586.-^enny  Lind,  586.— Giorgio  Ronconi,  587.— Music  at 
Margate,  589.— An  Analysis  of  the  Human  Voicep   590.— Pauline 
Garcia,  596.— Fanny  Elssler  and  the  Pope,  598.— Jules  Perrot,  598. — 
Jenny  Und,  601.— An  Analysis  of  the  Human  Voice,  603.— The  Glou- 
cester Musical  Festival,  614.— Jenny  Und,  618.— Ldgh  Hunt,  620.— 
Her  Majesty's  Theatre.  632.— An  Analysis  of  the  Human  Voice,  633.— 
The  Handel  Society,    634.— Madame    Bishop  in  America.    635.— 
Music  at  Margate,  638.— Drury  Lane    and  ita  Prospects,   647.— 
Jenny    Und,    649.— An    Analysis    of   the   Human  Voice,    650.— 
An  Epiaode  in  the  Life  of    Sebastian  Bach,    656.— Muaic   063.— 
Donizetti,  665.— Rubini,  666.— Reception  of  Mademoiselle  Alboni, 
by  the  Parisian  Press.  669.— Lisit  and  his  Audience,  673.— Biographical 
notice  of  Salvi.  676.— Alboni  and  the  Parisian  Press.  685.— The  Hos- 
band  of  a  Prima  Donna,  689.— The  Maeatro  and  the  Manager,  691.— 
Bunn  V.  Jenny  Und,  693.— The  Italians  and  the  FeuUletonistes,  701- 
— Music  at  Manchester,  707— Music  in  Dublin,  708.— An  Analysis  of 
the  Human  Voice,  708.— Music  in  America,  710.— Death  of  Dr.  Felix 
Mendelssohn   Bartholdy,    718 — Operetic  Sketches,   Grisi,  723^— A 
Religious  Festival  at  Bologna,  726.— Felix  Mendelssohn  Bartholdy, 
732.— Rttlea  for  Composition,  736.— Worcester  Musical  Festival,  737. 
—Sketch  of  the  IVench  Composer,  Gretry,   788.— Operatic   Stars* 
Labhche,  740.— Copyright  Law,  741.— Copyright  Queation,  Leader  v. 
Purday,  742.— An  Analysis  of  the  Human  Voice,  766 —Operatic  Stars, 
Persian!,  75&— Papers  concerning  the  late  Felix  Mendelssohn  Bar- 
tholdy,  769.— Cariotta  Grisi,  771 — ^Music  at  Manchester,  772.— An 
Analysis  of  the  Human  Voice,  776.— Birmingham  Festival  Choral  So- 
ciety,  777— GoUdford  Choral    Society,  778.— Alboni  at  the  Opera 
Itallen,  787^— Operatic  Stars,  Tkunburini,  790— Miss  Birch  and  the 
Academie  Royale,  791^— PauUne  Vlardot  Garcia,  SOl^^Albonl  at  the 
Open  ItaUen,  802.— Sodetv  of  BritUh  Musicians,  804.— Music  In 
DnbUn,  808.— Bunn  o.  Und,  818.— Analyais  of  the  Human  Voice,  820. 

MISCCLLANCOUS  ARTICLES. 

Pages  10,     11,     24,    25.    86,    40,     41,     42,  43.     56,     57.     58, 

71,  72,    78,     74,    9f.     93.  109,   110.    124,  125,   142,   143,   144, 

160,     161,     177,   178,  193,  194,   203,   209,  210,    283,  224,  295, 

241,      24«,     257,   858,  273,  274',   289.    290,  305.    306.  321,  822, 

336,     351,    352,  383,  884.   401.    416,   435.  419,   464,  465,  497, 

512,     613,    529.   530,  645,    561,    562,   576,  577,   578,  692.  593, 

608,     609.    683.   024.  625,    6U),   641,   642,  657,  658,  672,  673, 

674,     678,    679,  696,  696,  711.  712,    797,  728,  747,  762.  763. 
764,      779,     780,  795.  812,    833,    824. 


INDEX  TO  VOL.  XXII. 


CONCERTS. 

Beaumont  Institation,  pages  4, 120, 176,  206. — Bzeter  Hall,  51,  96,  ill > 
176,  266,  368.— Sacred  Harmonic  Society,  81,  157,  1^2,  fe23,  295, 
739.— Beethoven  Quartet  Society,  82,  205,  262,  295.— Mr.  Dando's 
Quartet  Concerts,  82, 103, 138, 175,  209.— Madame  Dulcken's,  83,  104, 
138,  193,  287,  448.— Mr.  P.  Ezekiel's,  83.— Mr.  Alcroft's  103,  222.— 
The  Greenwich  and  Blaclcheatb  Musical  Society,  I  OS,  253.— Mrs 
Alexander  Newton  and  Mr.  G.  Case's,  103 — Mr.  H.  Phillips',  104,  156. 

■  223.— Mr.  George  Marshall's,  119.— Mr.  Lindsay  Sloper's,  120,  156, 
208.— Choral  Harmonists,  120,  207,  266, 299.— Mr.  Stendale  Bennett's 
137,  176,  209,  424.— Amateur  Musical  Society,  138,  176,  208 — 
Sussex  Hall,  139,  192.— Sacred  Concerts,  Crosby  Hall,  139,  176,208. 
Horn  Tavern,  156. — Mr.  Genge's,  157. — Society  of  Bristish  Musicians. 
157,  777 — Mr.  Mangold's,  J58.— Ancient  Concerts,  175,  265,  334.— 
Mr.  H.  Russell's,  176.— Mr.  E.Coulon's,  176.— Mr.  Keams'  Concert, 
193. — Classical  Instrumental  Music,  198. — Mr.  Boleyne  Reeve's  Con- 
cert, 206 — Messrs.  Distins',  206.— St  James  Theatre,  206. — Mr. 
N.  F.  Sporle's  Concert.  207.— Royal  Academy  of  Music,  207,  298, 

'  413.— Miss  Dinah  Farmer's,  208— Musical  Union,  208,  253, 
298,  836.— Mademoiselle  Rosalie  Themar's  Soiree,  208.— Miss 
Steele's  Sacred  Concert,  223. — Classical  Concerts,  Greenwich, 
287.— Mr.  Frederick  Chattcrton's  Concert,  237,  852.— Concert 
at  Swindon,  248.— Phiiharmouic  Concerts,  253,  312,  409.— Mr. 
Wilson's,  254. — Mr.  A.  Sedgwick's,  254. — Female  Ameiican  Sere- 
naders'  266. — Messrs.  Gollmick  and  Charles  Oberthur's,  298,  396. — 
Mr.  F.  Kingsbury's,  299 — M.  Alexander  Boucher's,  321. — Hungarian 
Instrumental  Vocalist's,  321. — Madame  Puzzi's  Concert,  834. — Heir 
Kuhe's  Concert,  335. — Royal  Society  of  Female  Musicians',  335. — ^Mr. 
J.  Cohan's,  333.— Herr  and  Fraulein  Helene  Stopel's,  335. — Miss 
Wheatley's,  336— Miss  P.  A.  Robinson's,  336.— Herr  Willmer's,  336. 
— ^Julias  Sculhoff's,  359. — Signor  Brizxi's,  360. — Miss  M.  B.  Hawes, 
367. — Mr.  John  Parry's,  368. — Mr.  Charles  £.  Horn's,  368. — Madame 
Juliette  Forestler's,  368. — Miss  Macirone's,  384. — Cheltenham  Choral 
Society,  394. — Mr.  and  Mrs.  W.  H.  Seguin's  895.— Hanover  Square 
Rooms,  395.— Royal  Italian  Opera,  396.— Madame  Mortier  de  Fon- 
taine's, 413.— Madame  Claire  Hennelle's,  413— M.  Benedict's,  414.— 
Madamolselle  Molena  di  Menda's,  415. — MadameD'Eicthal'8,432. — Don 
Ciebra's,  432. — M.and  Madame  Shepanoski's,  432. — Madame  and  Herr 
Goffrie's,  433. — Mademoiselle  Vera  and  Signor  Emiliani's,  433. — Miss 
Dolby  and  Mr.  Lindsay  Sloper's,  447.— Mr.  Stephen  Chamber's,  448— 
Mr.  Stocking's,  448.— Madame  Balfe's,  481.— Mr.  Donald  King's,  481. 
—Signor  Massone's,  481. — St  Mary's  Hospital,  498. — Mr.  Robert 
Green's,  518.— Mr.  Bodda's  Solr^,  607.— Mr-  W.  M,  Rooke's,  778. 
Private  Concerts,  811. — Princess's  Concert  Rooms,  811. 

PROVINCIAL   INTELLIGENCE. 

Dublin- Page8  71,  123,  142,  160,  2.56,  710.— North A^MPtoii,  726.— 
Fabmham,  Sic.— Crotdon,  665. — Camtbrbury,  38,  39,  91- — Eniw- 
BUROH,  189,  l9C,  204. — Glasgow,  143.-*Clifton,  726. — Litbrpool, 
65,  70,  71,  90,  141,  256«  401,  416,  612,  528,  529,  602,  623,  668,  678, 
710,726,  779,794,8)1,  822.— Mancbbstbr,  23,  39,  91,  123,240, 
268,  621,  654,  668,  669,  822.— Bury  St.  Edmunds,  761.— Briohtom, 
89,  611.— Bath,  39,  256,  269,678,  726,  761,  779.— Dbvizis,  39,  811. 
^Chrltbnham,  23,91,  123,  240,639,  677,  710,  726.— Wolvbb- 
BAMPTON,  23< — Lbbds,  678,761. — Lymington,  91.— Stratfohd-ok- 
Ayon,  628.— Birmingham,  91.— Maidstonb,  91,  222, 429,  709,  828. 
—  Lincoln,  91,  2«2. — Dumfribs,  628.  —  Halifax,  66,  677. — 
Nbvpobt,  496.  —  Nbwcastlb-on-Tynb,  39,  726,  727.— Rydb,  23, 
607.— 8AU8BUBT,  23,  222.— TuHBRiDGK,  23.— Shrbwsbury,  71,  9 1, 
415,  629,  8«3. — ^FotKBtTONi,  91.-*- Woodford,  91,  189.— Ayr,  709.— 
Portsmouth,  123. — Plymouth,  706,  823.  —  Dorchbstbr,  123. — 
Lbicxbtrb,  128,  241,266,645. — Pbbstoh,  41. — Hbrkford,  668.— 
WoBCBBTBR,  188,  628,  640,  8'i2.  —  Nottingham,  189.  —  Wrllinci- 
ton,  709.— Bbistol,  204,  256,  400,  592,  607,  640.— Oxfobd,  779.— 
DoYBB,  229. — ^Nbwburgh,  292.— Shbffibld,  240.— Exbter,  240. 
— ^Bblfast,  266,  677 d — Guildford,  S98,  668.— Gloucbbtbr,  401.— 
Limbrick,  416.— Dbdhak,  407.— Paisi^y,  794.^-Hoddbsdon,  811, 
— ^L4NCArrBB,  811. — Richmond,  822. — Walworth,  823« — Mar- 
QATB,  828.— Watford,  823. 

NOVELS   AND   ROMANCES. 

"The  Affinities"  (^continued),  Pages  6,  18,  33,  53,  66,  84,  104,  118, 
135,  154,  168,  185,  200,  f  16,  231,  249,  263,  280,  296,  313,  328,  848, 
360,  375.  391,  407,  425,  489,  456,  471,  488,  504,  520,  539,  653, 
568,  683,  599.  616,  632,  648,  664,  672,  688,  702,  7s8l,  735,  764,  770, 
786,  801,  818. 

FINE   ARTS. 

Page  778. 


REVIEWS   OF   BOOKS. 

Cbriitmas  Cards,  with  the  old  tones,  21.— Nursery  Rhymet,  with  the 
old  tunes,  21. — ^The  Silyer  Swan,  22. — Christopher  Tadpole,  86.— 
Dombey  and  Son,  37.— January  Eye,  87. — Fine  Arts  Journal,  88.-^ 
The  Lady's  Newspaper,  88.— The  Stage  as  it  is,  659.— Notet  upon 
Dancing,  576. 

REVIEWS  M  MUSIC. 

PRgeB2?,  70,  108,  123,  188,  921,  269,  970,  305,  816,  863,564,3^9, 
401,  412,  418,  428,  429.  462.  495,  511,  525,  559.  575,  376,  592,  607, 
608,  619,  620,  684,  665,  667,  674,  698,  705,  706,  727,  746,  747,  757, 
768,  776. 

ORIGINAL  COHRESFONDENCE. 

Pages  98|  37,  60,  09,  89,  108,  134,  141,  188,  821,  238,  284,  869,  288, 
289,  316,  382,  883,  415,  4.58,  490,  511,  627,  558,  559,  6r4,  590,  606, 
605,  620,  621.  038,  689,  661,  652,  607,  668,  6^7,  693,  694, 1(^,  746, 
794,  810,  822. 

FOETRV. 

"Sonnets,"  by  N.  D.    Pages  10, 21,  34,  54,  67, 86,  108,  119, 156. 108, 
171,  187,  208,  217,  23;?,  250,  265,  «83,  297,  816,  880,  846,  863,  3^7, 
393,  408,  426,  441,  468,  473,  490,  605,  522,  542,  554,  569,  585, 601, 
033,649,  660,  673,  601,  703,  722,  788,  771,  787,  802,  820. 
My  home  In  the  City,"  by  F.  W.  N.  Btyley,  86. 
Music,  thy  bewitching  charm,"  by  W.  L.,  720. 
Poems  upon  Little  Edith,"  by  CoTentry  Patmore,  38. 
Music's  Charms,"  by  W.  L.,  694. 
Adelaide,"  translated  by  Dion  Bouidcattlt,  69. 
Lament  for  Mendelssohn,"  759. 
Ballad  from  Geibel,"  by  C.  Rosenberg,  90- 
Lines  to  R.  W.,"  by  Hermann  Lang,  884. 
Ane  Modem  Version  of  "Jenny's  Bawbee,"  by  Andrei  Park,  061. 
The  War  of  the  Normas,"  (from  the  Man  in  the  Moon)  496. 
RcTerie,"  by  Camilla  Toulmin,  676. 
Thoughts  on  Music,"  by  Shirley  Brooks,  606. 
Music,"  by  Anna  Maria  Piper,  698. 

Closing  of  Covent  Garden,"  (trom  the  Man  in  fheMoek),  889. 
Epigram  on  the  late  Trial  of  Pestal,  772. 
Lines  on  the  death  of  Mendelssohn,"  808. 

FOREIGN   INTELUCENCE. 

Paris,  40;  187,  573,  606,  623  666,805,  806«— Milan,  40,  92,  106,S88i 
459,  691, 604,  605,  638,  694.— Vibnna,  39,  108,  158,  725^NAPLfta« 
166.— ViNict,  56.  628,  694.— BBRLiir,  56,  70,  678,  628.— DrbsdeiTi 
70,  674.— St.  Pstrrbburctb,  188,  230. — ^Frankfort,  174. — ^Romb* 
604.— BoMK,  673.— Hamburgh,  607.— Cassbl,  92.— Hamoybr,  72i, 
756. — Br  USSR  LS,  605.— Bbroamo,  605.— Madrid,  756. — BouLOOMi* 
sUR-MBR,  92,  628,  656. — Strasbourg,  572.— Brbscta,  005. — ^Badui 
Badbn,  604.  —  Madras,  591.— Nbw  Yorr,  672.  706. — pHitADBL- 
PHI  A,  89,  128. — HAyANNAH,  726^— Florbncb,  820.— Padoa,  88  1— 
Thb  HAGtTB,  821. — Lzipsic,  807. 

DRAMATIC  INTELUQENCE. 

PARTOMIliBS  AMD  CbRIBTMAS  PxBCBS— >PRge  8. 

Hbr  MAjasTys  Tbbatrb,  172,  191,  198,  219,  264,  870,  987,  809,  818, 

331,  347,  365,  380,  398,  410, 480, 441,  460.  479,  491,  608;  626, 640. 
ROYAL  Italian  Opbra,  217,  284,  271,  286,  80O,  816,831,348,866, 

382,  396,  41 1,  431,  442,  460,  477,  492,  608,  526,  548,  665. 
Sbarspbrb's  Night,  793. 
Drurt  Lanb,  8,  dl,  67,  86,  121,  189,  158,  190,  204,  238, 284,899»  669» 

675  704  722  792. 821. 
Hatvarkbt,  9,'21,  34,  64,  68,  80,  lOO,  139,  174,  204,  238,  261,  207, 

299,  833,  364,  394,  408,  446,  468,  493,  509,  619,  062^  669.  674,  709» 

722,  744. 
Pringbss's,  9,  91,  35,65,08,  104,   189,  159,  905,  289, 907,  884|  800, 

888,  804,  377,  394,  409, 463,  022,  653,  670, 723,  769,  778. 
BadlBr's  WsUiU  522,  678,  637,  672,  722,  761,  775, 809. 
ADBLPHt,  0,  21,  95^  139,  159,  174,  239,  350,  408,  €70,  760^881. 
LtCBUM,  8,  68,  240, 809. 
Olympic,  56. 

SuRRBY,  68,  267,  622,  637,  663,  670,  706,  761, 798,821. 
Frbncb  Plays,  19,  84,  55,  68,  87,  106,  122,  140,  169,  190,  209,  8S8> 

252,  267,  286,  800,  810,  S33,  850,  378, 394, 409, 427,  446,  408,  478, 

494,  510,  798,  809. 
AAlby's,  528,  723. 
MarylbbOMB,  574,  672,  701,  774. 


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STAMPED,  FOURPBNCS 


HANDEL  AND   SCARLATTI. 

Ha)}dxl*s  *•  iSvites  de  Pieces''  in  two  books,  edited  hy 
MoscHELES  ;  Scarlatti's  "  Piecek  pour  le  Clavecin,*' 
edited  hy  J.  B*  CttAMER.— Ckambji.  Beale,  &  Co.,  201, 
Regent  Street, 

Handbl's  Suifes  de  Pieces  were  composed  before  the 
syinphoiue  form,  8U|^sted  by  Gosscc,  Vanhall,  Ditters,  &c., 
and  perfected  by  Haydn,  was  known.  A  suite  de  pieces 
consists  of  four  or  five  movements  of  various  characters,  but  in 
the  same  key.  Each  movement  is  complete  in  itself,  though  the 
composer's  intention  is  to  have  the  whole  played  as  one  piece. 
A  suite  de  pieces  is  consequently  a  set  of  pieces  to  be  performed 
at  one  time,  as  a  single  composition.  Handel  and  John 
Sebastian  Bach  prodticed  the  finest  specimens  of  this  form  of 
composition,  and  indeed  the  only  ones  now  known  that  have 
any  musical  interest  or  value.  Handel  also  composed  sets  of 
fugues  for  the  harpsichord.  Scarlatti's  "  Pieces*'  consist  of 
aingie  snov^ants,  nearly  in  the  same  form  as  some  of  the 
shorter  pieces  of  Handel.  Occasionally  a  fugue  stands  in  the 
place  of  a  p*eoe.  The  Fantasia,  invented  by  Bach,  a  kind  of  feat 
in  modulation  without  regular  form,  was  for  some  time  confined 
to  that  composer  and  his  son,  Phillip  Emanuel.  Mozart, 
however,  subsequently  produced  specimens  which  far  excelled 
those  of  the  inventor,  and  Beethoven,  still  later,  united  the 
at^etion  of  orchestral  accompaniment  to  the  same  kind  of 


misnamed,  since  they  differ  in  nothing  from  the  regular  sonata 
The  fantasias  of  the  school  of  modern-romanticists,  are, 
in  comparison  with  such  music,  little  better  than  nonsense. 
Hummel  ak>ne,  among  the  recent  composers  for  the  pianoforte, 
has  given  specimens  of  the  real  fantasia,  invented  by  Bach, 
and  perfected  by  Mozart— perfected  by  Mozart,  we  say, 
because  he  found  the  art  of  combining  melody,  exquisitely 
developed,  with  the  exigencies  of  ibis  kind  of  writing,  without 
departing  from  its  original  form— and  thus  doubled  its 
attraction. 

In  HandeVs  first  book,  which  is  by  far  the  roost  elaborate, 
there  are  eight  sets  of  pieces.  In  five  of  them  there  are 
fnguesy  which,  with  deference  to  those  who  place  Bach  above 
Handel  in  this  species  of  composition,  we  insist  are  the  finest 
existing  models.  But  we  shall  speak  of  them  in  their  places. 
The  first  Suite  consists  of  a  prelude,  an  allemande,  a  courante, 
and  a  gigue,  four  pieces,  varying  in  character,  and  all  in  the 
key  of  A  major.  The  Prelude,  as  the  modem  acceptation  of 
the  wordi  .implies,  is  a  number  of  discursive  chords  and 
passages,  without  form,  in  the  key  of  the  piece  which  is  to 
follow.  The  only  difference  between  the  present  one  and  a 
prelude  likely  to  come  from  the  fingers  or  the  head  of  a 
modem  pianidt  is  to  be  found  in  the  nature  of  its  progressions, 
which  though  rare  are  very  fine.    (JEn passant,  we  may  say  that 


the  preludes  in  the  Clavier  bien  tempere,  and  other  works  oi 
Bach,  are  usually  elaborate  compositions  in  which  a  particular 
figure  of  melody  is  carried  through  a  variety  of  keys  by  a 
regular  series  of  modulations  and  progressions.  Mendels- 
sohn's preludes  are  much  longer,  but  are  generally  formed  on 
this  model,  of  which  Handel  has  given  very  few  specimens.) 
The  Allemande  (a  piece  in  the  German  style  we  presume)  is  a 
melody  in  two  parts,  the  one  ending  with  a  half  close«  the 
other  with  a  full  close  in  the  key.  Each  part  is  repeated. 
The  object  of  this  kind  of  movement  appears  to  he  the  de- 
velopment of  a  melody  by  the  assistance  of  rich  and  various 
harmonies,  and  cunning  interruptions  and  protractions  of  the 
cadence,  so  as  to  obtain  a  beautiful  and  satisfactory  climax. 
The  first  Suite  of  Handel  presents  one  of  the  most  exquisite 
specimens  of  this  lengthened  melody,,  the  art  of  producing 
which  now  seems  to  hang  by  the  single  thread  of  Mendelssohn's 
existence.  It  is  in  three  parts,  each  of  which  is  a  melody  almost 
complete  in  itself.  The  Allemande  is  always  in  common  time  ; 
the  style  graceful  or  passionate,  but  never  capricious  or  trivial. 
The  Courante  has  much  the  same  characteristics  as  the  Alle- 
mande^  with  the  exception  that  it  is  Invariably  in  three*time, 
3-4  or  3-8.  The  present,  is  a  most  finished  and .  beautiful 
specimen.  The  Oifffie  is  a  quick  lively  movement  in  12-8, 
9-8,  or  6-8  time.  This  movement  is  generally  characterised 
by  a  quantity  of  free  imitations,  the  subject  not  seldom 
being  answered  immediately  ia  canon.      It  is  written,  with 


composition.     The  fantasias  of  Mendelssohn  and  Bennett  ave' "Tew  deviations,  in  two  parts  throughout,  and  requires  great 
'""    '         • .      «        •*  -  neatness   and    agility  of  finger  to   execute  properly.     The 

present  ^^e  in  12-8  time,  is  a  short,  but  excellent  specimen 
of  this  kind  of  movement,  and  being  one  of  the  least  elaborate 
will  be  more  easily  compassed  by  the  amateur  pianist. 

Suite  II,  comprises  an  adagio,  an  allegro,  another  adagio, 
and  a  fugue,  all  in  F,  except  the  second  adagio,  which  is  a 
fragment  beginning  and  ending  on  the  dominant  of  D  minor. 
As  this  is  the  only  instance  wc  can  find  where  one  of  the 
suites  is  interrupted  by  a  movement  in  a  different  key  from  the 
rest,  we  cannot  but  consider  it  an  accidental  interpolation 
from  the  suite  immediately  following,  which  is  in  the  key 
of  D  minor.  The  adagio  in  Suite  11.  is  a  fragment  which 
chiefly  serves  to  display  the  performer's  agility  in  trills  and 
ornaments,  for  which  it  is  a  mere  frame-work.  This  was  the 
characteristic  of  aifoi/io-playing  in  Handel's  time.  It  was  for 
Haydn  to  discover  the  slow*movement  as  it  now  stands,  with 
developed  melody  and  symmetrical  form  to  back  it.  By  some 
freak  of  fancy,  Handel  has  made  this  fragment  end  in  A 
minor,  although  it  begins  in  F,  and  the  allegro,  which 
follows — an  exquisite  specimen  of  writing  in  two  parts,  the 
right  hand  florid  and  the  left  hand  simple  —  is  also  in  F. 
The  fugue  with  which  this  suite  concludes  is  most  masterly. 
The  inner-counterpoint  to  the  third  answer  is  made  use  of 
as  a  second  subject,  with  wonderful  skill. ,  Tba,  fiume  not 
Digitized  by  VJiUTuMtC 


THE  MUSICAL    WdRtll. 


lirtffy 


only  displays  the  profoundest  learning  and  ingenuity,  but 
is  beautiful  from  beginning  to  end,  the  subjects  being 
melodious,  and  the  harmony  natural  and  pure.  It  is  here 
that  we  find  Handel  superior  to  Bach.  In  the  fugues  of  the 
latter,  with  few  exceptions,  there  are  points  which  a  refined 
ear  cannot  tolerate ;  but  in  those  of  Handel,  the  progressions 
are  so  natural,  the  parts  flow  so  easily,  and  yet  in  fine 
counterpoint,  that  no  such  disagreeable  effects  can  ever  be 
found  in  them.  Our  theory  is  that  the  laws  of  harmony 
cannot  possibly  be  violated  with  impunity,  and  as  Handel 
rarely  or  never  violates  them,  we  consider  him  a  more  legiti- 
mate musician  than  Bach,  who  constantly  does.  And  yet  we 
yield  to  none  in  our  veneration  for  that  great  man's  genius, 
which  we  hold  to  have  been  one  of  the  phenomena  of  the  era  in 
which  he  flourished. 

The  third  suite  is  in  D  minor.    It  begins  witli  a  brilliant 
prelude  of  scale  passages  and  arpeggios,  which  is  followed  by 
B.  fugue.     This  perhaps,  is  not  so  exquisitely  finished  as  the 
fugue  in  the  preceding  suite,  but  its  character  is  more  pas- 
sionate.    The  subject  is  mysterious,  and  one  of  the  counter- 
points is  most  charmingly  treated  as  an  episode,  in  two  parts, 
near  the  end;  this  point  is  of  itself  worth  a  whole  modern 
opera.     The  point  which  will  least  please  musicians  in  this 
fitgue  is  a  long  digression  into  F,  beginning  with  a  somewhat 
trite  sequence,  and  ending  with  a  sequence  on  the  dominant 
pedal,  which  is  borrowed  from  Utie  fugue  in  F  in  the  preceding 
suite.     An  allemande  and  a  courante,  which  come  after  the 
fugue,  are  both  lovely.     An  air  with  variations  concludes  the 
suite.      The   air  is  in  the  florid  style  of  the  adagio  in  the 
last  suite,  but  the  variations  formed  upon  its  outline  are  in- 
genious  and  beautiful.    There   are  five   of  them ;  the  first 
three  are  the  most  beautiful ;  the  second  has  a  florid  base, 
and  the  third  a  florid  inner  part,  on  the  top  of  which  rides 
the  melody.     (Cramer  and  Steibelt  have  each  borrowed  this 
variation  for   the  basis   of  one    of  their   studies.      Cramer 
wrote  his  in  E  major,  thinking:  to  avert  recognisance  of  the 
theft.    Steibelt,  more  bold,  assumed  the  same  key,  and  almost 
the  same  notes,  as  Handel.     Steibelt's  is   the  best  study  of 
the  two  after  all,  which  will  go  far  to  excuse  his  appropriation 
of  Handel's  property.)     After  the  five  variations,  a  very  fine 
movement,  presto,   in   3-8  time,  developed  to  considerable 
length,  concludes  ihe  third  suite. 

The  fourth  suite,  in  £  minor,  begins  with  the  brilliant  and 
magnificent  fugue  in  that  key,  which  is  known  to  all  pianists 
who  love  good  music.  This  is  perhaps  the  finest  composition 
in  the  entire  Suites  de  pieces,  but  the  difficulties  attending  its 
execution  are  enormous.  You  may  play  Liszt  and  Thalberg 
wholesale  without  being  able  to  play  this  fugue.  An  all^ande 
and  a  courante  follow ;  they  are  plaintive  and  beautiful,  and 
will  remind  the  perfoimer  of  similar  movements  in  the  Seven 
Characteristic  Pieces  which  Mendelssohn  composed  in  his 
early  youth,  when  red-hot  from  the  study  of  his  Bach  and 
Handel.  The  influence  of  these  great  writers  on  the  style  of 
the  greatest  composer  now  living  cannot  indeed  be  over- 
looked, or  too  often  considered.  A  Sarabande  comes  next. 
This  is  a  slow  dance  tune  in  8-4  measure,  in  the  style  of  a 
minuet,  but  played  more  leisurely.  Handel  makes  these 
dances  the  frame-work  for  the  finest  harmonic  progressions. 
The  fourth  suite  concludes  with  a  gigue,  in  12-8 — a  pretty 
subject  treated  for  the  most  part  in  free  canon.  The  only  fault 
of  this  gigue  is  its  brevity,  the  whole  being  compassed  in  a 
single  page. 

The  fifth  suitCf  in  E  major,  comprises  a  prelude  in  the  style 
of  Bach— an  allemande,  the  longest  and  most  beautiful  of 
all — a  courante  of  almost  equal  merit — and  the  charming  air 


with  variations  popularly  known  as  the  '<  Harmonious  Black- 
smith." This  suite  is  sure  to  be  the  most  in  favor,  not  only 
with  amateurs,  but  the  majority  of  professors.  Be  it  so — 
though  there  is  xio  fugue,  the  allemande  and  courante  will  be 
all  powerful  in  their  influence,  and  taste  must  be  perfected  by 
the  study  of  such  refined  specimens  of  art. 

The  sixth  suite  comprises  a  fine  prelude  d  la  Bach,  a  stately 
largo  in  3-4  time  with  some  grand  points  of  harmony,  a 
sublime  fugue  with  two  subjects,  and  f|  gigue,  the  best  com- 
position of  its  kind  in  the  book — the  whole  being  in  F  sharp 
minor. 

The  seventh  suite,  in  G  minor,  sets  out  with  an  overture, 
which  consists  of  an  adagio  in  the  florid  style,  fol- 
lowed by  a  short  presto,  repeated  twice,  with  the  inter- 
vention of  a  fragment  of  the  adagio  after  the  first  time ; 
the  allegro  is  a  kind  of  free  fugato  (a  short  movement  with 
imitations  in  the  fugued  style),  and  a  striking  character  is 
given  to  it  by  its  unbroken  rhythm  and  sustained  dotted 
accent.  A  beautiful  andante,  in  the  style  of  the  allemande, 
gives  way  to  another  allegro,  a  sort  of  courante  in  double 
time  (3-8  [  instead  cf  3-4),  a  movement  somewhat  in  the 
manner  of  Scarlatti,  but  more  profoundly  treated  than  any- 
thing that  master  has  left  us.  But  for  the  antique  cut  of  the 
cadences  this  short  movement  might  have  passed  under 
the  name  of  Mendelssohn.  At  all  events  the  influence  which 
the  harpsichord  music  of  Handel  has  had  in  developing 
and  coloring  the  style  of  that  great  musician  is  strikingly 
exemplified  in  this  allegro,  which  is  incontestably  the  germ 
of  more  than  one  of  those  intermezzo  movements  wherein 
Mendelssohn  is  so  fertile,  and  which,  by  the  way,  are  very 
often  in  the  key  of  G  minor,  that  of  the  present  suite.  The 
allegro  is  followed  by  another  sarabande  and  a  very  fine 
one,  which  in  its  turn  is  replaced  by  a  gigue,  short  and 
sweet.  The  whole  concludes  with  a  passacaille — a  series  of 
variations  on  a  short  harmonic  progression.  The  progression 
chosen  by  Handel  in  the  present  instance  is  as  follows : — 
common  chord  of  G  minor,  6-3  on  E  flat,  common  chord  of 
F  major,  ditto  of  B  flat  major,  ditto  of  £  flat  major,  6-3  on  C, 
seventh  on  D  with  major  third,  and  common  chord  of  G  minor. 
On  this  simple  progression  he  has  founded  no  less  than  fifteen 
variations.  These  are  brilliant  and  effective,  but  not  other- 
wise remarkable. 

The'  eighth  suite,  and  last  of  the  first  book,  is  in  F  minor. 
It  opens  with  a  fine  prelude,  which,  after  going  through 
a  variety  of  beautiful  progressions,  stops  upon  the  dominant 
harmony  and  gives  way  to  a  fugue  on  one  subject,  answered 
in  the  fourth  below,  and  written  in  three  or  four  parts  ad 
libitum.  This,  though  the  least  elaborate  of  the  five  fugues 
contained  in  the  suite,  is  by  no  means  the  least  striking.  The 
subject  is  simple  and  majestic,  and  the  treatment  masterly.  A 
magnificent  effect  is  produced  in  several  places,  by  the  introduc- 
tion of  the  subject  in  full  harmony.  The  last  time  this  occurs, 
the  subject  is  given  in  the  bass,  in  full  chords,  and  a  sublime 
point  is  efiected  by  a  sudden  progression  to  the  relative  major 
of  the  key,  which  must  be  heard  to  be  understood.  This  point 
alone  induced  us  to  play  the  fugue  over  a  dozen  times,  for  the 
sake  of  coming  to  it  in  its  proper  place  and  receiving  exactly 
the  same  sensation  of  surprise  at  every  repetition.  An 
allemande,  a  courante,  (both  beautiful)  and  a  gigue  almost  as 
good  as  the  one  in  F  sharp  minor,  conclude  this  suite  and  the 
first  book.  The  subject  of  the  gigue  is  answered  in  canon  on 
the  octave,  and  a  capital  contrast  is  produced  by  reversing  the 
subject  in  the  second  part,  taking  the  dominant  harmony  in 
place  of  the  tonic,  and  ijice  versd,  ^ 

We  must  defer  noticing  the  s^on^  |opk  of /Stfi^w  de  Pi^0tt 


THE  MUSICAL  WORLD. 


and  the  Pieces  of  Scarlatti  till  our  next,  haviog  exceeded 
our  limits  already.  Meanwhile  let  us  most  urgently  recom- 
mend all  our  readers,  who  ar^  pianists,  and  who  wish  to  make 
acquaintance  (net  being  already  acquainted)  with  one  of  the 
greatest  works  that  have  ever  enriched  the  repertoire  of  the 
harpsichord — or,  as  it  is  now  improved  and  developed,  the 
pianoforte — to  purchase  without  delay  the  first  book  of  Handel, 
of  which  we  have  drawn  up  this  crude  and  hasty  sketch.  It 
bears  strong  marks  of  having  been  a  labor  of  love,  and  abounds 
in  evidences  of  that  astonishing  genius  which  elsewhere  mani- 
fested has  long  been  ranked  among  the  wonders  of  the  world. 
The  present  edition  is  beautifully  engraved  and  printed,  and 
when  in  the  second  impression  the  few  errors  that  have  escaped 
the  experienced  eye  of  Mr.  Moscheles,  the  editor,  shall  have 
been  rectified,  it  will  be  perfect.  A  little  more  of  such  music 
OB  thi«,  and  a  kittle  less  of  the  modern  fantasia-schoo],  would 
benefit  extremely  the  musical  taste  of  the  country. 

MUSIC    IN    AMERICA. 

The  papers  that  have  lately  reached  us  confirm  the  prophesy 
of  our  New  York  correspondent,  that  the  arrival  of  Henri  Herz 
would  be  the  cause  of  a  world  of  disagreeables  between  that 
celebrated  pianist  and  **  The  lion."  From  The  American 
and  Commercial  Daily  Advertiser^  a  paper  printed  at  Balti- 
more, we  extract  a  series  of  letters  which  will  give  a  better 
notion  of  the  state  of  afiairs  than  any  comment  we  could 
inake  on  them.  It  appears  that  Leopold  de  Meyer  and  Henri 
Herz  were  to  give  each  a  concert  in  the  same  room  within  a 
day  or  two  of  one  another — that  De  Meyer,  after  giving  his 
concert,  neglected  to  have  his  piano-fortes  removed,  which 
caused  so  much  inconvenience  to  Herz  as  to  lead  to  very 
angry  proceedings  on  his  part.  But  let  the  correspondence 
speak  for  itself.  The  first  letter  is  from  Leopold  de  Meyer, 
and  is  an  appeal  to  the  public  against  the  conduct  of  his  rival. 

*TO  THE  PUBLIC. 

'*  The  undersigned  is  particularly  indisposed  to  appear  before  the  public 
of  Baltimore,  from  whom  he  has  received  the  kindest  indulgence,  upon  a 
subject  rather  of  a  private  than  of  a  public  nature.  Yet,  he  feels  it  due 
to  himself  to  make  a  simple  statement  offsets,  in  the  event  of  any  occur- 
rence in  the  future  of  a  similar  character,  and  suggested  by  similar  feel- 
ings. The  citizens  of  Baltimore  are  aware,  that  the  undersigned  gave  a 
concert  in  this  city,  at  Calvert  Hall,  on  Wednesday  evening,  and  as  usual 
left  his  pianos  In  the  building,  which  he  was  informed  yesterday  n-ornins 
were  so  disposed  of  as  to  leave  no  possible  inconvenience  to  Mons.  Herz, 
who  was  announced  to  give  a  concert,  in  the  same  place  last  evening.  It 
vns,  therefore,  much  to  the  surprise  of  the  undersigned  that  he  received 
a  note  from  the  servant  of  Mr.  Herz  last  evening,  shortly  before  6  o'clock, 
when  the  rain  was  pouring  down  in  torrents,  of  which  the  following  is  a 
translated  copy : — 

'  The  itDo  pianos  of  Meyer,  have  to  be  taken  away  immediately,  or  they 
will  be  throwninio  the  yard  of  the  Hall.*  b.  ullu  ann. 

•*  Upon  the  receipt  of  this  abrupt  and  offensive  note,  Mr.  Meyer, 
an  willing  either  to  cause  any  annoyance  to  Mr.  Herz,  or  to  subject 
himself  to  inconvenience  by  the  wanton  destruction  with  which  his 
instruments  were  threatened,  requested  his  friend,  Mr.  G.  Keitheimer, 
to  call  immediately  upon  Mr.  Herz,  at  Calvert  Hall,  and  attend  to  the 
business.  He  there  met  Mr.  Herz,  and  suggested,  in  consequence  of 
tbe  state  of  the  weather,  that  the  piano  should  remain,  alluding  at  the 
aaroe  time  to  the  impertinent  note  of  UUmann.  Mr.  Herz  observed  that 
he  should  not  interfere  in  the  matter,  and  that  whatever  had  been  done 
by  his  servant,  «as  by  his  approval.  Mr.  Reitheiroer  at  once  proceeded  to 
remove  the  pianos,  though  at  conr^iderable  risk,  and  with  some  injury  to 
one  of  them.  This  conduct  is  the  more  ineiplicable  in  view  of  another 
fact  of  recent  occurrence  in  New  York,  and  which,  but  for  the  transac- 
tion of  yesterday,  the  undersigned  should  never  have  brought  before  the 
public^  During  tbe  absence  of  Mr.  Meyer  at  Philadelphia,  Mr.  Herz 
announced  a  conceit  in  New  York,  with  eight  pianos  ;  at  that  time  Mr. 
Meyer  had  one  of  his  superb  Erard  pianos,  in  that  ciiy,  in  charge  of 
Messrs.  Scharff  nberg  and  Lui«,  Broadway,  which,  with  a  most  strange 
aad  vagoe  idea  oi  the  proprieties  of  life,  Mr.  Herz  actually  possessed 
Umaelf  of,  and  procured  to  be  removed  to  the  Tabernacle  for  his  purpose, 


upon  representations  to  those  gentlemen,  that  Mr.  Meyer  would  not 
object,  and  that  he  would  be  responsible  to  Mr.  M.  for  what  he  did. 
Information  being  telegraphed  to  Mr.  Meyer,  at  Philadelphia,  he  of 
course  took  measures  to  prohibit  such  an  invasion  of  his  rights.  It  is 
but  charitable  to  imagine  a  cause  for  the  very  remarkable  conduct  of  Mr. 
Herz,  and  the  undersigned  is  led  to  suppose,  that  the  effect  of  the 
weather  last  evening,  being  so  very  unfavorable  to  the  gentleman's  pro- 
jected concert,  it  also  by  sympathy,  touched  his  nervous  system,  and  he 
was  thus  led  to  act  so  very  rudely.  It  is  proper  to  say  to  the  public,  that 
the  pianos  of  Mr.  Meyer,  will  be  restored  to  their  position  in  the  Hall« 
on  this  (Friday)  morning,  preparatory  to  the  concert  of  the  even- 
ing. LEOPOLD  DE  MEYER.** 

Herr  Reitbeimer  is  the  charg^.  dk  affaires  of  the  **  Lion 
Pianist,"  and  has  got  hira  both  oat  of  and  into  several  scrapes 
since  his  visit  to  the  Yankees.  He  is  a  very  useful  appendage, 
nevertheless,  to  De  Meyer's  train,  although  he  speaks  English 
with  little  fluency  and  writes  it  with  less.  The  next  letter  is 
a  counter-statement,  on  the  part  of  Herz,  signed  Bernard  Ull- 
raan,  A.M. — for  be  it  known  that  Herz  also  is  attended  by  a 

chargi  d'affaires, 

"  XX)  THE  PUBLIC. 
"  In  an  address  to  the  public  in  this  morning's  Sun,  M.  Leopold 
De  Meyer  has  sought  to  povoke  M.  Henri  Herz  into  a  news- 
paper controversy,  and  hss  endeavoured  to  give  point  to  his  address 
by  calling  the  undersigned  M.  Herz'  servant,  and  by  using  other  imper- 
tinences of  language  which  it  would  not  be  becoming  now  to  notice. 
At  the  risk  of  giving  M.  De  Meyer  a  consequence  which  he  does  not 
merit,  by  noticing  his  communication,  the  undersigned  contents  himself 
with  saying  that  his  publication,  in  every  essential  particular,  is  entirely 
false*  as  the  following  brief  narrative  of  facts,  fortified  by  affidavit,  will 
show.  Tbe  platform  at  Calvert  Hall  is  too  small  to  hold,  at  the  same 
time,  the  pianos  of  M.  Herz  and  M.  De  Meyer.  M.  De  Meyer  had  given 
his  concert  on  Wednesday,  and  should  have  removed  his  pianos,  early 
next  norning  as  Mr.  Herz's  concert  was  immediately  to  follow.  This  he 
did  not  do ;  and  tlie  undersigned  stated  to  Mr.  Burke,  (an  assistant  of  M. 
De  Meyer,)  at  nine  o'clock  on  Thursday  morning,  that  he  would  require 
the  removal  of  the  large  piano  only,  and  that  the  smaller  one  mi^ht 
remsin.  This  was  said  in  the  presence  of  witnesses,  and  w&s  intended 
solely  to  consult  the  convenience  of  M .  De  Meyer.  No  trouble,  what- 
ever, was  taken  to  remove  either  of  the  pianos ;  and  as  night  was  fast 
approaching,  the  undersigned  was  informed  by  the  person  in  charge  of 
the  Halla  that  M.  De  Meyer  refused  to  remove  them,  and  the  note  which 
has  been  published  became  necessary.  With  reference  to  the  second 
charge,  fal-^ely  made,  in  relation  to  the  piano  of  ?«1.  De  Meyer  in  New 
York,  the  facU  are  these  :— M.  De  Meyer,  called  upon  Mr.  Herz,  and 
in  the  presence  of  several  witnesses,  oflfered  him  the  use  of  one  of  his 
pianos,  which  Mr.  Herz  said  he  would  accept  if  it  became  necessary,  and 
on  the  evening  of  his  concert,  he  had  ii  removed  to  the  Tabernacle.  M. 
De  Meyer's  agent,  apparently  ignorant  of  this  arrangement  between  Mr. 
Herz  and  M.  De  Meyer,  came  and  ordered  it  away  just  previous  tp  the 
concert,  and  without  any  notice  of  his  intention  so  to  do,  to  which  ^l^. 
Herz  made  no  objection. — Upon  a  subsequent  occasion,  when  Messrs. 
De  Meyer  and  Herz  again  met,  M.  De  Meyer,  as  the  undersigned  under- 
stood, apologised  for  the  act  of  his  agent,  and  said  it  had  oiiginated  in 
mistake.  Nothing  more  was  heard  of  the  transaction  until  it  now 
appears  in  print,  in  M.  De  Meyer's  communicaiion.  These  are  the  plain 
facts,  and  the  public  can  judge  of  them.  M.  De  Meyer's  difficulties, 
heretofore  with  Thalberg,  with  Sivori,  and  with  every  other  artist  who 
appears,  as  he  supposes,  to  stand  in  his  way ;  his  unblushing  method  of 
reaching  the  public  through  the  press,  as  disclosed  in  the  late  trial 
between  Burchardt  and  himself,  for  the  price  of  the  pufif,  and  now  this 
attempt  to  embroil  Mr.  Herz  in  controversy  with  him,  will  sufficiently 
convince  the  public,  that  he  relies  upon  other  means  for  giving  himself 
consequence  than  professional  science.  The  undersigned  forbears  to 
trouble  the  public  with  a  narrative  of  the  attempts  which  M.  De  Meyer 
has  made  to  induce  him,  whom  he  now  impertinently  designates  as  tbe 
servant  of  Mr.  Herz,  to  become  subservient  to  his,  M.  De  Meyer's  ends, 
by  puffing  him  into  notice,  and  perhaps  some  parts  of  his  present  inso- 
lence may  be  attributed  to  the  indignation  with  which  the  undersigned 
refused  to  receive  from  him  a  gold  snuff  box,  as  the  price  of  a 
desired  puff.  Bbrnard  Ullmann,  a.m..  Doctor  of  Philosophy,  and 
Eleve  of  the  imperiai  Polytechnic  hstituiion  of  Viennoy  Aui,  State  of  Mary- 
land, Citv  of  Baltimore,  «?/.— On  this  20th  day  of  November,  1846,  B. 
Ullmann  made  oath  before  me,  a  Justice  of  the  Peace  for  the  said  city, 
that  the  matters  above  set  forth  are  true  as  stated. 

Sworn  before  G.  D.  Spurribb." 

But  we  do  not  stop  here.     Leopold  de  Meyer^y  tfet  the 


THE  MUSICAL  WORLD. 


man  ta  ba  easily  put  down.  Read  his  addres  to  Henri  Herz 
.—a  document  which,  for  diplomatic  cunning,  might  vie  with 
the  masterpieces  of  Talleyrand. 

"TO  HENRI  HBEZ. 
"A  publication  in  the  Patriot  of  yesterday  evening,  under  the  name  of 
an  individual,  who,  instead  of  your  tervant,  should,  it  seems,  have  been 
styled  your  aavaU,  demands  a  passing  notice.  In  regard  to  that  sUte- 
ment«  should  you  have  authorised  it,  I  now  declare  it  to  be  untrue  that 
.  I  ever  gave  my  consent  that  you  should  use  one  of  my  grand  pianos  at 
your  concert  with  eight  instruments,  which  toolt  place  in  New  Yoric ; 
nor  did  I  ever  apologise  for,  or  in  any  way  excuse  the  conduct  of  my 
friend,  Mr.  Reitheimer,or  deem  it  deiirahle  so  to  do.  On  the  contrary, 
his  proceedings  were  prompt  and  proper,  as  a  suitable  rebuke  to  the 
impertinence  of  the  act  by  which  my  piano  had  been  appropriated,  and  I 
warmly  approved  what  he  had  done.  Indeed,  upon  learning  that  he  had 
expressed  Ms  sentiments  with  regard  to  the  impertinence  of  that  act, 
when  he  recovered  the  Instrument  from  the  Tabernacle  at  the  time  of  the 
rehearsal,  I  immediately  sanctioned  his  conduct.  In  expressing  his  own 
feelingfl,  he  had  given  utterance  to  mine.  In  reference  to  the  statement 
of  your  savant^  that  Mr.  Burlie  received  any  communication  relative  to 
the  pianos  at  9  o'dodc  in  tlie  morning,  it  was  either  an  inexcusable 
mistake,  or  a  wilful  misrepresentation.  And  I  must  also  use  the  same 
language  with  regard  to  the  assertion,  that  I  refused  to  remove  the  pianos 
from  the  Hall,  from  the  simple  fact,  that  the  first  intimation  I  had  of 
your  desire  thattliey  should  be  removed,  was  the  offensive  and  disreput- 
able note  received  from  your  savcmi.  And  now,  sir,  a  parting  word. 
Concealed  as  you  choose  to  be,  under  the  shelter  of  your  tavant  that  you 
may  avoid  the  neceuity  of  an  excuse  "  to  the  public"  for  your  discourtesy, 
unworthy  of  a  true  artist,  and  permitting  him  to  thrust  forward 
private  and  irrelevant  matters,  I  take  occasion  to  invite  the  attention  of 
the  public  to  the  correspondence  of  Signer  Rapetti  in  the  New  York 
press  of  the  9th  and  10th  inst.,  for  a  full  exhibition  of  those  traits  of 
your  character  which  are  cdculated,  unhappily,  at  once  to  excite  pity 
and  contempt.  The  unwise,  and  not  to  say  most  unjust  insinuation 
of  your  Movant  against  the  character  of  the  American  prass,  as  a  mer- 
cenary instrumentality,  I  leave  to  be  adjusted  between  him  and  a 
profession  which  I  deemed  beyond  reproach,  and  whose  members  are  so 
well  able  to  defend  her.  In  leaving  this  subject  I  do  so  with  the 
assurance  that  this  is  the  last  communication  I  shall  deem  it  my  duty  to 
make  with  you  through  the  medium  of  the  public  press. 

Lkopolo  ns  Mbtbr,  Pianigte  to  H,  M.,  Emperor  of  Auttria,  ice  !^c, 
S*  To  THE  Public— I  have  been  induced  to  appear  in  this  manner 
once  more  before  my  numerous  friends  and  the  public  of  Baltimore, 
less  from  a  sense  of  any  necessity  to  refute  the  misrepresentations  of 
the  ariide  under  notice,  than  from  a  momentary  indignation  at  the 
receipt  of  a  menacing  note  from  the  distinguished  tavant  of  Mr.  Herz, 
who,  with  a  degree  of  impudence  and  presumption,  I  scarcely  know 
which  most  |to  admire,  desires  me  to  refrain  from  any  notice  of  this 
publication,  under  peril  of  being  assailed  by  him  in  the  press  of  New 
York,  Philadelphia  and  Uavanna.  This  very  simple-minded  individual  has 
yet  to  learn  that  he  has  entirely  mistalien  the  character  of  the 
undersigned.  L.  Db  Mbtir." 

Is  ic  not  sad  to  contemplate  such  unworthy  squabbling 
among  artists,  who,  in  their  own  walk,  are  equally  incom- 
parable !  Surely  in  the  United  States  there  is  room  for  more 
than  one  great  pianistr— and  surely  Herz  and  De  Meyer  are 
unlike  enough  in  the  peculiarities  of  their  genius  to  make  it 
well  worth  die  while  of  the  Yankee  amateurs  to  hear  them 
both,  and  pay  for  the  hearing.  Fie  upon  the  European 
artists  who  thus  forget  themselves!  But  let  us  hasten  to 
extract  from  another  journal,  The  Philadelphia  Public  Ledger, 
a  correspondence  more  creditable  to  Leopold  de  Meyer,  and 
by  consequence,  more  interesting  to  his  friends  and  admirers 
on  this  side  of  the  Atlantic.  It  records  the  fiact  of  a  testi* 
monial  having  been  presented  to  the  celebrated  Austrian  pianist, 
by  the  Philharmonic  Society  of  Philadelphia. 

BiAUTiruL  Tbsti MONIAL. — M.  Leopold  de  Meyer  was  on  Saturday 
evening  honoured  by  the  Philharmonic  Society  of  Philadelphia  with  the 
presentation  of  a  beautiful  silver  cup,  of  exquisite  workmanship,  about 
eighteen  inches  high.  The  cup  is  embellished  with  a  design  representing 
a  lion  playing  upon  a  piano,  musical  emblems,  and  an  appropriate  in- 
scription. A  number  of  speeches  were  delivered  on  the  occasion,  and 
the  following  impromptu  was  made  by  J.  P.  Moss,  Esq. 

*'  Fame  raited  her  trumpet^  and  ehe  loudly  fttofv— 
'  The  great  De  Meyer'e  come !  to  him  what  praiteii  due  V 
Euterpe  amwered,  *  Why  do  you  iiaquire  V 


The  cup  will  be  exhibited  at  Mr.  Scherr'a,  Pianoforte  Manufactoij, 
Chesnut  Street,  above  Ninth,  until  Wednesday.  The  following  la  the 
eonespondence  wliich  took  place  on  the  occasion. 

PHiLAOBLrau.  Nov,  llthi  1640. 
"My  dear  Sir— I  am  directed  by  the  Managers  of  the  Phiibannoaie 
Society  to  tender  to  you  their  grateful  acknowledgmenta  for  the  high 
honor  you  have  conferred  on  the  Society  by  your  gratuitous  and 
invaluable  services  at  our  concert  last  evening,  and  also  to  request  your 
acceptance  of  the  accompanying  cop  as  a  small  testimonial  of  their  high 
appreciation  of  you  as  an  artist,  and  their  regard  and  friendship  for  you 
as  a  man.  Accept  it,  my  dear  ah:,  and  have  the  goodness  to  phu:e  it  in 
your  cabinet  among  similar  "tokens  of  feeling."  and  to  regard  our 
amateur  association  as  one  among  the  many  thousands  of  your  deUghted 
and  gratified  audiences  on  this  side  of  the  Atlantic.  We  haUed  yoor 
visit  to  this  country  in  the  anticipation  of  the  impetus  you  would  rive  to 
the  cause  of  music,  and  the  delight  we  would  experience  in  liatenmg  to 
tlie  strains  of  the  first  master  of  his  time.  We  have  now  the  additional 
pleasure  of  gratitude,  for  the  good  feeling  which  has  recognized  in  our 
humble  effort  a  principle  worthy  the  encouragement  of  your  great  taleot|. 
Rest  assured,  tbat  if,  when  in  other  lands,  this  little  tomftnir  should  bring 
back  to  you  any  lecollections  of  last  evening,  that.your  kindness  is^stlll 
warmly  cherished  by  the  Philharmonic  Society  of  Philadelphia,  and  that 
your  appearance  before  it  will  always  be  remembered  as  a  proud  event  In  its 
annala.  I  f^l  myself  highly  honored  In  being  made  the  >edlum  ef 
commnniaiting  the  thanks  of  our  association,  and  beg  leave  vt  the  asme 
Ume  to  present  my  indhNdual  wishes  for  your  coatinuai  pro(iperlt|  and 
happiness.    Respectfully,  yours,  •      .    ^ 

Signed,  A.  G<  Watbrmaw, 

PreHdeut  of  the  PhUharmeHie  SccMyf' 
Lbopolb  Db  Mbtbb. 

.  Pbilapblphia,  Nov.^15,  \M, 
"  Dear  Sir,— >It  affords  me  the  greatest  possible  pleasure  to  tender  to  you, 
as  the  medium  of  the  high  compliment  bestoired  on  me  this  evening. hy 
the  members  of  the  Philharmonic  Society,  my  warmest  thanks,  and  to 
express  the  feelings  of  gratitude  I  entertain  for  the  kind  astittance^fhaef 
have  manifested  towards  me.  I  acknowledge  with  prideand  pleasure  the 
receipt  of  the  beautiful  token  of  friendship  which  the  society,  througb^fCjU, 
has  been  pleased  to  offer  me,  and  rest  assured  that  when  th^  breed 
Atlantic  shall  separate  me  from  the  shorts  of  America,  and  kdcj^  when- 
ever I  may  be  through  life,  I  shall  turn 'to  iheiouvtnir  with  deligMifiU 
eyes,  and  always  remember  with  the,  best  wishes  my  kind  f^rienida.|n 
Phibtdelphia.  Modesty  forbi<)s  xeplying,  to  th«t  portion  of  your  higUy 
complimentary  letter,  where  you  are  pleased  to  award  such  flattering 
praise  to  my  humble  merits  j  and.jiow  let  me  tender,  you  jnyjuocffe 
regard,  not  only  as  one  whose  r^aland  persev^ing  effQa:ts  to  advance  ;lJ>e 
cause  of  music  are  so  well  known  and  appreciated,  but  also  as  a  highly 
esteemed  citizen,  (Qy— Whor  De  Ue^tttmth9Mdtetexf9)iSAA.babuif 
me,  my  dear  sir,  I  feel  grateful  for  y^ur  kind  wishes  for  my  prosperity, 
and  the  Imowledge  of  promising  your  personal  friendship  to  me  will 
always  be  a  mivetUr  of  unfeigned  pleasrt«.  .*^~  ^' 

I  remain,  dear  sir,  with  muoh  respect,  fottn  trolyy'^ 

UtoPOiAi  Db  Mbt  A."' 

«ToA.G.WATBRiiAN,Esq.,  c*. 

Preeident  PhUharmtmie  Society'*  ;       _ 

(The  ahove  letter,  we  .presumei'firDno  j^^etyle  of  it^  »h«s« 
geology,  to  have  proceeded,  from  Uiepen  of  De  Meyer^  ^larai 
d'affaires.)  f;    - '         ' '  *  '  /': 

How  much  more  pleased  shoaTd  we  be  to  hl^^e' Qijlj' such 
events  as  the  above  to  zecosd^  instead  x)il  being  the  unwiUing 
chroniclers  of  disputes  and  acts  of  petty  «wry»:whieh^  omrtim 
part  of  men  of  genius  and  talent,  are  as  sutprising  «^  they 
are  disgraceful .  We  must  coAfassy'  em  fouant^  that  i^ur  •  Inti- 
mate knowledge  of  the  two  meiiv  leads  uisr  ijasensibly  to 
exonerate  Henri  Herz  from  any  bkme  ^atever.  H»is  the 
last  man  to  put  up  with  an  oflfence,  but  .lie  Is  vqiialfy^  m  oar 
opinion,  the  last  man  to  offisrone.-  It  is  singukii',  at  any  ratSy 
that  Hens  and  Sivori  should  both  Jiave  cause  of  edrnplaiht 
against  De  Meyer,  and  none  whatever  against  each  other*  On 
the  contrary,  they  are  the  best  friends  in  the  world. 

CONCERT  AT  THE  BEAUMONT  INSTITUTION. 

The  amateurs  and  connoisseurs  of  music  at  the  East  end 
are  determined  not  to  be  outdone  by  the  concert-givers  of  the 
more  lordly  section  of  the  metropolis  in  providing  all  that  is 
excellent  and  redierch^  forUieir  vialtori.    The  entertaiDBients 


THE  MUSICAL  WORLD. 


.on  Tuesday  evening,  at  the  Beaumont  Institution,  Beaumont 
Square*  Mile-end  Road,  proved  that  the  march  of  music  was 
abroad,  and  that  the  love  of  art  was  pervading  every  class  of 
society.    The  projectors  of  the  concert  must  have  been  aware 
of  ^e  taste  and  judgment  previously  exhibited  by  the  audi- 
ences of  the  Institution,  or  they  would  not  have  provided  so 
.  very  superior  a  lieast  of  music  as  they  did  on  Tuesday— superior, 
whether  we  consider  the  compositions  to  be  interpreted,  or  the 
interpreters.  The  fact  alone  of  Madame  Bishop's  services  being 
obUined,  speaks  loudly  in  favour  of  the  enterprising  spirit  of 
the  establishment.     Madame  Bishop  was  engaged  at  a  large 
sum,  but  the  crowded  state  of  the  room  proved  that  the 
managers  of  the  concert  did  not  reckon  without  their  host 
procuring  the  assistance  of  England's  greatest  singer  and 
greatest  artist.    We  were  both  pleased  and  surprised  at  wit- 
.^nesshig  the  excellent  judgment  displayed  by  the  auditors  of  the 
Iilstitntion,  in  tlie  marks  of  approbation  they  bestowed  on  the 
^artists.     Madame  Bishop  was  listened  to  with  the  most  breath- 
less suspense  until  the  elose  of  each  of  her  moreeiuUBj  when  the 
•:wbole  audienee  broke  out  into  the  most  tumultuous  applause, 
-iHiieh  lasted  several  minutes.     Before  making  any  further 
remarks,  we  shall  append    the  programme,  which  ran  as 
foQowa:-^ 


PAKT  I. 

PantsBis,  Ornn,  Mr.  Chltty,  (ornsnUt  of  St.  Jamct% 

Rttclifl)        . 

-TcfXetto,  Ouai  te  tl  sfiigge>  (LtuTjrfto  Borgia)  Madame 

F.  Lalilache,  Mr.  MaHvers,  and  Signor  F.  Lablache. 

-BolTo  Sbnr,  Lai|;o  al  factotum*  Signor  F.  Lablache,  (/I 

-"        BartSn-eHSivigliay 

*Scenv,  Oh,  'ti«1i  gibbous  sigh^  Mr.  Manvers,  lOberoi^ 
-Raeitatlve,  Al  liempld  move,   V  Madame  Anno  Bishop, 

Catatina,  Ah,  qtiando  f        {Vgodi  Parigi) 

^Song,  Why  do  we  love  T  Made.  P.  Lablache,  (Ikm  QmsottttJ 
'^Fantatia,  CmnreKfna,  Auld  UoKsyne,  Mr.G.  Caae, 

Bttef.  Lea  Mnletivrt,  Madame  F.  Lahlacheand  Signor  F. 
>        Lablache.      ...       .        ... 

H^dtative,  The'  bosom  ofron  waters, 
^talM,  Onthebanks  of  GttadalqQivIr, 


ChUif. 

DoniseiH. 

Rotnni. 
Weber. 

DoHUfdii. 

MCtcfarreH* 
Case. 


>  Madame  Bishop, 
(Loretta) 


Mt*  Jete  ■  BaR7»    AnrngSd  by 


Lavenu* 


PAET  II. 


Duet,  Sensa  tanti  complemeali  Madams  F.  Lablache 

an4  SiffBOf  I-  LabMie, DonUdH. 

Soi^l^ip>.tbeFalceaer,  Mr.  Manvera,      •  LoJer, 

Ctvatina,  O  come  rapida,  Madame  Bishop»  (Grociofo  dm 

SgfUoJ Mop^rbeer. 

Song. Miei rampolli,  Signor  F.Labteche (U CeMrenMa)        Aomms, 
~Seiii,FbaiitiolflafterllwouK9,  M#.  Manvera  (ifight 
\'  z  iJk^netn^ '.  » ^     ..>.-•     '  •      -•       •       «       Loder, 
Solo,  Vioin.AirVarie,  Mr.G.Case,     ....        Com. 
.ftondq  Fios^  Ah^  heart  be  hoahed  and  calm,  Biadame 
'*'    '  Anna  BlaUd))  ^L^^to]  •        .        .        .       Lavenu* 

'^b6teh'Soh|;,  Come  row  me  o'er,  Madame  F.  Lablache. 
4»emiMtic  Scene,  Matriaaony !  (By  Detkf^)   Mr.  John 
V .'  J  ^lfTy»    -•♦"'-•.  •      .M  .    •  •        •  JofM  Parry* 

>.  Mr.Ciiitty'ii  fintesia  waaaothing  more,  nor  less,  than  a 
ceeleetbuvof  snbjeets^  and  airs»  taken  at  random*  and  used 
owitfaoutithe  -Jeastact*'   Amoug  these  airs,  and  subjects,  we 
inaooguiaedthe  chomsof  piieiU  from  8pohr*s  JeMoada,  an 
.atta  from  Ihr  Fre^sehutZi  *' Luuy  Neal/' an  air  do  ballet 
:fim  £m  Doma  del  Logo,  **  Love  Not,"  and  "  God  save  the 
.ftueen."     The  tersetto  from  Luerezia  Borgia  did  not  go 
well.     The  famous  song  from  the  Barbiere,  was  excellently 
-given  by  Frederick  Lablache,  albeit  his  singing  was  consider- 
ably marred  by  the  inefficiency  of  the  conductor,  who  played 
-the  aocompaniments  in  all  sorts  of  ways,  but  the  right  way. 
We  must  allow  that    the  pianoforte    accompaniments    to 
*'  L«rgo  al  factotum,"  are  by  no  means  easy  to  be  mastered 
on  the  instrument    Mr,   Manvers  was  not  equal  to  the 


trying  seena  from  Oberon,  The  recitative  and  Cavatina 
from  Ugo  di  Parigi  are  admirably  adapted  to  Madame 
Bishop's  powers  and  voice.  They  involve  the  greatest 
brilliancies  of  Jioriture,  the  most  expressive  melodial  phrases, 
and  demand  from  the  interpreter  the  most  chaste  and 
delicate  conception,  conjoined  with  the  most  artistic  finish. 
The  last  movement  especially  displayed  to  perfection  Madame 
Bishop's  art  and  skill.  We  never  heard  composition  more 
exquisitely  rendered.  The  chromatic  passages,  the  shakes 
fortissimo  and  piano,  the  descending  shakes,  the  eadenxas  so 
novel  and  so  striking,  the  elabcvrate  and  rapid  fioriture 
executed  vrith  the  ease  of  the  most  perfect  instrument,  all 
proved  Madame  Bishop  beyond  a  doubt,  one  of  the  greatest 
singers  of  modem  times.  The  applause  consequent  on  this 
prodigious  vocal  display  was  uproarious,  and  an  encore  was 
tiimultiously  called  for,  but  was  not  persisted  in,  the  audience 
considerately  making  allowance  for  the  great  exertion  of  the 
singer.  Macfarren's  exquisite  song  was  very  nicely  given  by 
Mad.  F.  Lablache,  and  received  an  encore.  Masini's  duet  is 
very  pretty,  and  was  capitally  sung  by  Sig.  and  Mad.  Lablache* 
obtaining  a  unanimous  and  loud  encore.  Made.  Bishop  received 
a  tremendous  call  to  repeat  the  ballad  from  Loretta^  to  which 
she  responded,  singing  it,  on  both  occasions,  with  her  usual 
exquisite  grace  and  finish.  John  Parry  gave  a  new  comic 
song  called  "  The  White  Cat,"  in  which  the  antique  legend  is 
set  forth  in  a  garb  of  modem  humour.  He  sang  it  in  his  usual 
style,  with  immense  efiect,  and  was  encored,  when  he  gave 
Albert  Smith's  song  of  "  Young  England."  In  the  second 
part,  the  duet  from  Dan  Pasquale  was  repeated  with  much 
applause ;  and  Mr.  Manvers  gave  I^oder's  popular  song  with 
expression  and  taste.  Madame  Bishop  sang  Meyerbeer's 
charming  Cavatina  from  the  Croeiato  in  Egytio^  with  greater 
effect  than  any  of  her  preceding  efforts,  and  was  applauded  by 
the  whole  house  for  several  minutes.  We  are  inclined  to 
think  "Come  Rapida"  is  the  best  performance  of  Madame 
Bishop  we  ever  heard ;  and>  certainly,  as  a  display  of  con- 
summate art  and  vocalisation  we  never  heard  it  surpassed. 
No  doubt,  the  Italian  language  in  which  she  interpreted 
Meyerbeer's  Cavatina  tended,  in  no  small  degree,  to  produce 
the  perfectibility  of  her  performance.  So  great  was  the 
impression  wrought  upon  us,  that  we  would  strongly  counsel 
Madame  Bishop  to  sing  ''  O  Come  Rapida  "  on  every  possible 
occasion  in  public.  Her  singing  delighted  to  excess  the 
amateur  part  of  the  audience,  and  encKained  the  admiration 
of  all  appreclators  of  true  art.  Frederick  Lablache  reminded 
us  potently  of  tka  Lablache  in  the  fine  dramatic  aria  buffa  of 
Rossini.  He  sang  it  splendidly.  This  gentlemen  has  made 
much  improvement  in  his  art  within  the  last  few  years.  Signor 
F.  Lablache  is  now  a  superior  general  artist,  and  an  admirable 
buffo  singer.  Loder's  very  charming  song  lost  all  is  capti- 
vations,  by  being  taken  much  too  slowly;  Mr.  Manvers 
thereby  neither  doing  the  composition  nor  himself  justice. 
We  have  much  pleasure  in  bestowing  our  award  of  merit  on 
Mr.  G.  Case's  violin  performance.  This  young  gentleman  is 
one  of  the  best  of  our  native  violin  soloists.  Madame 
Bishop,  as  a  matter  of  course,  was  enthusiastically  encored 
in  the  Rondo  finale  from  Loretta,  It  is  unnecessary  to  speak 
here  of  a  performance  so  universally  known,  and  which  has 
already  won  the  tribute  of  admiration  and  surprise  from 
thousands  at  Drary  Lane.  We  cannot  conclude  our  notice 
of  the  great  artist's  performance  on  this  occasion  without 
bestowing  a  word  of  praise  on  the  grace  and  charming 
naivete  she  displays  in  a  concert  room.  Madame  Bishop  is 
the  artist  everywhere,  and  she  well  knows  that  half  the 
attraction  of  a  vocal  performance  lies  in  the  manner  of  its 


r 


THE  MUSICAL  WORLD. 


execution.  Many  of  our  best  chamber  singers  might  take  a 
useful  hint  from  Madame  Bishop's  deportment  in  a  concert 
room.  The  concert  terminated  with  a  song  by  John  Parry, 
which  we  did  not  wait  to  hear.  Altogether  we  were  highly 
pleas«»d  with  the  entertainments  at  the  Beaumont  Institution, 
and  shall  be  roost  happy,  by  any  efforts  of  our  own,  to  advance 
the  interests  of  the  musical  section  of  this  most  praiseworthy 
establishment.     Mr.  Maurice  Davies  conducted. 

VBB     AmSIVIBB. 

jfto'm  tit  Strman  of  i&ot^e. 

(Continued ft'om page &J0,  vol.  ai.) 
PART     I  C  H  A  P  T  E  R     XI. 

Edwaed  accompanied  the  Count  to  his  chamber,  and  was  easily 
induced  by  bis  conversation  to  remain  with  him  for  some  time. 
The  Count  discoursed  on  former  days,  and  remarked  with  anima- 
tion on  the  beauty  of  Charlotte,  which,  as  a  connoisseur  of  the  fair 
sex,  he  unfolded  with  considerable  ardour.  **  A  handsome  foot," 
said  he,  is  a  great  gift  of  nature,  and  a  charm  which  resists  the 
ravages  of  time.  I  observed  her  to-day  as  she  walked.  One  tecls 
an  inclination  to  kiss  her  foot,  and  to  repeat  that  barbaric  but  deeply- 
felt  mode  of  shewing  honour  which  exists  among  the  Sarmatians, 
who  think  there  is  nothintr  better  than  to  drink  to  the  health  of  a 
beloved  and  respected  person  out  of  his  shoe. 

The  print  of  the  foot  was  not  the  only  object  of  praise  with  these 
two  intimate  friends.  From  Charlotte's  person  they  rambled  to 
old  stories  and  adventures,  and  came  at  last  to  the  obstacles  which 
had  formerly  prevented  the  union  of  the  two  lovers,  to  the  trouble 
they  bad  taken,  and  the  stratagems  they  had  observed,  only  to  be 
able  to  say  that  they  loved  one  another. 

<*  Do  you  remember,"  continued  the  Count,  '*  what  adventures 
I,  with  the  greatest  kindness  and  disinterestedness  enabled  you  to 
achieve,  when  our  highest  dignitaries  visited  her  uncle,  and  met  in 
the  spacious  castle  ?  The  day  had  passed  in  festivities  and  festal 
attire,  and  a  part,  at  least,  of  the  night  was  to  be  spent  in  free  loving 
conversation." 

"  The  way  that  led  to  the  apartments  assigned  to  the  ladies  of 
the  court  you  had  well  observed,"  said  Edward,  "  and  we  succeeded 
in  reaching  my  beloved  Charlotte." 

•'  Who,"  added  the  Count,  "  thought  more  of  decorum  than  of 
my  comfort,  and  kept  by  her  an  exceedingly  uely  guard  of  honour  ; 
so  that,  while  you  were  very  much  amused  with  words  and  glances, 
my  lot  was  anything  but  a  happy  one." 

"Just  as  you  were  announced  yesterday,"  said  Edward,  "  I  was 
reminding  my  wife  of  the  story,  and  especially  of  our  letnm.  We 
missed  the  way,  and  came  to  the  anto-chamber  of  the  guard-room. 
Because  we  had  got  on  so  well,  we  fancied  we  could  go  through 
here  also,  and  pass  this  post  as  well  as  the  rest.  But  when  the 
doors  were  opened  how  great  was  our  astonishment !  The  way 
was  covered  with  mattrasies,  upon  which  the  gigantic  folio  .*s  lay 
stretched  out  in  several  rows,  and  slept.  The  night  guard  at  his 
post  stared  at  us  with  amazement,  but  we,  in  our  youthful  boldness, 
stepped  quietly  over  the  strctched-out  boots,  without  one  of  these 
snonne  sons  ot  Anak  being  awakened." 

''  I  had  a  great  mind  to  stumble  for  the  sake  of  the  noise,"  said 
the  Count,  **  for  what  a  strange  resurrection  we  should  have 
seen  1 " 

At  this  moment  the  castle  clock  struck  twelve. 

«  It  is  midnight,"  said  the  Count,  srailiny,  '*  and  just  the  proper 
■  time.  I  must  now  beg  a  favour  of  you,  my  dear  Baron.  Be  my 
guide  to-night  as  I  was  yours  then.  I  have  promised  the  Baronness 
to  pay  her  a  visit.  We  have  not  seen  each  other  for  a  long  time, 
we  have  not  spoken  alone  all  day,  and  nothing  is  more  natural,  than 
that  we  should  desire  a  confidential  hour.  Show  me  the  way,  1 
will  find  the  ^ay  back,  and  at  all  events  there  is  no  fear  that  I 
sha'l  stumble  over  any  boots." 

"  I  will  readily  show  you  this  piece  of  hospitable  courtesy,"  said 
Edward,  "  only  the  three  ladies  are  altosrether  up  in  yonder  wing. 
Who  knows  whether  we  may  not  find  ihem  all  at  once,  or  cause 
some  other  piece  of  work  that  would  have  a  strange  appearance  ?  ** 

•*  Do  not  be  uneasy  about  that,"  said  the  Count,  "  the  Baronness 
expects  me.    By  this  time  she  is  certainly  alone  in  her  room." 


*'  Thus  the  matter  is  easy  enough,"  said  Edward  ;  and  taking  a 
candle,  he  lit  the  count  down  a  private  staircase,  which  led  tS  a 
long  passagb.  At  the  end  of  this  was  a  little  door,  which  Edward 
opened.  They  ascended  a  winding  staircase,  and  on  the  top  on  a 
narrow  landlng-pUce,  Edward  showed  the  Count  a  tapestried  door 
to  the  right,  and  placed  the  candle  in  h's  hand.  The  door  opened 
at  the  first  attempt,  and  admitted  the  Count,  so  that  Edward  was 
left  in  the  dark. 

Another  door  to  the  left  led  to  Charlotte's  bed-room  ;  he  heard 
some  one  talk,  and  listened  attentively.  Charlotte  was  asking  her 
maid,  if  Ottilia  had  gone  to  bed.  «  No,"  replied  the  maid,  ^*  she 
is  down  stairs  writing.*  **  Light  the  night-lamp  then,"  said 
Charlotte,  **  and  go,  it  is  getUng  late.  I  will  put  oiit'  the  taper 
myself  and  go  to  bed." 

Edward  heard  with  delight  that  Ottilia  was  writing.  "  3he  b 
working  for  me,"  he  thought  triumphantly.  Absorbed  in  his  own 
imagination  he  fancied  that,  through  the  darkness,  he  could  discern 
her  sitting  and  writing.  We  thought  to  approach  her.  and  see  how 
sho  turned  round  to  look  at  him.  We  felt  an  irresistible  longing 
to  see  her  once  more  near  him.  But  there  was  no  way  firom  the 
Spot,  where  he  stood,  to  the  apartment  which  she  occupied.  Now 
he  found  himself  close  against  his  wife's  door,  a  singular  confusion 
took  place  in  his  mind ;  he  tried  to  move  the  door,  he  found  it 
locked,  he  touched  gently,  but  Charlotte  did  not  bear. 

In  fact,  she  was  in  the  larger  room  adjoining,  walking  up  and 
down  with' a  great  deal  of  animation.  Over  and  over  agrin,  she 
repeated  to  herself,  what  she  had  already  considered  often  enough, 
since  the  Count's  proposal.  The  Captain  seemed  to  stand  before 
her ;  he  still  filled  the  houses  he  still  gave  life  to  the  walks — and 
he  was  to  go  ;  all  was  to  become  a  void.  She  said  to  herself  all 
that  could  be  said  ;  nay,  she  anticipated,  as  one  generally  does,  the 
miserable  consolation  that  even  pains  of  this  sort  are  alleviated  by 
time.  She  cursed  the  time  which  was  required  to  alleviate  tfaem  ; 
she  cursed  the  deadly  time  when  they  would  be  alleviated; 

The  refuge  which  she  found  in  tears,  was  so  much  the  more 
welcome,  as  with  her  it  was  unusual.  Throwing  "herself  on  the 
sofa,  sho  completely  abandoned  herself  to  her  grief.  EdwarH,  on 
his  part,  could  not  stir  irom  the  door  ;  he  knocked  again,  and  then 
a  third  time,  somewhat  louder,  so  that  Charlotte  could  hear  him 
plainly  through  the  stillness  of  the  night,  and  started  up  alarmed. 
Her  first  thought  was,  that  it  might — nay,  must  be  the  Captain  ; 
the  second,  that  this  was  impossible.  She  considered  that  the  mind 
was  an  illusion,  but  she  had  surely  heard  it — wished,  feared  to  have 
beard  it.  She  went  into  the  bedroom,  and  softly  approached  the 
tapestried  door,  which  was  bolted.  Then  she  reproached  herself 
for  her  fear.  **  How,  probably,  might  the  Countess  want  some* 
thing  1"  she  said  to  hersiilf,  and  collecting  her  strength,  she  cried 
out,  ••Is  any  one  there?"  A  soft  voice  answered,  "It  is  I." 
•*  Who?"  returned  Charlotte,  who  could  not  distinguish  the  sound. 
The  Captain's  form  seemed  to  stand  before  the  door.  The  voice, 
somewhat  louder,  said,  '•  £d«rard !"  She  opened,  and  her 
husband  was  before  her.  He  saluted  her  jestingly,  wrapping  up 
the  cause  of  his  mysterious  visit  with  explanations  equally 
mysterious.  **  Why,  I  really  come,"  he  at  last  said,  •*  I  must 
confess  to  you.      I  have  made  a  vow  to  kies  your  shoe  to-night." 

**  You  have  not  had  such  a  notion  for  a  long  time,"  said 
Charlotte.  "  So  much  the  worse,  and  so  much  the  better,"  retorted 
Edward. 

She  had  seated  herself  in  a  chair,  that  her  light  night-dress  might 
be  concealed  from  his  eyes.  He  threw  himself  on  his  knees  before 
her,  and  she  could  not  prevent  him  from  kissing  her  shoe,  nor 
when  this  remained  in  his  hand,  from  catching  her  loot,  and  pressing 
it  firmly  to  his  bosom. 

Charlotte  wes  one  of  those  ladies,  who  possessed  of  a  cool 
temperament,  preserve  in  marriage,  without  design  or  effort,  the 
manners  belonging  to  courtship.  Far  from  alluring  her  husband, 
it  was  always  her  manner  rather  to  shrink  from  him,  and  as  she  at 
the  same  time  did  not  evince  any  coldness  or  repulsive  severity, 
she  always  resembled  a  loving  bride,  who  feels  timid  even  about 
what  is  lawful.  In  this  disposition,  and  even  more  so  than  usual, 
Edward  found  her  upon  this  occasion.  Most  ardently  she  wished 
that  her  husband  was  away,  for  the  imaginary  form  of  her  friend 
seemed  to  be  reproaching  her !  But  that  which  should  have 
repelled  Edward,  acted  as  an  additional  attraction.     It  was  obvious 


'fHE  MUSICAL  WORLD. 


♦7 


that  ftbe  laboured  under  some  emotion.  She  had  been  weeping,  and 
if  thisis  generally  a  disadvantage  to  the  beauty  of  persons  of  a  weak 
disposition,  it  is  ad  infinite  advantage  to  those  ^hom  we  arc  in  the 
habit  of  seeming  resolute  and  composed.  Edward  was  so  amiable, 
00  kind,  80  urgent  He  asked  her  to  let  him  remein  witli  her.  He 
did  not  insist  upon  i^-but  half  jesting,  half  earnest,  tried  to  persuade 
her,  never  thinking  that  he  was  only  asking  for  his  rights.  At  last 
he  playfully  extinguished  the  taper. 

In  the  dim  light  of  the  lamp,  the  secret  inclination  and  the  imagi- 
nation o\  the  parties  exercised  an  influence  over  reality.  Edward 
seemed  to  hof()  none  but  Ottilia  in  his  arms,  while  the  image  of  the 
Ca[itahi,  nearer  or  farther,  floated  before  the  mind  of  Charlctte. 
Thns  strangely  enobgh  "was  the  present  most  delightfully  inter- 
woTon  with  the  absent. 

Bnt  the  present  has  lai^e  claims,  and  will  not  be  despoiled  of 
ihem.  They  passed  a  portion  of  the  night  in  all  sorts  of  light 
con  venation,  and  their  jests  were  the  more  free,  because,  alas  ] 
their  heart  had  no  share  in  them.  But  when  Edward  on  the  fol- 
lowing momfng  awoke  on  the  bosom  of  his  wife,  the  day  seemed 
to  look  in  upon  him  with  a  foreboding  appearance,  the  sun  appeared 
to  shhie  ttpon  a  crme.  He  glided  softly  from  the  side  of  Charlotte, 
wh(»/irhett  she  awoke,  was  surprised  to  find  herself  alone. 

PART      I. C  H  A  P  T  E  R      XII. 

When  the  party  had  re-assembled  at  breakfast,  an  attentive  spec- 
tator might  have  observed  in  the  behaviour  of  the  individuals  the 
difference  of  their  internal  moods  and  feelings.  The  Count  and 
Che  Baroness  met  with  that  cheerful  content  which  is  felt  by  a  pair 
oi\&ftt9^  when  af^er'the  pains  of  separation  they  once  more  assure 
each  other  of  their  mutual  affections ;  while,  on  the  other  hand, 
Oftarlotte  and  Edward  met  the  Captain  and  Ottilia  with  something 
of  shame  sod  remorse.  It  is  the  nature  of  love  to  believe  that  its 
own  rights  are  alone  valid,  and  that  all  others  vanish  before  it. 
Ottilia  displayed  a  child- like  cheerfulness,  and  her  manner  might 
be  called  frank.  The  Captain  appeared  serious.  His  conversation 
With  the  Count,  who  had  awakened  in  him  all  the  feelings  which 
had  for  some  time  lain  dormant,  had  shewn  him  but  too  plainly  that 
ht  wks  not  fulfilling  his  proper  mission  in  this  place,  but  was  really 
wasting  his  days  in  a  sort  of  half-active  indolence.  The  guests  had 
hardly  departed,  when  other  visitors  arrived.  This  arrival  was 
welcome  to  Charlotte,  who  wished  some  diversion  from  her  own 
thooghts  ;  bnt  it  seemed  inopportune  to  Edwand,  who  ielt  a  double 
inclination  to  converse  with  Ottilia,  and  it  was  far  from 
agreeable  to  Ottilia  herself,  who  had  not  yet  finished 
the  copy,  whith  was  so  much  wanted  on  the  following  morning. 
She,  therefore,  as  soon  as  the  visitors  had  lefb,  hastened  back  to 
her  room. 

It  was  evening.  Edward,  Charlotte,  and  the  Captain,  who  had 
accompanied  the  visitors  on  their  way  to  the  carriage,  agreed  to 
take  a  wnlk  towards  the  pond.  A  Doat,  which  Edward  had  ordered 
from  a  distance,  at  a  considerable  expense,  had  arrived.  They 
wished  to  try  whether  it  could  be  easily  moved  and  managed. 

The  boat  lay  moored  oflF  the  bank  of  the  central  pond,  in  the 
vicinity  of  some  tall  oaks,  upon  which  they  had  ^'reckoned  when 
considering  their  plans  for  the  future.  A  landing  place  was  to 
be  formed  here,  and  an  architectural  resting-place  was  to  be  raised 
under  the  trees,  towards  which,  those  who  crossed  the  lake  would 
have  to  steer. 

**  Where  had  the  landing  better  be  formed,  on  the  other  side  ?  ^ 
askedf  Edmund,  "  I  should  say  by  my  plane-trees.'* 

**  They  stand  a  little  too  far  to  the  right,"  objected  the  Captain. 
**  By  landing  lower  down  we  should  be  nearer  to  the  castle,  but 
it  reqotres  consideration." 

The  Captain  was  already  standing  at  the  stem  of  the  boat,  and 
had  taken  an  o^r.  Charlotte  entered  it,  as  well  as  Edward,  who 
took  the  other  oar«  but  just  as  he  was  about  to  push  ofi^,  he  thought 
of  Ottilia,  and  reflected  that  this  expedition  on  the  water  might 
delay  him  to  a  late  hour.  He  resolved  at  once  what  to  do,  sprang 
ashore,  gave  his  oar  to  the  Captain,  and  with  a  few  hearty  excuses 
hurried  back  home. 

There  he  learned  that  Ottilia  had  shut  herself  up,  and  was 
wriung.  While  on  the  one  hand,  the  feeling  that  she  was  em- 
ployed on  bis  account  was  agreeable,  he  felt,  on  the  other  hand, 
deeply  annoyed  at  not  seeing  her  present.     His  impatience  in« 


creased  every  moment.  He  walked  up  and  down  in  the  great 
room,  attempted  various  things,  but  nothing  was  able  to  fix  his 
attention.  He  wished  to  see  her,  to  see  her  alone,  before 
Charlotte  returned  with  the  Captain.  It  was  night,  and  the  candles 
were  lit. 

At  last  she  entered,  radiant  with  amiability.  The  feeling  that 
she  had  done  sometlting  for  her  friend,  had  elevated  her  above 
herself.  She  placed  both  the  original  and  the  copy  on  the  table 
before  Ed«ard.  «*  Shall  we  compare  them?"  said  the  smiling. 
Edward  did  not  know  how  to  reply.  He  looked  at  her,  and  then 
he  looked  over  the  cony.  The  first  leaves  were  written  with  the 
greatest  care,  in  a  aelicatc  female  hand,  but  afterwards  the 
characters  seemed  to  change,  and  to  be  in  an  easier  and  more 
free  style.  But  how  amazed  he  was,  when  he  glanced  over  the 
concluding  pages,  **  In  Heaven's  name,"  he  exclaimed,  "  what 
is  this  ?  why  this  is  my  hand !  "  He  looked  at  Ottilia,  and  again  at 
the  paper ;  the  end  ospecially  seemed  exactlv  as  though  he  had 
written  it  himself.  Ottilia  was  silent,  but  she  looked  into  his  face, 
with  an  air  of  the  greatest  satisfaction.  Edward  raised  his  arms, 
•*  1  hou  lovest  me !  "  he  cried,  "  Ottilia,  thou  lovest  me ! "  and 
they  were  locked  in  eat  h  others  arms.  It  would  have  been  im- 
possible to  distinguish,  which  had  first  clasped  the  other. 

From  this  moment  the  world  was  entirely  changed  for  Edward, 
he  was  no  more  what  he  had  been,  the  world  was  no  more  what  it 
had  been.  1  hey  stood  face  to  face  —  he  held  her  hands  —  they 
looked  into  each  others  eyes,  on  the  point  of  embracing  once 
more. 

Charlotte  entered  with  the  Captain.  When  they  made  excuses 
for  their  long  absence,  Edward  smiled  in  secret,  "  Oh,  how  much 
too  soon  do  you  come,"  he  said  to  himself. 

They  sat  down  to  supper,  and  passed  their  opinions  upon  the 
persons  who  had  visited  them  that  day.  Edward,  agreeably  excited, 
spoke  of  all  with  indulgence,  and  of  some  with  approbation.  Char- 
lotte, who  did  not  quite  agree  with  him,  observed  the  mood  he  was 
in,  and  bantered  him  for  being  so  mild  and  charitable  on  this  occa- 
sion, when,  generally  after  a  party  had  taken  leave,  he  had  been 
the  severest  judge. 

With  much  warmth  and  in  a  tone  of  firm  conviction,  Edward 
exclaimed,  "  It  is  only  necessary  to  love  one  being  thoroughly,  and 
then  all  the  rest  appear  amiable ! "  Ottilia  cast  down  her  eyes, 
aud  Charlotte  looked  straight  before  her. 

The  Captain  took  up  the  subject,  and  said — "  The  case  is  some- 
what similar  with  the  feelings  of  esteem  and  respect.  One  learns 
what  is  really  valuable  in  the  world,  only  when  we  find  an  opportu- 
nity of  exercising  such  a  disposition  on  a  single  object." 

Charlotte  endeavoured  soon  to  reach  her  bed -room,  that  she 
might  dwell  on  the  remembrance  of  all  that  this  evening  bad  passed 
between  herself  and  the  Captain. 

The  facts  were  these  :  Wtien  Edward,  springing  ashore,  had 
pushed  off  the  boat,  confiding  his  wife  and  his  friend  to  the  uncer- 
tain element,  Charlotte  looked  upon  the  man  for  whom  she  had 
suffered  so  much  in  silence,  as  he  sat  before  her  in  the  twilight,  and 
with  the  aid  of  two  oars  moved  the  boat  in  whatever  direction  he 
pleased.  She  felt  a  deep  melancholy,  such  as  she  had  seldom 
experienced.  The  motion  of  the  boat,  the  splashing  of  the  oars, 
the  quivering  of  the  breeze  over  the  watery  mirror,  the  rustling  of 
the  reeds,  the  last  flight  of  the  birds,  the  tn  inkling  of  the  first  stars 
— all  combined  to  produce  something  spirit-like  in  the  general 
stillness.  She  almost  fancied  that  her  friend  whs  taking  her  far  awav 
to  abandon  her  in  some  remote  spot.  A  strong  emotion  prevailed, 
in  her  mind,  and  she  could  not  weep. 

The  Captain,  in  the  meanwhile,  was  describing  to  her  how, 
according  to  bis  views,  the  plans  should  bo  carried  out.  He 
praised  the  good  qualities  of  the  boat,  which  could  be  so  easily 
moved  and  managed  by  one  person,  with  two  oars.^  He  told  her 
she  might  herself  learn  what  a  pleasant  sensation  it  often  was  to 
float  alone  upon  the  water,  and  to  be  one's  own  ferryman  and 
steersman. 

At  these  words,  the  thought  of  the  approaching  separation  fell 
upon  the  heart  of  Charlotte.  "  Did  he  say  that  intentionally  y" 
thought  she.  "  Does  he  know  of  it  already,  or  does  he  speak  by 
chance  only,  thus  unconsciously  predicting  my  fate?"  A  deep 
feeling  of  melancholy — of  impatience  overcame  her,  and  she  asked 
him  to  land  as  soon  as  possible,  and  return  with  her  to  the  castle. 


8 


THE  MUSICAL  WORLD. 


.  It  mwikfi  Ant  tHP9f  that  the-Captain  bad  been  on  these  pieoea 
(^.wmteiy  a«d,  thoMg;h  he  bad  made  a  general  inyesUgation  as  to 
their  depth,^  pafticulair.  spots,  remained  unknown  to  him.  The 
eveniDff  began  to  grow  dark,  and  be  directed  bis  course  where  he 
gHiessed  there  ^as  a  conTenient  place  of  landing,  and  where  he  knew 
be  shotQd  libt  be  farr  from  tbe  footpath  which  led  to  the  castle. 
BUt'fag  devteicedl  itt  some  ineasiire  frdm  this  path,  when  Charlotte, 
with  a^^cortflf  nMBsineas,  repeated  the  wish  to  be  soon  landed. 
Wi|]^>v«Di9Wi9d  encitioBS  he  appr^ehed  the  shore,  but  Siill  found 
hujivielf  t^  siome.  distance  from  it  lie  had  run  the  boat  agroand, 
and  all  eildei^vours  to  i^oTe  it  were  in  vain. .  What  was  to  be  done  ? 
He  could  only  get  oyt  into  the  water,  which  was  very  shallow,  and 
cany  Cfiarlotte  ashofe.  He  carried  over  the  dear  burden  in  safety, 
but  though  h^  was  strong  ienough  to  avoid  tottering  or  giving  her 
any  <mMUilntfls/she  turned  bier  arms  round  his  neck,  with  symptoms 
of  alaroi;  iie.beld  her  fast,  and  pressed  her  to  him.  He  did  not 
set.  iieil  d^^HFn  till  he  came  to  a  sloping  plot  of  turf,  and  then  it  was 
npt  without  ^repidAtioji  and  confusion.  She  still  clasped  his  neck  « 
hp  af  aii(l  oaught  her  in  his  arms,  and  printed  an  ardent  kiss  upon 
her  bps,  but  iii  the  same  moment  he  fell  at  her  feet,  snd  pressing 
his  lips  to'beVhand.  exclaimed  :  "  Charlotte,  will  you  forgive  me?" 

The  Hss.  which  the  Captain  bad  ventured  to  give,  and  which 
Charlotte  had  almost  returned,  brought  her  back  to  her  senses. 
She  prMed  his*  hand,  but  she  did  not  raise  him  from  the  ground. 
Yet.  when  she  bent  ^own  to  him,  and  placed  her  band  on  bis 
shoulder, abe  exclaimed:  "  We  cannot  prevent  this  moment  from 
making .  an  epoch  in  our  livest  but  it  depends  upon  ourselves 
whetLcr  it  will  be  worthy  of  us.  You  must  leave  us,  dear  friend^ 
you  must  and  will.  The  Count  proposes  to  better  your  condition, 
and  the  prdoosal  gives  me  both  pleasure  and  pain.  I  wished  to  say 
nothing  about  the  matter  till  it  t>ecame  a  certainty,  but  the  present 
moment  compels  me  to  discover  the  secret  I  ean  ouly  forpve  you 
and  myself  if  W0.  have  the  courage  to  change  oar  situation,  since 
it  is  not  in  our  power  to  change  our  feelings.**  She  raised  him 
from  ther  ground,  took  bis  arm  as  a  sopport,  and  they  returned 
silently  to  the  oastle. 

No\V  she  was  in  her  chamber,  where  she  had  to  feel  and  look 
upon  herself  as  Bdwatd's  wife.  In  the  midst  of  the  contradictions 
in  which  she  was  involved,  she  derived  great  aid  from  her  solid  and 
well-practised  charactbn  Always  accustomed  to  self-consciousness 
and  ielf«eommand,  she  did  not  find  it  difficult  to  approach,  by 
serious  ^leditatioRi  the  equilibrium  which  she  desired ;  nay»  she 
could  not  help  smHing,whcn  she  thought  of  the  odd  visit  the  night 
before.  SoQii  ajBtrange  sense  of  foreboding,  a  Joyous  but  uneasy 
trembling  came  over  her,  and  resolved  itself  into  pious  hopes 
and  wishes.  Deeply  touched,  she  knelt  down,  and  repeated  the 
▼ow  which'she  had  made  to  Edward  before  the  altar.  Friendship, 
indinatioiir  self«denial,  passed  befbre  as  so  many  cheerlnl  forms, 
and  she  IsU  inwardly  restored.  Soon  a  pleasant  weariness  took 
posseauon  of  her«  and  ahesank quietly  to  sleep. 
( To  be  amtinueeL) 


•U  To  prsvtnt  mim^i 


VIBderitfiMlinr  it  may 
tranilation  beloogf  sou 


be  ftatid  tbtt  the  copyrifftat  ol  tliii 


solely  to  the  translator 


'      DRAMATIC  IWTELLICEIfCE. 

THE  PANTOMIMES  ANP  CHRISTMAS  PIECES. 
.  Giii^i$r>f.AA  cornea  but  once  a  year»  and  when  it  comes  it 
bnnga  good  ebeer ;.  to  some,  champagne,  to  others  beer;  and 
mirthi  and  laughi  and  jeat,  and  jeer,  with  puddings  beef,  and 
plea,  and  deer»  and  yule-logs  blazing  hr  and  near  in  chimney 
nooioii  while  winter  drear  without  lets  fall  hia  frosen  tear  upon 
Uie  season's  sheeted  bier,  and  whistling  night-winds  make  ua 
fear  fi>r  homelesa  wretch  upon  the  mere,  midLing  our  gratitude 
more  dear  for  each  awarded  blessing  here»  teaching  us  deeply 
to  revere  and  praise  our  joy-allotted  sphere  with  truthful  lip 
and  b^rt  sincece. 

The  above  ia  intended  for  our  prosy  poetical  invocation  to 
Qierry  Christmas,  that  h^ppjr  season  of  the  year  which,  in  cold 
and  darkness,  sheds  more  warmth  and  light  upon  our  hearts 
than  the  choicest  day  of  sunny  May,  and  in  the  midst  of 
dearth  lends  more  cheer  than  Ceres  herself  had  poured  at  any 


other  period  of  the  twelvesKMith  from  her  horn  of  plenty.  But  we 
grow  dull,  and  let  atalegrow  cold,  which  must  not  ha  pa^eti<»lly 
tdd.    The  pantomimes  are  growing  year  by  yearl«isa  importautf^ 
less  worthy,  and  far  less  humQurous^  and  lau^terreaoqitingit; 
Momna  no  longer  presides  at  the  feast.     Everything  is  saqd* 
fioed  to  aceniQ  displays,  gorgeoua  dresses,  specious  appotintc ; 
ments— 4n  briei^  fun  is  eclipsed  by  upholstery,  and  inateadL.of ' 
a  pantomime  that  form^ly  was  wont  to  set  the  house  in  ft 
roar,  we  have  now  an  entertainment;  that  elicits  admiratipa  au4 
blank  surprise.  Burlesques,  meanwhile,  are  supplying  the  phc^; 
of  pantomime^  andja  a  vc^y  few  years,  we  fear  we  .shall  h|^ 
to  cry  coronach  over  jthe  last  remains  of  our  old  and  tig^e-, 
honoured  Christmas  friend.     Of  the  five  principal  theat^fsa  of 
the  metropolis,  three  have  provided  pantomimes,  viz. — Drury- 
Lane,  the  Princess'si  and  the  Lyoeiim;  the  Hnypiarbet  has 
still  adhered  to  its  burlosqHe,  in  which  it  won  for, itself  .n4i9e 
and  fnme;    while  the  Adelphi,   disregarding   usfige,.  >^m^-. 
elation,  public  feeling,- and  old  taste»  has  dispensed  altogether 
with  the  trilHUe  psid  to  Christmas  by  every  other  house  in 
London,  if  not  in  the  kingdom^  with  pantomime  or  burlt^oe* . 
But  we  shall  have  to  allude  presently  to  this  strange  laUBig 
off  at  the  Adelphiy  for  which  we.  oan  neither  account*  J&or 
imagine  adequate  cause*    We  shall  take  the^theatres  serfo/tsit  • 
according  to  their  degrees  of  rank  and  standing,- and  commence 
at  once  with  Drury-Lane*    The  pantomime. at  this  housm^it- 
not  worthy  of  hyegone  times,  is  at  least  worthy  of  ^e,,pr^fja«t« 
Drury-Lane   has  always  been  celebrated  for  the  .splendid 
decorations  of  its  Christmas  entertainTnent,  find  ceirtaiiily  .this 
year  it  has  not  fallen  offin  the^gorgeousnesstglitteriai^d  nif^iQ- 
cenoe  of  its  stage  appointments.  The  subjeet  of  the  j^ntomimA , 
is  the  old  legend  of  S4.  George  and  fhe  Drag<mi  and  is  written 
by  Mr.  or  more  properly^  the  Me^sni.  Morton «    The  aU(^|Ep«** 
rieal  part,  or  introduction,  isimnBiQed  with.,  some,  spiiit^; 
involving  the  contest  of  the  March  of  Intellect  with  Ignqrano^ . 
and  its  subsequent  victory*     In  the  first  soene  there  ;ar0.|M>n9e  -. 
fine  effects  proiduced  by  the  rfpresei^ation  of  i|.  storm  at  sea,  ax^ 
the  effects  of  an  earthquake*    We^cannot  praise  the  introduc- 
tion of  tbe  Seven  Champions  of  Christeiadoin  in  onec.see^o  us 
children,  and  in  the  next  as  grown  m^.9.    If  we  do  Jio.t  ;reqiufe  • 
truth  in  a  pantomime,  we,  at  least,  demand  verisimilitude.- 
We  may  fancy  things  above  owr  reason,  hot  we  cannot  r^petva- 
by  any  streteh  of  imagination  things  x^oitfrar^.to.  xvRson,    Av 
fairy  tale  must  be  consistent  with  itself,  or  the  n^ost  fsneifnl 
mind    will    find    no    pleasure  jthereiiu      Thus>  .when  told: 
that  there  were  such  beings  as  fairies,  we  ear(.imagino,.thatir 
they  existed,  they  could  confer  long  Uie,  he^ty,  wiesltb^  and 
health  on  whom  they  chose;  but. if  it  were  meyxtioaed  i4 Ibe- 
same  breath,  that  a  £ury  made  one  mo|nent.(^  time  a  oentmy, 
a  child  of  six  years  woiild  reject  so  starting  fn  imposahUi^, 
The  position  in  the  pantomime  is  not  improved  by  our  being 
informed  that  fifteen  yes^XB  are  .  supposed  to  elapiie  botweea^ 
two  scenes.    Besides  we  could  no|  find  out  what  was  gained 
by  thb  sudden  jump  from  infancy  to  maturity.     We  have  ofi^ 
room  to  follow  the  pantomime  in  all  its  detaik.^    Mx«  Payne« 
who  played  Saint  George,  was  so  ill  on  the  first  night,  thafc 
the  success  of  the  piece  was  much  endangered,  but  ultimately 
St,  George  and  ihe  Dragon  was  highly  successful.     On  the 
second  night,  Mr.  Payne,  having  fUily  recovered,  inAised 
greater  life  and  spirit  into  his  hero,  by  which  the  pantomime 
received  no  small  addition  of  strength.     Mr«  Wieland  made  a 
most  capital  Dragon.     The  fight  between  the  Dragon  and  the 
Champion  of  England  was  excellently  managed  by  Payne 
and  Wieland,  and  was  the  best  performance  of  the  pantomime* 
The  introduction  is  written  with  more  taot  than  fua,  and 
proves  that  Mr.  Morton  is  less  at  home  in  this  species  of 


THE  MUSICAL  WORLD. 


id 


entertainment  than  in  farce.  The  jokes  were  spare,  and  the 
hits  were  rare.  In  the  transfbrmatioii,  Mr.  Howell  was  Har-' 
lequin;  Miss  Hicks.  Oolambine;  Mr.  T.  Matthews,  Clown  ; 
an^'Mr.  Prioraen,  Pantalooti.  These  were  allj^xoellent  in 
th«ir  parts.  Some  of  ^e  praetieal  jokes  told  well  with  the 
audience,  hut  we  witnessed  nothing  particularly  new,  or 
ptttienlscrly  happy.  Fdt  the  age  is  fasticiions,  and  critics, 
nowwa-^ys,  will  hardly  allow  any  gradient  between  the  super- 
excellent  and  the  worthless.  In  justice  we  must  speak  very 
favourably  of  the  Ghrrstmas  pantomime  at  old  Dmry.  It 
falftk  its  intenllon.  It  provides  variety,  splendour,  fun, 
bteatle,  extravagance  and  ndise,  and  snakes  the  audience 
menry*  thereby  making  them  happy.  If  this  t>e  not  the  end 
of  pt^foteSme,  we  don't  know  what  is.  So  mnch  for  Drury- 
Laiie. 

'  At  the  HiiTMARKET,  Mr.  Planche  has  snpplied  his  usual 
Gkristmas  ofRning,  a  barlesque,  or  Romantic  Fdry  Extra-* 
vagSfhsa;  It  is  entitled,  Thelnvinble  Frinee  :  or  the  Island 
of  Tranquitt  Delights;  ht^  is  founded,  as  ail  Mr.  Planche's 
late- jjifeces  of  this  kind  are,  on  one  of  Madame  I^Anois' 
erqniilite  fairy  tales.  The  Ptinet  LuHn  of  the  charming 
aadioresSt  has  furnished  the  present  subject.  If  we  except 
/bHttfito,  and  perhaps  the  White  Cat,  we  are  inclined  to  ^ink 
tkat  the  InvSsMe  Prinee^  is  Mr.  Planche's  best  extravagansa. 
The  story,  is  einiple  and  comprehensible,  and  is  confined  to  a 
few-seenes.  Though,  in  pdint  of  splendid  scenic  displays,  this 
restHctidn  may  militate  agailistihe  piece  in  the  eyes  of  many 
si^lt  Seekers,  yet  to  our  thinking  it  is  a  boon,  and  greatly 
enhances  the  interest  of  the  story;  f<yr  however  absurd  a 
drarliaiic  pfodij^on-of  thi»  sott  nmy  be,  ev«ry  one  invariably 
f^s'^Bii  interest  in  the  fbte  of  the  hero  nnd  heroine,  and 
whutsiMver  advanoes  their  interest,  or  renders  them  iamiliar 
tothe  i^ctator,  tn)ust  benefit  the  piece.  Too  often,  is  every 
diiflg^^^saci41lefedj' to  these  iliows  iind  tricks  of  scenery,  until  the 
mtcidi^  bekiomes  distracted  from  the  personages  of  the  plot, 
af^'^bli^y  eai^s,  ^at  becomes' of  the  characters  that  should 
imi^^e^tiSi  Weconf^stohave  be^n  impressed  with  a  favorable 
disposilfcin  towards  tfie  hem  and  heroine  of  Mr.  Planche's  new 
efttrttvagan^  on  Saturday  Evening.  We  should  have  felt  no 
sfnaffi  d&^appoihtment  had  poof  Leander  been  sacrificed,  and 
FfH^ibond'  married  the  Princess  Xquizitelittlepet.  Mr. 
Ptatl^^  lias  exhibited  great  dramatic  tact,  in  The  Invisible 
Prinei^.'  He  wn>te  nd^iiig  which  ebuld  h6  omitted  after  the  Urst 
nSj^tj^^a  ratte  compliment  to  his  judgment  and  sagacity,  be 
ii  ktao^n,  •  when  against  every  Christmas  piece  of  the  year, 
the^ehicf  complaint,  wasthat  of  lengthiness.  We  would  not 
a^liti^te  the  pleasure  t»f  any  one  of  omr  readers,  who  intends 
^?ting  the  Haymaritet  Theatre,  by  detailing  the  plot,  and 
setMUftg  the  jokes.  The  pfot  witt  be  found  more  prettily, 
affdpf^lly  Md^  Maddmd  D'Anbis'  *'  Fairy  Tales ;"  and  the 
jMteS-  would  stiffer  much  by  transplantation.  We  can  assure 
tt^'YcMer  h^i^rever,  that  he  will  ^nd  The  Invisible  Prinee,  a 
fiete  kpley  as  Elder  wine;  folMlavoured  as  the  best  Havannah 
4i^t^ 'tAcy  as  bottle-bearded  Tokay;  pointed  as  Juvenal's 
si^it'i  flawing  as*  horses'  hooli  on  a  wet  road  by  night,  and 
dotting  as  ababy's  gtims  at  eight  months  old.  So  much  for  the 
Haym^fket; 

"'  The  PRfNfcxss**  furbished  the  new  two-act  drama,  Blanche 
MeValmy^  The  seven  Maids  of  Munich,  and  a  Pantomime,  for 
its  Christmas  novelties,  on  Saturday  evening.  The  Panto- 
mime rejoices  under  the  appellation  of  The  Enchanted  Beautien 
tff  the  Oolden  Castle  ;  or^  Harlequin  and  the  One-eyed  Genie. 
The  two>-act  drama  of  Mr.  Bayle  Bernard,  is  a  respectable  thing 
of  its  kind,  and  nothing  more.  We  cannot  understand,  why 
the  anther  of  The  Boarding  School,  and  other  admirable  farces, 


should  have  changed  his  stage  writings,  and  turned  from  the 
whim  and  bustle,  in  which  he  won  mach  merited  stvccsss,- -to 
that  drivelling  sub-sentiment,  so  foreign  to  modern  tasted  and 
modern  feelings  ?  The  Story  of  Blanche  de  Talnttf,  is  well 
enough,  we  dare  say,  iu  the  novel  from  which  it  is  taken ; 
but  its  two-act  seriousness  cannot  daiiu  ooe  pity«  iioi;  its 
characters,  from  their  brief  exeriions,^  i^ieakett  owr  interest.. 
We  cannot  afford  to  yield  up  our  feelings  nadsrthineoagts;  nor 
let  fall  a  tear,  for  less  than  five.  This  is  no  petn^^i^ 
examine  it  well,  and  if  you  are  able  to  discover  it,  ^ott  tril! 
find  the  cause.  The  Pantomime,  is  very  magnificent  in  its 
appointments,  scenery  and  decorations.  It  has  been  gcit  up^ 
with  great  care,  and  all  the  tricks  vent  off  to  iidiojratiom  on 
the  first  night.  The  machinery,  was  excellently  ma«aged» 
there  was  more  people  employed  on  the  ata^e  itt  the^ 
Pantomime,  than  ever  we  had  seen  previously  at  this  hotise^' 
at  one  time.  Some  of  the  tricks  told  with«xceediirtg*go6d' 
effect;  that  for  instance,  in  which  the  squib  ijpvvs  a 
van  entirely  off  the  stage  without  leaving  a  vestige  behind  it. 
A  comic  8ong»  by  Co  well,  in  the  introduction,,  was  oiiipli 
applauded.  Mr.  Bologna,  was  Harlequin;  Mr.  Flexmore,* 
Clown ;  Mr.  Paulo,  Pantaloon ;  and  Miss  Barbidge,  Colum-* 
bine.  Though  we  observed  nothmg  very  aalient,  or  novel, 
in  the  jokes  practical,  or  verbal,  yet,  we  are  inclined  to  think, 
from  its  gorgeous  scenery,  splendid  costumes^  briUfant 
groupings,  capital  tricks,  admirably  managed  machinery,  and, 
excellent  company  of  pantomimic  artists,  that  The  Enchanted 
Beauties  of  the  Golden  Castle;  or,  Harlequin^  and  the  One* 
eyed  Genie,  will  have  a  long  and  prosperous  run*    ; 

The  Adblphi  this  year,  has  neither  Pantsmime,  BUvlesqaei 
Extravaganza,  nor  Fairy  Romantic  Drame,  to  pay  the  cas* 
tomary  compliment  to  the  Christmas  holidays.  There  is 
substituted  instead,  a  grand  melo- drame,  entitfed  Colomba,ihe 
Corsican  Sister,  in  which,  we  are  presented  with  scenic  effect, 
striking  situations,  and  impressive  incident*  in  variety.  The 
personages  are  numerous,  and  proceeded  each  other  on  the 
stage,  with  so  much  celerity,  as  to  create  infinite  bustle  and 
activity.  The  plot  is  taken  from  a  French  stoty  of  Prospere 
M^rim^e,  which  presented  suflUcient  materials  to  a  skillful 
adapter  to  work  out  an  interesting  drama,  but  which  unfor- 
tunately fell  into  inefiicient  hands  at  the  Adelphi^,  The 
management  of  the  theatre,  haa  done  everything  within  k% 
means  to  render  Colomba^  the  Corsican  /S'/sfer  attractiv«»  and- 
there  is  little  doubt,  that  it  will  obtain  some  weeks'^run, 
despite  the  innocent  manner  in  which  it  has  been  dramatised^. 
At  the  same  we  are  grieved,  to  see  an  excellent  subject  so 
entirriy  spoiled.  By  judicious  treatment  of  the  origmal  tale 
the  drama  taken  therefrom,  would  have  turned  out  a  jewel  of 
price  to  the  Adelp^  while  we  nowf>pl^^wi,^e8s  H  endured 
by  an  audience  too  good-natured  to  express  disapprobation, 
or  rendered  forbeifting  m  gratitude' tbt^  all  past  "benefits. 
The  actors  with  one  exceptioui  were  very  ill  suited  in  tlieir 
characters.  Mrs.  Yates  had  a  most  indifferent  part  to  enact ; 
Wright  had  a  sorry  one,  of  which  he  made  nothing,--* 
query,  could  he  ?  and  Paul  Bedford  had  the  worst  of  all.  Wo 
never  remember  seeing  the  performers  to  less  advantage. 
Wright  having  little  to  say,  and  little  to  do^  snpplied  Uio 
deficiency,  with  gag  and  grimace,  which  we  were  by  no  "means 
pleased  to  see,  not  only  tolerated,  but  applauded.  Madams 
Celeste,  was  well  suited  to  the  character  of  Columba,  and  nad 
the  part  been  written  for  her  by  a  practised  dramatist,  as 
we  are  convinced  it  has  not,  she  must  have  succeeded 
greatly.  As  it  is,  Madame  Celeste's  performance  was 
unequal,  and  the  success  of  the  drama,  the  interest  of 
whi^  depended  entirely  upon  her,  was  for  some  period  of 


ro 


THE  MUSICAL  WORLD. 


he  evening  very  doubtful ;  even  the  Adelphi  audience 
ndiag  portions  of  the  drama  which  peremptorily  demanded 
their  sibillations.  We  are  bound,  however,  to  record  the 
ultimate  success  of  Columha^  which  was  entirely  owing  to 
Madame  Celeste's  spirited  acting  in  the  last  scene.  The  fair 
maiingeress  was  summoned  at  the  fall  of  the  curtain  and 
announced  Colomba,  the  Corsican  Sister  for  repetition 
every  evening  until  further  notice.  A  most  extraordinary 
performance  of  gymnastic  feats  by  Mr.  Lees  and  his  pupils 
followed.  These  Jeats  are  truly  wonderful,  and  far  surpass  any 
thing  of  the  kind  we  have  previously  witnessed.  Mr.  Lees' 
eldest  pupil  is  an  astonishing  youth,  and  excited  the  loudest 
applauses  by  several  of  his  gymna^^tic  feats.  Mr  Lees  and 
pupils  will  be  found  a  great  source  of  attraction  during  the 
holidays. 

SONNET. 

NO.  XV. 

To  me  the  world  shews  nought  but  weariness, 
And  things  which  other  men  most  precious  deem 
To  me  are  but  the  frauments  of  a  dream, 

Dream'd  on  by  life,  itself  a  dream— or  less. 

Daric  gloomy  thoughts,  which  without  ceasing,  press 
Upon  my  heart,  alone  substantial  seem, 
'Whelming  me  in  a  heavy-rolling  stream. 

Causing  dull  agony,  that  none  may  guess ; 

For  'tis  that  pain  that  wears  the  heart  away. 
And  leaves  the  features  tranquil  as  before, 
E'en  as  the  sea,  though  wrecks  within  it  lie, 

May  seem  a  field  where  sunbeams  gaily  play. 
Trust  not  my  smile, — alt  hope  with  me  is  o*er, 
Unless,  at  times,  perchance,  1  hope  to  die.  N.  D. 

MISCELLANEOUS. 

Madame  Bishop,  left  London  on  Wednesday,  for  Chelten- 
ham, to  fulfill  her  first  provincial  engagement.  We  shall  give 
further  particulars,  in  our  next  number. 

RorAL  Italian  Opera. — In  an  article,  of  our  last  number, 
quoting  from  the  Morning  Chronicle^  we  stated  that  Signer 
Co<ita  had  the  entire  disposal  of  all  engagements,  at  Covent- 
garden.  We  have  since,  received  authority  to  contradict  the 
statement  ia  toto.  Signor  Costa  is  delegated  with  no  such 
power.  He  has  been  assigned  the  formation  of  the  band  and 
chorus  ;  and  even  this  is  subject  to  certain  restrictions. 

Madame  Mortier  de  Fontaine,  the  vocalist,  has  returned 
to  town  from  a  provincial  tonr.  This  lady's  singing  was  greatly 
admired  by  the  aristocratic  guests,  assembled  at  Western 
House,  Brighton,  to  whom  Lady  Hothara  gave  a  Matinee 
Mudcale  a  few  days  since.  Madame  Mortier  de  Fontaine 
intends  giving  a  Matinee  Musicale,  at  the  Newburgh  Concert 
Rooms,  Brighton,  under  the  management  of  Mr.  Wright,  on 
Monday,  the  4th  of  lanuary.  Amongst  the  artistes  engaged 
are,  Madame  D'Eichthal,  the  accomplished  harpist;  M. 
Bottura,  of  the  Academic  Royale  de  Musique,  Paris;  and 
Mr.  Lindsay  Sloper,  the  eminent  English  pianist  and 
composer. 

Mrs.  Wood. — A  Liverpool  paper  says  that  Mrs.  Wood,  the 
celebrated  vocalist,  who  retired  some  time  since,  will  shortly 
appear  at  the  two  grand  concerts  to  be  given  at  the  cenccrt- 
ball  in  that  town.     She  is  to  receive,  it  is  said,  £50  a  night. 

Monsieur  Coulon  gave  a  concert  on  Saturday  evening 
at  his  residence,  Great  Marlborough  Street.  The  concert  was 
projected  to  introduce  Mademoiselle  Coulon,  the  accomplished 
daughter  of  the  well-known  professeur  de  danse,  for  the  first 
time  to  an  English  public,  as  a  performer  on  the  pianofoite. 
The  concert  opened  with  a  trio  of  Mayseder,  for  piano,  violin, 
and  violoncello,  admirably  executed  by  Mademoiselle  Coulon, 
and  Messrs.  Sainton  and  Rousselot.     The  lady  proved  herself 


a  thorough  proficient  in  the  perfonnance  of  concerted  music. 
She  was  also  enthusiasticcdly  applauded  in  a  duo  with  Miss  C. 
Hallen.  Of  Messrs.  Sainton  and  Rousselot,  we  can  hardly 
speak  in  terms  of  adequate  praise.  Their  performances  elicited 
the  admiration  of  all  present.  Mons.  Sainton  has  taken  a  high 
standing  in  the  metropolis  as  a  executant  on  the  violin,  and 
the  position  he  holds  as  first  professor  of  the  violin  at  the  Royal 
Academy  of  Music  speaks  louder  in  his  favour  than  any 
eulogium  we  can  bestow.  Mons.  Rousselot  is  one  of  the 
most  elegant  and  artistic  performers  on  the  violoncello  in  this 
country.  His  compositions  have  exceeding  great  merit,  <ind 
are  recognised  as  works  of  art  by  every  musician.  The 
presence  of  these  two  artists  contributed  in  no  small  degree  to 
encourage  Mademoiselle  Coulon  in  her  debut.  In  a  f'tntasiCt 
on  airs  from  Lucia,  the  fair  debutante  was  heard  to  great  ad- 
vantage. The  morceau  is  very  difficult,  and  requires  a  practised 
artist  to  render  it  full  justice.  Making  every  allowance  for 
the  nervousness  consequent  on  a  first  appearance,  we  may 
aver  that  Madtimoiselle  Coulon*s  deput  was  highly  successful, 
and  we  have  little  doubt  that  with  time  and  study  she  wil[ 
become  one. of  the  most  attractive  ornaments  of  our  concert 
rooms.  Her  reception  wes  most  flattering,  and  unanimous 
plaudits  followed  each  of  her  performances.  The  concert 
concluded  with  a  duo  for  piano  and  violin,  in  which 
Mademoiselle  Coulon  played  with  much  effect,  and  Mons. 
Sainton's  exquisite  mechanism  was  heard  to  the  greatest 
advantage. 

Choral  Harmonists. — The  second  meeting  this  season 
took  place  on  Monday  last,  at  the  City  of  London  Taverni 
which,  spite  of  the  civic  festivities  so  much  respected  in  our 
great  capital  at  this  happy  season  of  the  year,  was  fully 
attended,  the  substantial  morceaux  offered  in  the  hill  of /are 
acting,  it  is  presumed,  as  the  attraction.  Hummeirs  mass. 
No.  3,  was  neatly  performed  by  the  band  and  chorus,  as  .also 
the  solo  and  chorus,  **  O  thou  that  t'^UesU**  We  could  have 
wished  for  a  greater  depth  of  expression  in  the  solo  part  of  the 
latter,  rendered  by  a  young  lady  possessing  a  fine  voice  capable 
of  improvement.  A  duet  for  Miss  and  Mr.  Lockey,  ^ang 
with  taste,  and  Romberg's  ode,  **  Transient  Eternal,"  were 
well  executed.  Part  second  commenctd  with  Cavendish's 
madrigal,  **  Come,  gentle  swains."  Mr.  Lockey,  by  his 
earnest  expression  and  proper  enunciation,  called  forth  an 
encore  in  u  scena,  '*  Lament,"  by  G.  Cooper,  "  St. 
Cecilia's  Day"  by  Van  Bree  gave  the  choir  good  practice 
rather  than  satisfaction  to  the  auditory ;  this  was,  however, 
soon  dispelled  by  a  selection  from  Beethoven's  onltf  opera, 
which  passed  off  better.  Mr.  Machin  sustained  his  air, 
'*  Revenge,"  as  well  as  the  band  would  allow  him.  Mr.  Dando 
led  the  concert.  Mr.  Westrop  conducted,  and  we  were  pleased 
to  mark  the  improvement  of  the  chorus,  which  must  be 
attributed  in  a  great  measure  to  the  assistance  of  ^tveral 
members  of  he  Sacred  Harmonic  Society.  We  feel  much 
pleasure  in  the  encouragement  of  Amateur  Musical  Societies, 
more  particularly  when  we  find  a  Society  conducted  in  such  a 
spirited  manner  as  the  Choral  Harmonists',  which  reflects 
great  credit  on  the  committee. 

Ea;stern  Institution.— The  subscribers  to  the  above 
institution  gave  a  concert  on  Monday  last,  which  was  well 
attended,  although  not  so  fully  as  we  have  experienced.  Miss 
Birch  and  Miss  E.  Birch,  as  usual,  met  with  a  warm  reception. 
The  selection  of  the  instrumental  music  was  entrusted  to  Mr. 
Arthur,  who  led  several  overtures  in  an  efficient  manner.  Mr. 
W.  Reed  played  a  solo  on  the  violoncello  with  great  taste, 
and  several  other  pieces  contributed  to  the  amusement  gf  the 
audience,  who  left  highly  pleased  with  the  entertainment. 


THE  MUSICAL  WORLD. 


il 


Frbmch  Plays. — We  have  had  few  novelties  this  week. 
M.  Perlet  has  played  every  evening,  bat  mostly  in  such  of 
his  characters  as  have  already  been  noticed  by  us.  Except 
Le  Parrain  of  which  we  shall  speak  next  week,  Monsieur 
pique- Assiette  is  the  only  new  part  he  has  undertaken,  and, 
although  superlatively  comic,  as  he  ever  is  in  whatever  he 
does,  the  piece  itself  is  of  such  slight  texture,  that  it  deserves 
no  further  mention  at  our  hands.  Mdlle.  Brohan  has  taken 
her  flight,  alas !  we  fear  for  another  year.  We  had  got 
accustomed  to  her  free  and  easy  humour ;  her  lively,  pert, 
provoking  vivacity  had  entirely  won  our  hearts.  We  say  it 
with  regret,  the  pearl  of  Souhrettes  has  left  our  shores, 
bearing  with  her  the  best  wishes  of  her  admirers  and  the 
grateful  acknowledgements  of  the  frequenters  of  this  theatre. 
M.  Perlet*s  engagement  is  also  drawing  to  a  close,  aud  will 
terminate  with  his  benefit,  when  he  plays  for  the  first  and 
last  time  in  the  Avare^  by  Moli^re,  of  whose  Ecole  de  Maris, 
(performed  on  Monday  and  Wedncbday  only,)  we  shall  speak 
in  our  next. 

Coleman's  Casino  de  Venis:s  has  attracted  a  numerous 
audience  during  the  week  ;  indeed  it  could  hardly  fail  to  do 
otherwise,  from  the  pleasing  nature  of  the  entertainment. 
The  elegance  of  the  mise  en  scene,  the  excellence  of  the 
orchestra  under  the  able  conductorship  of  Mr.  Grattan  Cooke, 
which  played  a  variety  of  popular  compositions,  including 
whose  direction  the  dancing  part  of  the  entertainment  is 
Auber's  famous  overture  to  the  '*  Crown  Diamonds"—  The 
talent  of  the  solo  performers  combined  with  the  singing  of  Miss 
M.  O'Connor  and  Mr.  Wrighton,  (who,  by  the  bye,  is  a  very 
sweet  ballad- singer)  and  the  urbanity  of  Mr.  O'Brien,  under 
placed,  render  the  Casino  de  Venise  the  most  amusing  place 
of  the  kind  in  London.  £n  passant,  the  obtrusiveness  of  the 
waiters  in  the  refreshment- room,  begging  for  gratuities  from 
the  visitors,  might  be  dispensed  with. 

Noble  Bequest  to  the  Choir  of  Lkeds  Church. — The 
late  Mr.  Carr,  of  Kensthorpe,  left  €4,000  for  apprenticing  the 
boys,  who  form  part  of  the  choir  of  Leeds  parish  church. 


ADVERTISEMENTS. 


WARREN'S 
20  GUINEA  COTTAGE  PIANO-FORTES 


rrnm 


^r^ 


_^.iU 


ARE  NOW  SELUNG  AT  THE 

Blanti&ctory,  71,  Leadenhall  Street, 

(Removed  from  1  and  2,  Liverpool  Street^  Bishopsgate  Street.) 
TlM«e  Inttrum^ntf  are  well  mannfactured  of  the  beat  seaaoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH,  A  two  veara  warranty  jriven  w»th  each  initru 
ment,  ESTABLISHED  TWENTY-ONE  VEARS.  The  ooly  houae  in  London 
where  a  cood  aoand  instrutne  't  can  he  obtained  at  the  above  low  price,  (fur  cash 
only).    SMALL  PROFIT  AND  QUICK  RETURNS! 

JOHN  WABRBN,  71,  iteAdealuai  St.,  Opposite  Aldcat«  Pvttp. 


SACRED  CONCERTS,  CROSBY  HALL. 

FIFTH    SERIES. 

THIRb   CONCERT, 

TUESDAY,    JANUARY    5th,    1847- 

Anthem— "Behold  I  bring  yon elad  tiding:!"        Purccll 

Mi8seaRainforthandBaaano-^*0  lovely  Peace*'         Handel 

Mr.  Francis— **0  my  God,  waah  Thou  me"  Ciampi 

Chorus— "Praise,  OZion"       Naumann 

Miss  Bassano—"  Lord  and  Saviour**  OUo  Braune 

Tno— Miss  Bassano,  Messrs.  Francis  and  J.  A.  Novello— 

"The  hour  of  vengeance" Beethoven 

Miss  Rainforth-"0  Lord  God"        Marcello 

Mr.  J.  A.  NoveUo  Neukomm 

Chorus— "For  unto  us  a  Child  is  bom*' Handel 

Organ  Solo— Miss  Mounsey 

Miss  Basaano— "The  blind  maiden"  Proch 

Trio— Misses  Rainfortb  and  Baaaano,  and  Mr.  Francis— 

"Protect  us  thro' the  coming  night"       ..  ..         Curtchmann 

Mr.  NoveUo-(with  Chorus)—"  Methinks  I  hear  the  ftill  cde«tial 

choir"       Dr.  Crotch 

Miss  Rainforth— (The  Alps) Schubert 

Corale-"  Psalm  19th"  J.  Sebastian  Bach 

Mr.Franci»-*'OnethlnghaveIdeciredofUa»LDrd'' Handel 

M  ias  Rainforth  and  Mr.  J.  A-  NoveUo—"  Praise  Jehovah  "      . .  D.  Roning 

Chorus— "  Praise  Him  in  Judah  ' Mozart 

To  commence  at  half.paat  Seven,  and  terminate  about  Ten. 
The  remaining  Concerts  will  take  place  on  the  following  even^ifCi— Wbdnbsoay* 
January  37tb,  1847 ;  Friday,  Febrpary  19th ;  and  Friday,  March  5th. 
Tickets,   aa.  6d. 

BIR.    HANDEL   GEAR 

Presents  his  respectful  compliaients  to  his  Friends  and  Pupils,  and  begs  to 
acquaint  ihem,  that  he  has  RhMOVED  from  No.  36,  Newman  Street,  to 

No.  aa,  CHARLOTTE  STREET,    PORTLAND    PI^CE, 

where  he  continues  to  give  instructions  in  Singing.— Pupil  attended  at  their  own 
Residences. 
23,  Charlotte  Street,  Portland  Place,  January,  1847. 

CIiEAVB'S    GUIDES    TO    IN-DOOR    AMUSEMENTS. 

Now  Ready,  Price  3rf.,  Pottage  free,  5rf.,  a  new  edition  qfthe  Whole  Art  o, 

CHESS 

AND 

DRAUGHTS 

By  the  aid  of  which  all  difficidty  in  acouiring  these  elegant  games  is  removed- 
enabling  a  novice  to  become  a  first  rate  pUyer ;  The  NEW  RULES  OF  CHESS 
snd  much  other  matter  of  interest  is  addtd  in  this  new  edition. 

A  CHESS  BOARD  ANl>  SET  OF  MEN-Sd.only! 

A  DRAUGHT  BOARD  AND  SET  OF  MEN-Sd.onlyl 
DANCING!!  ! ^ow  Ready  for  the  Season  1847,  the 


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An  elegant  guide  to  the  mysteries  of  fashionable  dancing,  simplifying  the  most 
iniricjitePoLKAS,  MAZOURKASfVALSBS,  and  Qoaorillks;    Fnil  instructions 
in  the  Art  or  Drbss,  Etiqusttk,  &c.    The  best  book  on  Dancing  ever  pub- 
ished!    Price  SixPKNCB  ONLY  1 
London :  Cleave,  Sboe  Lane,  (one  door  f^om  Fleet  Street.)  Sold  by  all  Bookselleri. 

DR.    STOLBERG'S   VOICE   LOZENGE 

Is  acknowledged  as  the  best  specific  aAer  three  years'  trial,  for  improving 
the  vjice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thiortts. 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop: — 

"Deab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  Dr.  Stolbero's  celebrated  Lozenge  is  perfectly  true,  as  yester- 
day, feeling  mysell  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  clear,  and  my  throat  quitr 
free  from  lelaxation.    I  am,  Dear  Sir,  Yours  truly, 

ANNA  BISHOP." 

"  18th  November  1816.— Jermyn  Street" 

Barclay  and  Sons,  Farringdon- street ;  Sutton  and  Co.,  Bow  Churchyard  r 
W.  Edwards  and  Newbery  and  Sons,  St  Paul's  Chuichyard;  Sanger,  and 
Dietrich&en  and  Hani^y,  Oxford-street ;  and  retail  by  aU  respectable 
Chymists  in  the  Kingdom. 


i2 


THE  MUSICAL  WORLD. 


JULLIEN'S      ALBUM 

FOR  1847, 

A  most  ftMutital  Olirlatmas  Preaent,   New  Ya«r'«  Gift, 
and  EtrennAa. 


M.    JULLIEN 

Has  the  honor  to  announce  that  his 

MUSICAL    AI^NUAI.    FOR    1847 

Is  now  Published,  and  is  by  far  the  best  work  of  the  kind  that  has  ever 
appeared ;  contains  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AND 

FOURTEEN    OF   INSTRUMENTAL 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  aa  immense  cost,  with  the 
view  of  rendering  it  immessureabiy  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decidea  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
De41cation  pages,  include 

TWO   MAGNIFIOBNT   VIEWS 

OF    THB 

interior  of  (SDobent^^artiett  Z^t»tve, 

Thi  one  taken  during  the  brilliant  scene  exhibited  in  that  splendid  arena  of 
the  occasion  of  M.  JULLIEN'S  GRAND  BAL  MASQIJE;  the  other  a 
VIEW  OF  THE  THEATRE  TAKEV  DURING  THE  CONCERTS, 
the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience  in  a 
manner  at  once  life-like  and  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A    BPLEMMDLY-COLOURED 

PORTRAIT 

Of  the  celebrated  Danseuse, 

In  the  admired  Pas,  LA  CASTIGLIANA. 
AN    ORIOIKAL   SUBJECT, 

THE     FORTUNE     TELLEE" 

Illustrating  Baker's  beautiful  Ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  ALBUM,  and  in  proof  of  its 
vast  euperioritif  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributors,  where  will  be  found  the  principal  talent  in  Europe:  viz. 

ROSSINI,  VERDF,  DONIZETTI,  RUBINI, 

ROCH-ALBERT,  HCELZELL,      GOLDBERG,  SCHIRA, 

SCUULZ,  STGBPEL,         DUPREZ,  JOSK  GOMIS, 

MASARNAU,  MARATZEK,    BALFE,  JULLIEN, 

HATTON,  BARRET,         ALEXANDER  LEE,  KCENIO, 

KNIGHT,  BAKER,  FARMER,  LIN  LEY, 

LAKE,  FITZBALL,       MOULD,  HURREY» 

FOREST,  ALBERT  SMITH,      DESMOND  RYAN,      &c. 

It  will  thus  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  will  contain  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Continental  diletanti. 

PaiCB  188.  AND  £l.  la. 

ROYAL   CONSERVATORY   OF    MUSIQ 

214,  Regekt-StbeeT;  akb  45,  Eikq-Stbeet. 


JUI.LIBN'8 

NEW  DANCE  MUSIC  FOR  CHRISTMAS. 


The  British  Army  Quadrille,  the  American  and  Camelia  PoIkas-^JulUeo.  Hie 
Garland  Waltx  and  Casino  Polka— Koenig.  Adrienne  Valse  and  La  fin  dn  Bal 
Galop— BarreL  The  above  compositions,  in  addition  to  being  the  newest  aad 
most  fashionable  of  the  day,  will  be  found  superior  to  aU  others  in  their 
apfdicability  to  Dandng,  the  time  throughout  all  of  them  being  carefblly  marked 
for  that  especial  purpose. 

ROYAL  MUSICAL  CONSERVATORY, 

filAy    REGBNT    STREET,    a&d    45|    KINO    STRBST. 


DOUBLE   BASS. 

To  be  Sold,  a  Une  old  Double  Bass,  in  excellent  condition,  and  by  an  esteemed 
maker.    Price  £\b.    May  be  seen  at  199,  Sloane  Street,  Knight»bndge. 


JUST   PUBLISHED, 

THB  WHOLE  OF  THE  SONGS,    DUETS,    CHORUSSES,  &c.»   IN 

THE    BONDMAN, 

AS  PERFORMED  AT  THE  THEATRE  ROYAL,  DRURY  LANE. 
Wtiiten  by  Alfred  Bum,  Esq. 

THB  MOST  FAVORITB  BONOS  ARE;->  #.  if. 

"Child  Of  the  tun^-ballRd     Mr.  Harnson  SO 

"  It  is  not  form,  it  is  not  face*'— ballad.    Miss  Romer  ..  3   0 

"  Love  in  language"— romance     Ditto         ..  •..  ..  8   0 

"They  say  there  IS  some  di>Unt  land's—ballad.    Mr.  Harrison         ..  9   0 

"  Go.  memory,  K0»*— ditto.    Ditto    ..  ..  ..  ..  ..  2   0 

"  When  fond  reroeiiibrancc**—sonn'  ..  ..  ..  ..  SO 

"  There  is  nothing  so  perplexing"— air.    Mr.  Weiss 8   6 

In  THB  Pbkss.— The  whole  of  the  vocal  music  and  various  arrangements  by  all 
the  most  popular  composers. 

CHAPPELL,  50,  NEW  BOND  STREET. 

NEW   MUSIC,   BY  CLEMENT  WHITE. 

JUST    PUBLISHED,    BY    P.    E.    ROWE, 
Music  SeUer,  19,  Georire  Street,  Plymouth, 

And  to  be  had  at  all  the  Music  Sellers  in  London. 

"Ronald"— Ballad      -         .         -  ... 

"He  never  can  be  mine  "—Ballad  .  -  -         .         - 

••Waiting  for  thee  "-Serenade         -         .         .         -  - 


>.  4, 

3  0 

S  0 

3  0 


MEDICAI.  GALVANISM. 

HORNE.  THORNTHWAITR,  &  WOOD,  Successors  to  E.  Palmbr,  JM.  N»- 
gate-ftreet  in  submitting  their  improved  KLECrRO-GAl.VANlC  MACHINES, 
beg  to  state,  that  they  have  availed  themselves  ot  the  discoveries  of  De  la  Rive. 
Faraday,  Smee,  and  others,  by  which  they  are  ena»«led  to  construct  a  coil  with  all 
the  required  intensity  and  quantliy  of  electricity  tor  medical  use,  thereby  effect- 
ing both  a  saving  of  expense  and  trouble  to  the  invalid,  and  placing  in  bis  hands 
an  effective,  ix)werful,  and  simple  instrunicnt.  that  may  be  excited  at  a  minute's 
notice,  and  without  tro"bIe.— Price,  jtz.  3s. ;  jts.  10s.  j  and  rfS.  Ss. 

fHILOSOPUlCAL  APPARATUS.— Every  description  of  Apparatus  connected 
with  Chemistry,  HydrauUcs,  Hydrostatics,  Pneumatics,  Frictional  and  \  oltolc 
Electricity,  Electro-Maitnetism,  Eieciro-Metallurgy,  Opucs,  (including  the  Dia 
solving  Views,  Photography,  &c.)  manufactured  and  sold  by  Home,  i  hornthwaite 
and  Wood,  successors  to  Edward  Palmer,  123,  Newgate  Street.  London. 

Foreign  orders,  enclosing  a  remittance  or  order  for  payment  m  London, 
promp  Jy  attended  to. 


FOR  C0UBH8,  COLDS,  IRRITATION  OF  THE  THROAT,  HOARSllESti 

&C. 

PECTORAL     EIMULSION, 

Prepared  strictly  according  to  the  formula  of  a  distinguished  Physician  in  Paris. 
This  preparation  having  enjoyed  great  celebrity  for  many  years  on  the  Continent, 
as  well  as  undergoing  a  trial  for  some  time  in  private  practice  in  this  country,  la 
now  introduced  to  the  public  as  the  most  agreeable,  efficacious,  and  speedy  cuia 
for  the  above  affections,  relieving  the  most  obstinate  Coughs  in  a  few  hours.  To 
Singers,  Professors,  and  PubUc  Speakers  it  wiU  be  found  invaluable. 

PRBPARED  ONLY  UY 

TURNER   AND   SPRATT, 

EngUsh  and  Foreign  Chymists,  7,  TICHBORNE  STREET,  Haymarket. 
in  Bottles  at  la.  Ud.  and  2s.  9d.  each.— Importers  of  French  Jojubea  and  Syrupa. 


Printed  and  PubWshetl,  for  the  Proprietors,  at  the  ••Nasaau  Steam  Press." 
by  William  Spencbr  Johnson,  60,  St.  Martin's  Lane,  m  the  parish  of  St. 
MarUn»s  in  the  Fields,  in  the  County  of  Middlesex ;  where  all  commumcationa 
for  the  Editor  are  to  be  addressed  post  paid.    To  be  had  of  G.  Purkesa,  D«b 


€|)e  Musical  Worlti. 

tPUBLlSHED    EVERY    SATURDAY    AT  NOON.)  =-.      '  .  ,  •  ... 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

Term*  of  SalMieiiption,  i^r  Annnm,  16a.  Stamped ;  l&a.  Unstamped;  to  be  forwarded  by  Sloiiey  Order  or  Poatace  Staupa 
tatbe  PuMlaber,  W.  8.  ^obnaon^  «'Xfaaaati  Steam  Prea^i"  60,  St.  Martln'a  iMae,  Obarlns  Cross  j 
l^ygftcb  Sttbacriber  ia  entitled  to  an  Admission  to  an  Annoal  COn'cett,  and  a  PUce  of  M«0tc,»oi:«aar.Bgiiatealaa)>Montbly.  ■ 


No.  2.— Vol.  XXII. 


SATURDAY,  JANUARY  9,   1847. 


f  PRICE   tHREEPENCk 
1  STAMPED,  FOURPENCE 


TO   SUBSCRIBERS.. 

We  heg  lea'oB  respectfuUtf  to  remind  our  Town  Subscribers 
that  the  subscript^nt  for .  ftk  Resent  year  being  now  due, 
the  ijolhoior  wiU  wait  upon  them  immediate^.  Our 
Provincial  Subsef^ers  ^ill  oblige  its  bg  an  earlg  remittance. 


ROBERT  BRUCE. 

"  To  the  EdUw  of  the  Musical  fVorld:* 
My  Dear  Priend  :— You  ask  me  to  write  to  you  on  the 
subject  of  Rossini's  opera  as  soon  as  it  has  been  performed. 
It  appears,  then,  that  you  share  the  interest  and  curiosity 
which  this  pretended  event  has  excited  among  the  numerous 
worshippers  at  the  shrine  of  Rossini,  For  my  own  part,  at 
the  risk  of  a|^earing  in  your  eyes  a  rigid  puritan  in  musical 
taste,  I  must  a,¥0\^  that  I  wa3  not  at  all  impatiept  to  hail  the 
revival  of  those  effeminate  cavatinas,  those  untruthful  passions 
— in  short,  of  all  the  hypocritieal  paraphernalia  which  are  to 
be  found  by*  the  side  of  some  prttty  bits  of  melody  in  the 
operas  of  that  great  corruptor  of  music,  called  Rossini, 
geoerally  known  under  the  nickname  of  the  *'Swan  of  Pesaro," 
I  cannot  resist,  however,  my  dear  friend,  (for  you  know  ray 
impartiality,)  from  excepting  the  Barber  of  Seville,  which  I 
hold  to  be  a  masterpiece  from  one  end  to  the  other. 

But  I  have  often  before  expltuned  to  you  what  I  think  of 
Rossini.  It  is  enough  to  remind  you  that  I  have  never  been 
insensible  to  the  beauties  which  e^ist  in  his  seores.  I  do  not 
judge  of  music  from  a  fixed  prejudice,  nor  from  any  particular 
system.  Let  me  simply  be  allowed  to  regard  Rossini  as  a  man 
of  great,  of  very  great  talent.  But  he  has  neither  the  depth 
•  nor  the  love  of  truth  that  belong  to  genius.  The  really  great 
artist  impresses  the  seal  of  truth  even  upon  his  most  ideal 
productions — but  this  power,  and  the  passion  for  perfecting 
the  smallest  details  of  thought  and  form,  are  alike  deficient  in 
Rossini.  The  immense  facility  cjf  Rossini  in  production, 
about  which  so  many  wonderful  stc^ries  are  told,  is  no  proof 
of  genius,  unless  the  works  thus  easily  produced  are  perfect 
in  spite  of  it.  But  if  numberless  laults  disfigure  a  few  happy 
tiioQghts,  if  these  thoughts  themselves  sin  by  want  of  taste  in 
their  arrangement,  or  lose  their  cbarm  by  a  succession  of  vulgar 
and  trivial  ideas,  tliere  is  then  nothing  astonishing  in  this  ferti- 
lity of  creation,  since  there  is  nothing  less  difficult  than  to 
write  quickly  aiid  to  write  ill.  But  here  I  stop^  thinking  of 
your  impatience^  and  compassionating  it.  Let  us,  then, 
proceed  in  order. 

Robert  BrueCy  after  having  been  announced  three  or  four 
times,  was  produced  at  last  on  Wednesday,  Dec.  30,  at  the 
Aeademie  Rogale  de  Musique,  The  most  elegant  and 
distinguished  audience  filled  the  beautiful  theatre  of  the  Rue 
Lepelletier,  and  the  royal  box  was^  occupied  by  MM.  the 


Due  de  Nemours,  the  Due  d*Aumale,  the  Due  de  Montpensier, 
ai)d  t!|eic  la4iQ$»  the  DcrcbeMtes.  li(  (he yitrwa^  reqiiatk^,  9f 
legion  of  those  **  degenerate  Romans,**'  pacific  cohorts,  who 
demand,  nevertheless,  nothing  better  than  to  eome  hand-to- 
^and,  the  species  of  combat  in  which  they  excel.  All.  their 
genius  is  in  the  palms  of  their  hands ;  -they  work,  they  think, 
they  talk,  but  above  all  they  applaud  with  their  hands,  with  un 
energy,  a  passion,  a  regularity,  asimultaneousness,  which  could 
only  have  been  acquired  by  painful  and  laborious  study. 
This  well-disciplTned  multitude  rolled  about  like  the  black 
waves  of  a  river  which  threatens  to  overflow  its  banks.  Pre- 
sently I  aba^i  ipegk  to  .you  of  their  (levaiftfltipns  which 
narrowlv  missed  drowning,  a  poor  singer  who  could  not 

but ''\ 

And  now.  I  haVe  arrived  at  the  end  of  rtiy  leiter. .  *i  ,  f  ^ 
You  must  not  complain — I  have  nothing  else  to  tell  you, 
since  Signop  Rossini  told  us  nothii^  himself.  Open  the  score 
of  La  Donna  del  Lago,  and  you  have  Robert  Bmce  before 
you.  In  addition  to  this,  divers  fragments  from  Armida^  or 
Cgro  in  Babilonia,  or  Thorwaldo  e  Dorliska^  or  Zelmira, 
more  or  less  skilfully  interwoven,  and  the  whole  rafistote, 
badigonne,  re-c6oked-^here  diminished,  there  augmented,  by 
sundry  bangs  of  the  great  drum  and  sundry  warlike  flourishes, 
and  you  have 'an  idea  of  Robert  Bruce  about  as  confused  as 
they  had  who  were  present  at  its  performance.  There  is  a 
pr^ty:  trio  (I  Aiiik  from  La  Donna  del  Lago,)  and  a  <^orus, 
both  of  which  gave  pleasure.  The  remainder  was  listened  to 
with  sufficient  indifference,  and  all  the  interest  of  the  evening 
was  concentrated  upon  a  scene  in  which  Rossini  had  no  part, 
but  which  was,  nevertheless,  pronounced  the  capifcal  point  of 
the  score.  This  was  an  air  sung  by  Madame  Stoltz,  with 
accompaniment  (not  ohligaio)  of  two  choruses. .  One  of  these 
choruses  was  executed  by  the  "  Romans  *'  above  alluded 
to,  and  the  other  by  the  public,  properly  so  called. 
The  latter,  offended  by  the  too  zealbud  mnifstry  of  the 
official  clappers  of  the  Opera  Director,  began  to  hiss  i^igoroosly, 
and  in  this  manner  protested  against  the  praises  and  ap- 
plause so  imprudently  awarded  to  the  air  of  Madan^e  Stoltz. 
Thereupon  a  renewal  of  enthusiasm,  welUfed  and  well-paid. 
The  public  rejoin  by  hisses  in  proportion.  Madame  Stoltz, 
indignant,  turns  to  the  public,  and  some  affirm  to  have 
heard  her  address  them  in  terms  by  no  means  reverential — 
a  fact  denied  by  others.  At  all  events  (Madame  Stoltz),  rage 
in  her  countenance,  began  to  tear  into  pieces  a  very  handsome 
lace  handkerchief,  and  directed  threatening  lo<^s  towards 
that  part  of  the  public,  at  the  extreme  left,  which  was  so 
violently  opposed  to  the  chevaliers  du  lustre.  The  intelligent 
part  of  the  public,  which  confines  the  demonstration  of 
its  discontent  to.  coldness  and  indifference,  succeeded  at 
last   in  calming    the   tempest,  which  l^lew^fii^i 


^jides, 


14 


THE  MUSICAL  WORLp. 


apd  the  opera  was  allowed  to  proceed  to  the  end. 
•ftis,  then,  was  the  prmdpal  event  of  Interest  during  the  even- 
ing. The  second  representation  of  Robert  Bruce  was  announced 
for  Friday,  (Jan.  1st),  but  it  did  not  take  place,  Zttcia  di 
Lammermoor  being  substituted.  It  iis  generally  believed  that 
the  "  new  opera"  of  Rossini  (it  is  thus  designated  in  the  biDs) 
will  endure  for  a  few  representations,  only  on  account  of  the 
magnificence  of  the  decorations  and  the  mise  en  scene.  But  this 
is  nothing  to  me.  I  should  no  more  have  thought  of  writing 
to  yon  about  this  opera  than  about  a  performance  of  Otello  or 
La  Oazza  Ladra,  had  not  you  asked  me  to  send  you  an  account 
of  its  reception.  99 

I  finish  my  letter  with  a  piece  of  good  news.  Mr.  Lumley, 
director  of  Her  Majesty's  Theatre  in  London,  has  engaged 
.  Henri  Panofka  as  director-in-chief  of  the  choruses,  and  as  the 
special  superintendent  of  the  artistic  interests  of  that  great 
establishment.  Every  artist  will  applaud  this  intelligent 
choice,  which  is  a  new  proof  of  the  capacity  of  the  director. 

Now  that  I  have  shaken  off  my  idleness,  allow  me  to  plunge 
into  it  once  more,  and  to  subscribe  myself  your  devoted  fnend, 

Paris,  Jan.  2,  ia47,  STEPHEN  HELLER. 


HANDEL  ANP  SCARLATTI. 

Hamdxl's  <'  SuUes  de  Pieces^**  in  two  books ,  edited  by 
MoscHELBS  ;  Scarlatti's  "  Pieces  pour  le  Clapedn^'* 
edited  by  J.  B.  CitAMEa.— Ghamer.  Beale,  &  Co.,  201, 
Regent  Street, 

(Second  notice,) 

In  our  notice,  last  week,  we  reviewed  that  book  of  the 
Suites  de  Pieces^  which,  according  to  the  outward  cover,  was 
the  second  ;  but  since  then  we  have  seen  other  copies,  and  find 
the  indicated  number  transferred  from  one  book  to  the 
other.  We  think  it  necessary  to  state  this,  because  the 
enthusiastic  praises  we  bestowed  upon  the  book  of  Pieces  in 
question,  can  by  no  means  be  applied  with  equal  justice  to  its 
fellow,  which  is  a  work  in  most  respects  of  a  far  inferior 
order;  a  work  addressing  oftener  the  popular  than  the 
refined  taste,  and  evidently  written  more  with  an  eye  towards 
the  advantage  of  music- sellers  than  the  glorification  of  art. 
Be  it,  then,  dearly  understood,  that  the  book  of  Handel's 
Suites  de  Pieces  which  we  recommend  to  the  attention  of 
musicians  and  cultivated  amateurs,  as  a  prodigy  of  genius  and 
art  is  the  one  which  contains  the  five  fugues.  The  other 
book  has  no  fugues  at  all,  which  makes  the  matter  clear 
without  further  explanation.  The  number  of  the  book 
ought,  to  prevent  mistakes,  to  have  been  ihdicated  on  the  title 
page ;  and  we  recommend  the  spirited  publishers  to  adopt  the 
precaution  forthwith.  Having  explained  this,  we  shall  now 
proceed  to  speak  of  the  other  book— the  book  which  is  not  the 
book. 

This  collection  opens  with  a  very  long  set  of  pieces  in  the 
key  of  G  major.  (It  may  not  be  out  of  place  to  state  here,  that 
Handel  has  not  indicated  the  divisions  in  this  book  by  the 
terms  Suite  premiere.  Suite  seconde,  ^c,  as  he  has  in  the  other.] 
As  these  have  for  the  most  part  but'  little  musical  intere.st,  a 
brief  survey  of  their  merits  must  suffice.  A  quick  prelude 
in  8-4— an  allemande — and  an  allegro  in  common  time, 
written  almost  throughout  in  two  part?,  are  only  remarkable 
for  the  simplicity  of  their  structure,  the  meagreness  of  their 
harmonic  treatment,  and  the  scantiness  of  their  modulations. 
A  courante,  which  follows,  is  more  interesting ;  there  is  more 
variety  of  harmony,  and  more  continuity  of  development ;  the 
motipo  is  pretty,  the  progressions  are  natural  and  pleasing  ;  but 
the  writing  bears  marks  of  haste,  as  though   Handel  was  not 


very  moch  in  love  with  Us  task,  and  wished  to  get  over  jt  as 
quickly  as  possible.  In  the  ninth  bar,  there  is  a  very  bare 
and  unsatisfactory  specimen  of  part-writing,  which  we  shall 
instance :— • 

Right  hand.'-C,  D,  E,  F  sharp,  G,  A,  F  sharp. 

Le/t   Aflnd.— A.  B,  C,  B,  A,  G,  D. 

Nothing  can  be  more  disagreeable  than  the  succession  of 
perfect  fifth,  major  seventh  and  major  ninth,'  and  its  resolu- 
tion to  D  with  a  major  third  by  no  means  excuses  it.  Such 
instances,  rare  in  Handel,  are  more  frequent  in  this  book  of 
suites  than  in  any  work  of  his  that  ever  came  under  our  notice. 
A  short  aria  which  follows,  in  common  time  presto,  makes  up 
for  this  oversight ;  it  is  a  fresh  and  lovely  melody,  and  a  per- 
feet  gem  of  two-part  writing.  A  mintieiy  to  which  it  gives 
way,  is  remarkable  for  containing  a  long  progression  in.  serai- 
quavers  at  the  commenceraient  of  the  second  part,  which 
is  almost  the  counterpart  of  a  similar  passage  to  be  found  in 
Mendelssohn's  ingenious  Caprice  in  F  sharp  minor.  Men- 
delssohn sips  the  beauties  of  the  old  masters  as  the  bee  the 
sweets  from  the  flower-cups ;  but,  like  the  bee,  he  makes 
honey  of  them,  and  right  content  are  we  to  taste  what  he  has 
gathered  and  set  before  us  in  so  savoury  a  form.  Yet  these 
laudable  thefts,  like  pious  frauds,  are  worthy  noting^  as  signs 
of  the  times,  and  should  be  recorded,  if  only  in  justice  to  the 
fine  old  masters  who  were  the  first  tillers  of  the  soil  which  after- 
husbandmen  have  made  so  fertile.  A  gavotte  and  eight 
variations  upon  it,  in  two  parts  throughout,  come  next. 
These  are  pretty  and  sparkling,  but  somewhat  monotonous 
from  the  poverty  of  the  counterpoints^a  result  of  the  base 
moving  incessantly  in  thirds  with  the  treble.  The  suite 
terminates  with  a  gigue  in  12-8  time,  on  the  whole  a  good 
specimen.  But,  take  it  for  all  in  all,  this  suite  has  not  an 
amount  of  musical  interest  at  all  commensurate  with  its 
extrav8w;ant  length,  and  its  predominant  style  is  too  trivial 
to  engage  the  continued  attention  of  those  who  look,  in  rousic^ 
for  something  more  than  notes. 

The  second  suite  in  D  minor  is. also  very  long,  but  far 
superior  to  the  preceding  one.  It  opens  with  an  allemande 
which  has  some  charming  points,  albeit  the  tnelody  does  not 
always  flow  so  easily  as  in  most  of  HandePs  inspirations.  An 
allegro  3-8  (a  quick  courante),  written  in  two  parts,  but  not 
otherwise  remarkable,  comes  next,  and  gives  way  to  a  slow 
air  in  3  4  time,  a  kind  of  song  without  woids — a  most 
heavenly  melody,  only  disfigured  by  the  shakes  and  trills 
demanded  by  the  detestable  fashion  of  the  period.  Next  comes 
a  gigue,  and  one  of  the  best  of  them.  There  are  one  or  two 
points  in  this  which  help  to  illustrate  the  superiority  of  the 
new  method  of  noting  the  minor  scale,  which  prescribes  the  use 
of  the  flat  sixth  when  a  harmony  in  the  key  is  indicated  by  the 
passage.  Handel  is  always  uncertain  in  this  particular,  some- 
times adopting  one  method,  sometimes  the  other,  as  though 
he  felt  an  instinctive  hesitation  on  the  subject.  Wherever  he 
uses  the  old  method  the  passage  is  just  as  offensive  to  the 
ear  as  it  is  grateful  when  he  employs  the  new.  It  may  not  be 
out  of  place  here  to  express  our  fervent  hope  that  Alfred 
Day's  system  of  harmony  will  soon  be  adopted  by  all  sensible 
musicians.  Its  rejection  at  our  Academy  was  a  lamentable 
instance  of  short-sided  prejudice — a  farce,  in  short,  by  no  means 
creditable  to  our  only  musical  institution.  It  was  rejected 
without  examination — a  conclusion  to  which  our  own  con- 
viction of  its  unanswerable  truth  inevitably  brings  us, — and 
this  makes  the  matter  worse.  Nor  has  the  consequent 
resignation  of  Mr.  Macfarren  from  the  ranks  of  its  professors 
j  at  all  benefited  the  Academy.  The  loss  of  so  conscientious 
I  and  admirable  a  musician  cannot,  indeed,  but  have  greatly 


THE  MUSICAL  WORLD. 


15 


injored  it  in  the  eyes  of  all  unbiassed  persous,  competent  to 
judge  of  the  matter.  But  this  by  the  way.  A  minuet,  with 
three  variations,  follows  ihegigue  ;  it  is  a  very  pleasing  trifle. 
The  alUmande  and  couranie  which  come  next,  built  upon  one 
progression  of  harmonies  common  to  both»  are  very  beautiful, 
especially  the  covraiKe,  which  might  have  been  placed  in  the 
other  book  without  damaging  its  musical  interest.  Still 
more  charming  is  the  grave  and  melancholy  Barahande  to 
which  it  gives  way»  with  its  simple  and  beautiful  harmonies, 
forming  the  substratum  of  two  ingenious  variations.  A  short 
gigue  concludes  the  9miie^  which  has  no  particular  points  to 
eulogize  or  decry.  On  the  whole  the  effect  of  this  suiU  must 
necessarily  be  monotonous.  Fancy,  reader,  nine  pieces  in 
succession,  all  in  one  key,  and  that  key  a  minor! 

The  next  is  a  short  guUe  of  three  pieces-— an  aUemande,  a 
eowrante,  and  a  gigue^  in  £  minor.  These  are  of  the  highest 
order  of  poetical  beauty.  The  passionate  melody  of  the  two 
first  pieces  is  almost  unendurable,  so  deep  is  its  dejection—so 
agonising  its  tenderness.  We  would  give  worlds  to  know  in 
what  train  of  mind  was  Handel  when  he  poured  forth  this 
flood  of  tristful  eloquence,  which,  to  use  a  fine  simile*  that 
Coleridge  applied  to  Romeo  and  Juliet,  and  Cipriani  ?otter  to 
the  Parisina  overture  of  Bennett,  is  like  a  long  drawn  sigh. 
The  giguBy  one  of  the  very  finest  posssible,  is  replete  with 
beautiful  progressions  of  harmony,  and  delicious  passages  of 
sequence.  The  whole  is  as  fresh  and  new,  both  in  melody 
and  harmony,  as  though  it  had  been  wtitten  but  yesterday. 
Master  Felix! --Master  Felix  !  — that  is  Master  Felix 
Mendelssohn  Bartholdy  ! — where  did  you  dig  up  some  of  the 
most  loveliest  ideas  in  your  two  slow  movements  (fn  £  minor, 
too !)  of  the  Seten  Characteristic  Pieces,*  if  not  from  this 
exhaustless  mine  of  wealth— aye,  if  not  from  this  very  corner 
of  the  mine  ?  You  are  a  knowing  hand,  Master  Felix  !  This 
suite  should  be  forthwith  preferred  to  the  other  book.  It  is 
too  trmiscendant  for  association  with  other  than  the  divinest  of 
divine  melodies.  By  the  wav,  there  are  one  or  two  places  in 
the  aUemande  and  eourante  (which,  by  mistake,  is  headed 
saraband  in  this  edition)  that  we  atrongly  imagine  must  be 
mistakes,  overlooked  by  the  excellent  editor.  But  where, 
there  is  so  much  beauty  the  defects  are  lost  in  a  veil  of 
borrowed  light — like  those  pictures  in  the  Exhibition  which  are 
hung  close  to  the  burning  splendors  of  Turner— and  he  must 
be  a  cold  critic  who  would  stop  to  point  them  out. 

A  bold  and  vigorous  air,  in  G  major  (c^co«ne),  with  eight 
brilliant  variations,  commences  the  next  suite.  The  ehaconne  is  in 
3-4  time,  in  character  soiiiething  between  a  minuet  and  a  sara* 
band,  not  so  lively  as  the  one  nor  so  grave  as  the  other.  This  is 
the  iSnest  specimen  Handel  has  left  us.  Next  follows  a 
charming  adagio,  8-4,  in  G  minor,  with  six  variations  in  the 
miner,  and  five  in  the  major,  all  of  them  ingenious,  brilliant 
and  effective.  Then  we  find  an  aUemande  in  G  minor,  which  may 
compete  with  any  piece  in  either  book .  It  opens  with  a  long  pas- 
sage in  the  treble,  answered,  reversed,  by  the  bass,  and  then  a 
revel  of  semiquaver-counterpoint  a  la  Mendelssohn.  The  whole 
of  the  second  part  is  exquisitely  beautiful.  A  passage  com- 
mencing with  a  progression  from  C  minor  into  B  flat, 
repeated  afterwards  in  the  relative  minor,  is  qf  surpassing 
loveliness.  Play  it,  reader,  and  judge  for  yourself.  The  form 
of  this  piece  is  that  usually  adopted  by'Scarlatti,  and  the 
cadence  at  the  end  of  both  parts  is  taken  almost  notaiim 
from  that  which  Scarlatti  aflixes  to  nearly  all  his  movements 
in  the  minor  key.     But  though  the  form  is  like,  the  spirit 

•  PabHtbed  in  Englaod  by  Weasel  and  Co.,  under  the  title  of  «  The 
Tcmperamcnta." 


which  is  its  soul,  soars  far  above  the  level  of  the  old  Italian. 
It  is  singular  that  we  should  have  begun  our  notice  of  this 
book  in  a  strain  anythmg  but  eulo^stic,  and  that  as  we 
advance  we  should  find  so  many  beauties  opposing  our 
passage,  as  to  make  us  already  strangely  incline  to  alter 
our  verdict  of  partial  indifference  into  one  of  hearty  approval. 
A  eourante  follows  the  allemande,  with  the  same  progression 
of  harmony  for  its  basis.  And  yet  how  differently  treated  I 
The  beautiful  passage  in  B  fiat  again  appears,  in  a  form 
scarcely  less  insinuating.  Towards  the  end  of  the  second 
part  there  is  an  extraordinary  effect  of  surprise  produced 
by  the  unexpected  transition  from  the  chord  of  £  flat 
to  that  of  C.  In  the  last  bar  but  seven,  there  is 
an  instance  of  the  ancient  minor  scale,  so  hideoui^ 
that  it  must  be  an  oversight.  Handel's  refined  eat 
could  not  have  tolerated  the  £  natural  which  occurs 
in  that  bar.  With  Alfred  Day's  £  flat  the  passage 
would  have  been  unexceptionable  ;  but  ak  jt  stands,  the 
shock  upon  the  ear  is  so  violent  that  it  goes  far  to  spoil  a 
movement  in  all  other  respects  beautiful.  This  very  inter- 
esting suite  concludes  with  a  gigue,  which  is  the  longest  and 
most  elaborate  of  all  the  specimens  Handel  has  left  us-^so 
long,  and  so  elaborate,  indeed,  so  lucid  and  consistent  in 
design,  so  complete  and  grand  in  development,  that  it 
might  serve  for  the  last  movement  of  a  symphony  of  the 
largest  pretensions,  and  we  cannot  but  think  that  Haydn  was 
much  indebted  to  it  for  the  origin  of  those  ronda  movementa 
which  are  the  glories  of  so  many  of  his  finest  symphonies. 
Although  one  figure  of  triplets  is  sustained  through  nearly 
six  pages,  the  variety  of  which  it  is  here  made  susceptible 
proves  the  wonderful  mastery  of  Handel  over  the  entire  icienoe 
of  counterpoint,  and  the  prodigal  resources  of  his  invention. 

The  next  suite,  in  B  flat,  consists  of  an  allemande,  eourante^ 
sarabands,  and  gigue-^oi  which,  though  all  are  melodious  and 
pleasing,  the  last  is  the  most  interesting  and  the  best.  The  tub- 
ject  is  answered  in  canon  on  the  cctave,  the  second  part  taking 
the  subject  reversed.  It  would  be  impossible  to  write  in  three 
parts  more  clearly  and  more  naturally.  In  the  last  bar  of  the 
first  part  of  the  allemande,  and  in  the  sixth  barof  thecoiiriiiiitf, 
there  are  some  evident  errors  in  the  bass.  A  superb  prelude 
follows,  which  contains  some  of  the  most  surprising  and 
magnificent  progressions  of  harmony  that  ancient  or  modem 
composer  has  ever  conceived.  It  is  followed  closely  by  a 
charming  movement,  in  which  a  continuous  motion  of  semi- 
quavers is  Admirably  sustained  to  the  end.  This  is  followed 
by  a  delicious  aria  in  the  Italian  style,  with  five  clever 
variations.  The  fourth  of  these  is  the  undeniable  germ  of  the 
magnificent  chorus  of  the  priests  of  Bel,  in  the  oratorio  of 
Deiorah,  which  is  in  the  same  key.  The  last  suite  opens 
with  a  quaint  minuetto  in  G  minor,  diversified  by  a  quantity 
of  turns  and  graces  not  by  any  means  to  our  taste.  A 
ehaconne  with  sixty-two  variations,  (!)  all  in  G  major,  finishes 
the  suiie  and  the  book.  These  variations  involve  almost 
every  conceivable  figure  of  passage  that  can  be  founded  on  a 
short  progression  of  harmony  such  as  the  piesent,  which  is 
nothing  more  than  a  modulation  from  the  tonic  to  the  domi- 
nant, and  back  again  from  the  dominant  to  the  tonic,  the 
whole  comprised  in  eight  bars  of  3*^4  measure.  The  types  of 
almost  all  the  variations  of  those  composers  whose  exclusive 
vocation  is  to  write  variations  may  be  found  in  this 
extraordinary  manifestation  of  fancy  and  invention. 

So  much  for  Handel's  Suites  de  Pieces  J  If  what  we 
have  thus  hurriedly  noted  can  persuade  any  of  our  readers* 
not  already  acquainted,  to  make  themselves  now  acquaint^ 
with  one  of  the  most  interesting  and  remarkable  exhibitions 


16 


TB3i  ktJSltJAt  WOHLB. 


of  the 'geniuB  of  the  great  Handel,,  we  £hall  only  be  too 
bappy  to  baVe  labored  soccesafully  ia-  so  excellent  a  oqubo. 

In  our  next  we  shall  tuJii  our  attention  to  the  Pieces  pottr 
le  Clavecin  :of  ^Domenico  Scarlatti,  a  compo^ser  of  very 
di^rent  stamp. 

THE   RIVAL  ITALIAN*  OPERAS. 

Alrbadt  the  mouth-organs  of  the  rival  establishments 
have  sonnded  tbeil*  notes  of  opposition,  and  signs  of  contention 
are  heraldifig  the  opening  of  the  season.  The  chief  subject 
of  difference  is  the  engagement  of  Jenny  Lind  at-  Her 
Majesty V  Theatre,'  which  the  Mornitig  /'oii  cottfi den tly 
asserts,  biit  which  the  Morning  Chrenicle  looks  upon  in  a 
Very  doubtful  light.  Tb^re  is  a  show  cf  reason  in  the 
ayguments.  piit  forth  by  th^  latter  journal  respecting ,  the 
difficulty  likely  toi  be. eno^unteied  by  the,  Swedish  nightingale 
in  her  approaching  advei^t  to  this  country,  and  the  statements 
therein  made,  if  true,  would  doubtless  render  the  engagement 
of  the  fair  artiste  a  Imatter  of  serions  contest  between  certain 
parties.  Before  making  any  observations  of  our  own  there-' 
upon,  we  shall  alfbw  the  Morning  Chnmiele  to  speak  for 
itself. 

**JiN«T  LiMD.--DlTer8  eonteiDEpbimries,  who  copy  our^miuicAl  intel-' 
ligence  and  private  corretpondooce,  without  the  slightett  acknowledgment, 
every  week,  have  giTeh  eontradictioBS  to  our  article  en  the  subjeetof  the 
Swedish  n1gbthig«le*ft  Tlsit  to  tliis  country,  aapubUahed  in  the  Morning 
Chroniel$  of  December  21 «  The  oootsadiotions  are  of  two  kiod«~the 
first  bdng-  to  the  effect,  that  Mr.  Bunn  haa  recQi?ed  from  hex  Majesty's. 
Theatre  a  sum  of  mohoyt  to  resign  ieuny  Lind's  oontcaet  for  Pruryrlane 
Theatre.  It  is  declared  boldly  that  the  fair  Swede  inteads  to  come 
to  this  coiitvtry^  on  «  guarantee,  for  the  damages  and  cosU  that 
may  be  awarded  against  her  in  Mr.  Bunn^s  action  should,  sha  sing,  at  the 
Open-House  in  the  Haymarket.  We  can  only  assoieour  contemporaries^ 
piratical  or  othciwise— 4hat  so  far  from  Mr.  Bunn  having  been  boi^bt 
off,  that  he  lias  forwarded  to  Jenny  Lind  a  distinct  intimation  of  his 
intention  to  enforce  his  (Mm  by  every  legal  meaos  should  she  attempt 
to  sing  in  this  country  at  any  other  theatie  but  Drury-Uoe.  As  for  the 
second  assertion  of  certain  Journals,  we  are  astonished  that  for  one 
moment  it  can  be  supposed  of  Jenny  Luul  she  would  have  the  teiiteritf 
to  come  to  London,  with  two  contracts  aigned  by  herself,  and  attempt 
to  sing  undier  the  engagement  last  made  because  it  ia  more  profitable. 
Instances  In  dtiimatlc  annals  are  known  of  artists  having  engaged  them- 
selves at  two  tlientres  in  this  way }  but  it  ia  also  on  record,  that  the  public 
resented  such  flagnat  dishonesty.  We  ahall  be.  delighted  to  hear  ienny 
Lind  in  London,  but  we  do  not  believe  that  from  her  own  sense  of 
honour*  as  well  as  (rom  prudential  considerations,  she  will  venture  here 
whilst  two  contracts  are  in  force  against  her.  If  Jenny  Lind  be  desirous 
of  ooovinoing-.the  Engli^  public  that  it  is  not  a  flnf^ictal  fejeling^  which, 
keeps  her  from  fpIfilUag  her  first  signed  contract  with  Drury-lane  Theatre, 
but  that  it  really  arises  from  her  incdmpeteccy  to  aCqun^  the'  Baglish 
language,  there  is  a  mode  of  testing  her  sincerity  whkh  wefeial  sure  the 
Drury-lane  lessee  would  he  too  glad  to  adopt.  .  Let  Jenny  Lind  sing  ^n 
German,  and  Ml-.  .Bonn  would  meet  her  views  in  that  respect."  . 

'  To  the  above  Btateroenta  and  contradictions  we  have  to 
ofibr  two  rejoinders,  whioh  will  tend  to  prove  that  the  Morning 
ChrotUele  is  by  no  tnieana  the  ju>$i  audientic  mouth-piece  of 
the  new  lUdian  Openii  and  that,  whenoesoever  it  obrains  its 
information,  it  is  either  too  susceptible  of  vulgar  rumour,  or 
too  dim-sighted  to  discriminate  between  the  true  and  the 
improbable.  Oar  first  rejohider  to  the  article  in  the  Chronicle 
is,  tiiat  Jenny  Lind  will  positively  visit  London  in  April ; 
our  second— on  considerati€n-*-we  ahall  withhold  for  a  future 
occasion  s  since  it  is  a  grave  one; 

The  second  bone  of  contention'  between  the  rival  houses  is 
the  secession  of  tho  band  from  Her  Majesty's  Theatre. 
While  the  Moiming  Chtoniele  asserts  that  the  entire  members 
of  the  orchestra,  with  two  or  three  exceptions,  have  passed 
over  to  the  Royal  Italian  Opera  at  Covent  Garden,  the  Post 
prj>duces  a  document  which  contradicts  the  statement,  and, 
as  far  as  we  can  see,  leaves  the  writer  in  the  Chronicle  no 


justification  for  its  assertion.  The  names  of  the  two  artists 
who  havtf  signed  the  document  afford  no  room  to  doubt  of  its 
authefnticity.'  A»  "Jdstioe  io'all  parties"  ia  out  motto,  we 
feel  it  our  dtity  to  give  fhe  letter  fromvthe  Pwif  and  allow  our 
readers  to  judge  for  themselves  between  the  contending 
parties,  as  to  'which  is  eensurltble,  and  wfaidi  is  rigiit.  The 
following  is  the  document : —   ' 

"TOTBB  iDITOR  OF  TAB  KORNIIIO  IPOST.' 

"  SiR-^We  regret  to  trespass  on  your  valuable  space,  hot  on  the  part 
of  the  gentlemen  of  the  orch^stiti  of  her  Mi^jesty's  Theatre  we  are 
cohipeDed  to  ieontradlct  an  imiputation  oonvtyed  in  an  article  of  a 
morning  journsA  of  Saturday,  to  the  effect, that  the  artists  employed  at 
the  Ttalian  Opera.have  abandoned  tl^e  establishmep^. 

"  We  beg  to  say  that  as  regards  the  orchestra  alone,  having  always  found 
Mr.  Luiriley  as  punctual  and  as  honbrable'in'all  Ms  dealibga  towards  us, 
as  his  predecessors  weren-regular,oarselves  and  twenty' two*  others  of 
our  collfa^es  have  never  contesaplatedi  leaving  the  theatre,  and  on  no 
accouotoouldwe  ever  have  thought  of  engaging  in  a  hostile  establishment 
whilst  still  in  hivservice'  In  this  feeling  we  are  happy  to  find  ourselves 
associated  with  so  many  artists  in  other  departments  of  the  Institution 
of  the  highest  character  and  fame.  t     • 

"  W|iilst  aniioua  to  avoid  all  imputation  of  having  participated  in  this 
extraordinary  pioce^ing.  we  wish  nowise  to  reflect  on.  our  former 
colleagues.  One  may  easily  imagine  what  deep  considerations  were,,  to 
persons  of  limited  revenues,  the  offer  of  increased  pay,  with  th«  prospect 
of  less  laboqr  (the  suppression  of  ballet  bring  promised}^  and,  still  more, 
the  fear  thtft  po  artist  not  engaging  with  the  hostile,  party  would  be 
employed  as  heretofore  at  the  Philharmonic  and  Ancient  Concerts. 
\         .     ;r       "  We  remain,  Slr» 

*' Tour  most  obedient  servants, 

"' A.  J.  toLBBCQUs,  Leader  of  ths  Opera. 
<*  J.'fi*  Nabaud^  Leader  of  the  BaUet. 

•'London,  Saturday  VighC  ' 

The  recriminative-  tone  persisted  In  by  both  the  journals 
win  hi  no  wisfe  tend  to  the  benefit  of  the  re-speetive  <stablish- 
menls  they  would  uphold,  Of  ho  advance  art  in  general.  We 
ImveeT^ry  de^irotosce  the  two  houses  make  use  of  all  fair 
and  legitimate  means  to  outshine  each  other  in  their  endeavor 
to  render  music  ta  complete  as  possible  in  its  ordiestral  and 
vocal  departments ;  but  we  camiot  appreoiate  that  deprecatory 
style  of  criticism  which  would  attempt  to  elevate  one 
establishment  at  the  expenae  of  the  other.  The  field  is  open 
to  both  parties,  and  the  beet  conducted,  ia  the  end,  will 
assuredly  obtain  the  public  favour. '  Meanwhile,  we  may 
remn^k,  that  the  taa^t  strcnuoua  ofibrta  are  being  made  on 
either  side  to  eclipse  the  other  in  the  musical  and  ballet 
departments.  At  Her  Majesty^  Theatire  the  principal 
vt>calists  will  include  the  nsfnes  of  Mesdames  OasteUain,  Frez- 
zolini,  Tadolmi,  and,  nccotding  to  Uie  Pm<,  Jenny  Lind, 
with,  probably,  Anna  Bishop;  aadM.  M.Lablache,fMre  etfils, 
Fraischini,  Gardooi,  &c.  &c.,  while  the  Royal  It^iati  Qpera 
will  comprise  Grisi,  Persiani,  Brarabilla,  Mario,  Tambnrini, 
RonConi,  Sdvi,  Marini,  and  otherft^  Tlius,  as  far  as  principals 
are  concerned,  either  Opera  may  bout  of  a  more  efficient 
vocal  corps  than  has  been  heard  together  in  the  metropolis 
since  the  golden  days  of  the  combination  of  Grisi,  Persiani, 
S(^hie  Loewe,  Brambillay  Rubins  Tamburini,  Lablache,  and 
Mario.  Among  the  engagements  of  Her  Majesty's  Theatre  we 
have  forborne  to  mention  Rubini,  because  we  are  by  no 
means  certified  as  to  his  coming.  If  the  great  tenor 
condescend  to  accept  of  Mr.  Lumley*s  munificent 
oflfer,  there  is  Uttla  doubt  that  he  will  prove  the  sun  of  the 
mttskal  season  of  1*847  at  Her  Majesty's  Theatre,  a»  well  on 
account  of  the  novelty  of  his  appearance,  as  of  his  high  and 
desenred  reputation.  At  Covent  '  Garden,  Tamburini'a 
engagemeot  will  be  hailed  with  delight  by  all  admirers  of  that 
great  artist ;  while  Persiani's  appearance,  after  an  absence 
frqfn  London  of  several  years.  Will  excite  no  small  degree  of 
interest.      Marini's    coming  is  also  looked   for  with  eager 


THE  MUSICAL  WOJILD. 


17 


longing.  Hia  name  is  high  among  the  highest  of  Serious  baas 
singers  in  Italy.  Of  Grisi  and  Mario  it  were,  useless  to  utter 
eulogy.  The  gracioua  Giulia  has  long  held  acknowledged 
supremacy  among  the  jMrime  d^nne  of  £aro()e ;  and  91  nee  the 
retirement  of  Rubini*  Mario  alone  has  been  found  worthy  to 
fill  the  place  of  first  tenor  at  the  operas  of  Paris  and  London, 
the  two  great  art-temples  of  the  musical  world.  Salvi  holds 
a  high  reputation  on  the  continent,  and  is  in  immense 
favor  at  St,  Petersburgb.  We  never  heard  him,  excepting 
in  a  concert-room,  where  his  singing  did  not  particularly  strike 
us ;  but  we  are  assured  from  the  best  infmrmation  that  his 
dramatic  powers  are  of  the  loftiest  order.  We  have  thus 
briefly  inspected  the  operatic  forces  of  the  two  theatres,  and 
have  mentioned  sufficient  to  s^iow  the  folly  of  attempting  to 
depreeate  one  side  or  the  other.  We  sliall  say  nothing  of  the 
opposing  ballet  corps,  seeing  that  the  Royal  Italian  Opera  has 
not  as  yet  announced  its  list  of  artists.  In  conclusion,  we 
may  observe  that,  following  our  motto,  without  favour  or 
prejudice,  we  shall  do  our  duty  by  both  parties,  and  lean 
towardsi  neither. 

Since  writing,  the  above,  we  have  read  an  article  in  the 
Morning  Chronicle  purporting  to  be  an  answer  to  the  letter 
thai  appeared  in  the  Morning  Post,  But  lo  I  it  coroes  out 
that  the  letter  in  question  was  sent  round  to  all  the  daily 
papers,  and  consequently  the  reply  of  the  CAroaicfe  is  intended 
for  the  .  subscribers  to  the  epistle,  and  not  the  Morning  Post. 
The  Chronicle  does  not  deny  the  fact  of  two-and-twenty 
members,  in  addition  te  Tolbecque  and  Nadaud.  remaining 
still  faithful  to  Mr.  Lumley,  but  wriggles  aut  of  his  pcevious 
statement  by  stating,  "  We  know  that  as  neither  these 
artists^  nor  their  tweivty-tMT>'  coUcaguea  were  ofE^rpd  engage- 
ifients  for  the  Royal  Italian  Opera  at  Covent  Garden,  they 
liave-  been  happily  ^exiKMed  to  no  temptation*"  Sylvester, 
man,  whcre^  your  logic  ?  It  is  our  opioion  that  the  writer 
in  the  CAronteJe  coins  4  great  many  of  the  ronsical  features  of 
that  journal  oat  of  his  own  brain,  that  he  prefers  being  severe 
to  being  logical,  and  that  he  would  rather  be  reprehended  for 
hia  want  of  trtitb,  than  not  be  praised  for  tlte  discovery  of 
something  strange  or  aew,  whi<^  had  xiever  other  existence 
than  ^e  being  depictured  on  the  retina  of  bis  own  visual 
organs.  SoreTy  the  Royal  Italian  Opejra  has  not  need  of 
descending  to  labrication  to  uphold  its  repute. 
*  As  an  appendix  to  the  i^ve^  we  beg  leave  to  transcribe 
two  letters  which  have  since  been  issued  by  the  adverse 
parties,  and  ham  appeared  in  two  of  the  leading  journals  of 
the  metropolis.  The  first  is  from  Mr,  £lla,  the  director  of 
the  Musical  Union^  who,  from  the  .prominent  positif)U  he 
assumes  on  every  oeoaaion  i*  which  the  Roytal  Italian-  Opera 
is  concerned,  would  seem  to  have  been  chosen  the  consul  and 
dictator  of  the  Covent  Garden  band.  The  ^epistle  runs  as 
follows  :-^ 

^'TO  THt  KDItOR  or  THB  BtOBNlMQ   USRALD. 

"Sir, — In  answer  to  the  unjoit  Ifn[ni(stien$  in  the  letter  which  sppeared 
in  your  jotimil  on  Monday  last,  puqmrting  to  hare  bean  written  iy  two 
of  my  late  comtades  of  Her  hUQtttf*  l*heatr«,  may  I  request,  from  voor 
sense  of  jastice»  that  yon  will  insert  a  reply  on  behalf  of  myself  and  the 
53  colleagues  who  4iave  thought  proper  to  acce^t  engagements  at  the 
Royal  Italian  Opera,  Covent  Garden.  It  Is  not  my  intention  to  imfold 
the.  secrets  of  the  prisoh^hootb,  noir  to  disclose  matters  in  whkh  the 
pvblic  takes  Nttle  interest,  but  1  do  proton,  in  the  atrongest  manner, 
against  the  inainuations  that  we  have  been  actuate  solely  by  mercenary 
considerations,  or  menaceM,  to  abandon  Her  Majesty's  Theatre.  The 
absence  of  all  sympathy  between  manager  and  artist,  the  personal  irtsolls, 
•the  tyrannical  exercise  of  power  in  diachargmg  artists  aeacon  after  season, 
at  the  eleventh  hour,  and  the  totallaaecurityof  the  tenure  of  thepoaition 
of  any.  of  my  ooUeagoes  were,  in  part^  the  inducements  to  abandon  the 
o!d  for  the  new  ItalUn  Opera,    l^itbin  the  last  few  years  I  have  visited 


all  the  principal  theatres  of  France,  Germany,  and  Italy,  and  I  have  also 
been  twenty-three  years  a  member  of  the  orchestra  of  Her  Migeaty'a 
Theatre,  and  I  can  conscientionsly  derlare»  as  an  artbt,  that  I  netfer 
heani  a  succession  of  more  discreditable  and  imperfect  executions  of 
opens,  than  during  the  last  season,  so  totally  unworthy  of  a  great  lyrical 
establishment,  and  of  the  support  of  an  enlightened  English  public. 
Thus,  in  consideration  of  art,  aa  well  as  for  the  reasons  already  asaif  ned« 
we  have  transferred  our  services  to  the  Royal  Opera»  Covent  Garden. 
I  have  only  to  add^«Vie  saiageSienU  ak  vtbs  bspd^of  Her  Miyesty's 
Theatre  were  always  made  from  season  to  season  only,  and  that  the 
present  manager  never  intimated  at  the  dose  of  any  season  his  ansUety 
for  the  continuance  of  the  aervlees  of  the  artiats  for  the  following  year, 
until  after  the  first  annoancement  of  the  new  Italian  Open^  when  he 
discovered  that  it  was  then  too  late. 

I  have  the  hotooor  to  redtfun^  Sir,  yoiur  obedient  serwtnty 

"JOHN  kuA^ 

"  19,  Mortimef-street."  "Director  of  the  Mosical  Union 

The  second  letter  is  from  the  treasurer  of  Her  Majesty's 
Theatre,  who  thus  argued,  and,  as* Major  Dalgetty  would  sayi 
vilipends  the  detractors  6f  the  estahlishtnent. 

"TO-THK  JUMTOaOF  ma  TUIBS.      . 

"  Slr,-^A8  treasurer  of<  Her  Migcsty's  ThaaHfe  I  find  ns|««lf  called  npon 
to  contoadict  in  tlie  most  positive  mannej^  the  assertions  contained  In  a 
morning  paper  of  yesterday.  During  the  present  direction  no  memt>er 
of  the  orchestra  was  ever  paid  less  than  in  former  years,  and  in  numerous 
instances  their  salaries  were  increased*  whilst  under  the  precet^  direc- 
tion the  disturbances  arising  from  notn^paymeat '  were  of  the  most 
derogatory  andpainfol  nature.  During  this  period  no  complaint  ever 
reached  me.  Tm  additional  attendance  for  the  peiformaoce  of  the  Stalbat 
Mater  was  paid  to  all  who  applied^  me  the  accounts  will  ahow,  although 
against  the  tenoor  of  the.  orchestrai  engageaMnt.  1  challenge  the  proof 
of  any  artist  employed  in  any  depmtaient  daring  the  five  years  of  Mr. 
Lumley'a  direction  not  being  paid  what  was  hia  due^  whilst  gratuitiea 
were  constantly  given.  Not  only  were  aU  emolusiieAts  paid  roost  punctu- 
ally, but  I  regrcft  very  much  to  add«  that  amongst  thosie  who  liave  been 
seduced  from  the  serrioe  of  the  iastitutioo,  theite  were  several  to  whom 
I  have  often  made  ad  winces,  and  others  incapacitated  iron  age  andacddent 
fbr  efficient  aervicet  were  kept  on  the  establishment  in  conaideiation  of 
the  length  of  their  aervices.  To  the  punctaality  observed,  it,  no  doubt, 
arisen  that  amongst  the  numberiess  empknf€$t  mechanists,  artisan^  &c., 
employed  on  this  stage,  and  to  whom  offers  were  made,  not  one  bcsidea 
those  mentioned  have  left  the  estiUiahmenv  the  upholsterer  perhaps 
excepted.  One  of  the  members  ol  tkt  orchestra  who  haa  complained  of 
tyranny  exvrclsed  in  the  dischaige  of  artistet>  and  consequent  uncer- 
tainty of  position,  dbprovss  his  own  assertion,  ainca  he  has  remained  23 
years  in  his  office ;  others  have  reoudned  hese  twice  that  time ;  and  as 
to  Mr.  Lumley,  he  never  diamiased  any  iaatrunietttalist. 

"  I  remain.  Sir,  your  very  obedient  servant, 

••  f,  Camdcn-terrace  West,  Jaa.  d."  "  W.  T.  ROBINSON. 

The  last  letter  is  a  fine  specimen  of  logical  ratiocinaiioa  and 
accurate  writing.  The  author  of  the  epistle  has  worked  hard 
to  get  Mr.  Lumley  out  of  no  scrape,  and  in  his  endeavours  to 
protect  hhn  fW>m  outward  attaek.9,  has  sorely  wouaclc4  him 
with  the  shield  intended  for  his  defence.  Mr.  Treasurer  is  no 
doubt  an  Irishman^^if  he  be  not,  he  ought  to  be^  To  Mr. 
£Iht's  letter  we  have  nothing  to  add.  This  gentleman  is 
doubtless  about  to  be.  appointed  leader  of  tha  band  next, 
season.  Nothing  less  could  account  for  the  chaoipionship  he 
assumes. 

Both  these  letters  appeared  the  day  after'  In  the  Post  and 
the  Chronicle.  The  Post  affectionately  imagines  that  Mr. 
Robinson's  letter  is  a  complete  repulse  to  Mr.  Ella's  attack. 
Tlie  Chronicle^  in  another  tone,  declares  that  the  letter  of  Mr. 
£lla  and  the  answer  of  Mr*  Robinson  arrived  at  the  office 
together.  We  do  rot  presume  to  decide  between  such  a 
mngniloquent  pair  of  controTerssalists.  In  the  words  of 
Voltaire,  **  Notts  no  sommes  que  de  panvres  gen$  de  lettres  qni 
crayons  tout  ee  que  ton  nous  dil.'^  So  that,  believing  bpth 
parties  to  be  rights  we  cannot  offer  an  opinion  without  con- 
tradicting ourselves  in  the  same  breath,    CnUOy  ItT 


18 


THE  MUSICAI^    WORLD, 


warn    AWisiviBB. 

;f rom  t^e  ^trman  of  est^t, 

iOontitm^  frwt^  page  8.) 
PART     K^-^CHAPTCR    XIII. 

fibWAED,  on  his  part,  is  in  quite  a  dlff^nt  mood.  •  He- thinks  so 
little  of  sleeping,  that  it  does  not'  onoe  occur  to  him  to  tiudress 
himaelf*  The  copy  of  the  document  he  kisses  a  thousand  times, 
that  is  to  say,  the  beginning,  written  in  Ottilia's  hand  so  childishly 
timid*  The  end  he  scarcely  ventures  to  kiss,  as  he  fancies  he  is 
looking  on  his  own  handwriting.  "  Would  it  were  some  other 
document  P'  he  says  to  limself ;  and  yet  it  is  the  most  beautiful 
'  assurance  that  his  highest  wish  is  fulfilled.  Does  it  remain  in  his 
hands,  and  will  he  not  press  it  ceaselessly  to  his  heart,  although 
it  is  disfigured  by  the  signature  of  a  third  party  P 

The  moon,  now  on  the  decrease,  is  ascending  over  the  wood. 
Th«  warm  night  tempts  Edward  into  the  open  air.  He  wanders 
about^he  is  the  most  restless,  and  yet  the  happiest  of  mortals. 
He  strays  through  the  garden,  and  finds  it  too  narrow — he  hastens 
to  the  fields,  and  finds  them  too  wide.  He  is  attracted  back  again 
to  the  castle — he  finds  himself  under  Ottilia's  windows.  There  he 
seats  himself  on  one  of  the  steps  of  the  terrace.  "  Walls  and 
bolts,"  he  says  to  himself,  '*  divide  us  now,  but  our  hearts  are  not 
divided.  If  she  stood  before  me,  she  would  drop  into  my  arms, 
and  J  into  hers — and  what  is  required  fbrther  than  this  certainty  V 
All  was  quiet  around  htm  ;  not  a  breeze  was  stirring.  So  ouiet 
was  it,  that  he  could  hear  under  the  ground  the  labours  of  those 
industrious  animals  to  which  day  and  night  are  the  same.  Abaodon- 
ing  himself  completelv  to  his  dreams,  he  gradually  fefl  asleep, 
and  did  not  awake  till  the  sun  arose  with  its  noble  glance,  and 
subdued  the  morning  mist. 

He  found  that  be  was  the  first  person  awake  in  his  establishment. 
The  workmen  to  him  appeared  to  stop  away  too  late — the  labour 
pieaoribed  for  the  day  seemed  insufficient  to  meet  his  wishes,  tie 
asked  after  several  workiben  \  they  were  engaged,  and  at  their  posts 
Im  the  course  of  the  day.  But  even  these  are  for  him  not  sufficient 
to  carry  out  his  plans  with  rapidity.  The  m6re  progress  ceases  to 
afibrd  him  any  pleasure ;  he  wishes  to  see  everything  finished— 
and  for  whom  P  The  paths  must  be  made  straight  for  Ottilia  to 
walk  upon  them  commodiously,  the  seats  must  be  rightlv  placed, 
tliat  Ottilia  may  rest  up6n  them.  Even  with  the  new  house  he 
gets  on  as  fast  as  he  can.  The  timber-work  must  be  set  up  on 
Ottilia's  birthday.  There  is  now  no  settled  rule  in  Edward's 
thoughts,  any  more  (h'^n  in  his  actions.  The  consciousness  that  he 
loves,  and  is  lo?ed  in  return,  drives  him  into  the  infinite.  How 
changed  to  him  is  the  appearance  of  all  the  rooms — of  all  the  sur- 
rounding objects !  He  seems  to  bo  no  longer  in  his  own  house. 
The  presence  of  Ottilia  hte  absorbed  everything  \  his  mind  is  quite 
enwrapped  in  her ;  no  other  consideration  rises  before  him,  no 
conscience  addresses  him.  All  that  was  restrained  in  his  nature 
breaks  loose ;  his  whole  being  streams  towards  Ottilia. 

The  Captain  obeerves  these  impulses  of  passion,  and  wishes  to 
prevent  unhappy  consequences*  The  plana,  which  are  now  carried 
out,  ^^thout  regard  to  moderation,  and  with  a  oneKsided  impulse  he 
had  made  on  the  supposition  that  all  would  live  quietly  and  on 
friendly  terms  together.  He  had  effected  the  sale  of  the  fitrm,  the 
first  payment  had  been  made,  and  Charlotte,  as  had  been  arranged, 
had  placed  th«  money  in  her  fund.  But  in  the  very  first  week  she 
is  bulged  to  exercise  more  than  Jier  usual  seriousness,  patience  and 
love  of  order,  for  in  the  present  hasty  way  of  prooeeding,  the 
money  allowed  will  not  go  fhr. 

Alttch  had  been  begun,  and  muoh  was  to  be  done.  How  could 
the  Captaiu  leave  Charlotte  in  this  situation!  They  consult 
together,  and  agree  that  it  will  be  better  for  themselves  to  hasten 
the  works  already  planned,  and  for  that  purpose  to  borrow  money, 
appointing  for  the  time  of  repayment  those  periods  at  which  the 
instalments  for  the  purchase  of  the  ferm,  are  still  due.  By  a  cession 
of  privileges,  this  was  efiected  almost  without  loss ;  they  felt  that 
their  hands  were  less  confined  j  and  now  all  was  in  proper  train, 
riud  where  were  workmen  enough,  they  did  more  at  once,  and 
attained  the  desired  end  with  speed  and  certainty. 

In  her  heart,  however,  Charlotte  adheres  to  her  well-considered 
resolution,  and  her  friend  stands  manfully  by  her  in  the  same 
disposition.      But  this  only   increases   their   intimacy.      They 


mutually-  express  their  opinions  on  the  sulject  of  Edward's 
passion,  and  consult  as  to  what  should  be  done.  Charlotte  keeps 
Ottilia  close  to  her,  watches  her  more  narrowly,  and  the  more  sne 
has  become  acquainted  witti  her  own  heart,  the  more  can  she 
penetrate  into  the  heart  of  the  young  girl.  She  sees  no  safety,  but 
in  the  removal  of  Ottilia. 

It  seems  to  her  a  providential  pieoo  of  cood  fortune  that  her 
daughter,  Luciana,  basso  muohdistinguished  herself  at  the  school ; 
for  her  great  auiit,  informed  of  the  circumstance,  is  anxious  to  take 
her  to  herself,  and  introduce  her  to  the  World.  Ottilia  might  now 
go  bsck  to  the  school ;  the  Captain,  being  well  provided  for,  might 
depart ;  and  all  might  be  in  as  good  a  state  as  a  few  months  ago — 
nay.  much  better.  •  Her  own  position  Charlotte  hoped  speedily  to 
restore  to  Edward,  and  she  ananged  the  whole  matter  so  very 
sensibly  In  her  own  mind,  that  she  only  strengthened  herself  in  the 
delusion  that  it  was  possible  to  return  to  an  earlier  and  more  oon- 
fined  condition  ;  and  that  what  had  been  forcibly  detached  could 
again  be  brought  together. 

In  the  meanwhile  Edward  felt  very  deeply  the  obstacles  which 
were  set  in  his  way.  He  soon  observed  tnat  he  and  Ottilia  were 
kept  apart,  and  that  it  was  rendered  difficult  for  him  to  speak  to  her 
alone,  or  even  to  approach  her,  except  in  the  presence  of  several 
persons,  and  while  he  was  cross  on  this  account,  he  became  so  with 
respect  to  many  things  besides.  If  he  c<Hild  manage  to  address  a 
few  words  to  Ottilia,  it  was  not  only  to  assure  her  of  his  love,  but 
also  to  complain  of  his  wife  and  the  Captain.  He  did  not  feel, 
that  through  his  own  impetuous  manner  of  proceeding,  he  was 
himself  on  the  road  to  exhaust  the  fund ;  he  blamed  Charlotte 
and  the  Captain  for  acting  contrary  to  the  first  arrangement,  though 
he  himself  had  consented  to  the  second, — nay,  had  occasioned  it, 
and  rendered  it  necessary. 

Hatred  is  partial,  but  love  is  still  more  so.  Even  Ottiiia 
estranged  herself  in  some  degree  from  Charlotte  and  the  Captain. 
When  Edward  first  complained  to  her  of  the  latter,  saying,  that 
as  a  friend,  and  considering  his  position,  he  did  not  act  quite 
uprightly,  Ottilia  heedlessly  replied,  "  It  has  already  dbpleased 
me  to  observe,  that  he  is  not  quite  honest  towards  you.  I  once 
heard  him  say  to  Charlotte,  *  I  only  wish  Edward  would  spare  ns 
that  flute-playing  of  his  ;  he  will  make  nothing  of  it,  and  it  is  a 
groat  infliction  to  the  listeners.*  You  msy  imsgine  how  much  I  was 
hurt  by  this  remark,  when  I  am  so  pleased  lo  aocoa^wny  you«" 

Scarce! V  had  she  said  this,  than  her  mind  whispered  to  her,  that 
she  should  have,  kept  it  to  herself ;  now,  however,  the  words  were 
spoken.  Edward's  countenance  changed ;  never  had  anythiuf  more 
annoyed  him.  He  felt  he  was  attacked  in  his  favorite  requisitions ; 
he  was  aware  that  his  eflTorts  were  childish,  and  without  the  least 
pretension.  But  what  entertained  and  pleased  him,  ought  at  any 
rate  to  be  treated  with  some  leniency  by  his  friends  i  he  did  not 
think  how  horrible  it  is  for  a  third  party  to  have  his  ears  offended 
by  an  incompetent  talent.  He  was  offended,  enraged  beyond 
the  power  of  foigivenesSi  and  felt  himself  released  from  all  obliga- 
tions  whatever. 

The  necessity  of  being  with -Ottilia,  of  seeing  her,  whispering 
something  to  her,  confiding  something  to  her,  increased  every  day. 
He  resolved  to  write  to  her,  and  to  ask  her  to  carry  on  a  secret  cor- 
respondence. The  slip  of  paper  upon  which  this  request,  laconically 
enough,  was  written,  lay  upon  the  writing-table,  and  was  blown  down 
by  the  draught,  as  soon  as  the  valet  entered  to  curl  his  hair.  To 
try  the  heat  of  his  irons,  this  man  was  in  the  habit  of  picking  up  ■ 
pieces  of  paper  from  the  ground.  On  this  occasion  he  snatched 
np  the  hiUeti  and  pinched  it  in  the  iron,  so  that  it  was  scorched. 
Edward  remarking  the  mischance,  snatched  it  from  hb  hand. 
He  soon  set  al>out  writing  another,  but  the  second  time,  it  did  not 
fidw  quite  in  the  same  way  from  his  pen.  He  felt  some  hesitation, 
some  uneasiness,  which  at  last  he  overcame.      The  paper  was 

Kresscd  into  Ottilia's  hand,  the  first  time  that  he  could  approach 
er. 
Ottilia  made  no  delay  In  answering  him.  Without  reading  the 
slip,  he  placed  it  in  his  waistcoat,  which,  aocordinff  to  the  fashion 
of  the  day,  was  too  short  to  hold  it.  It  worked  its  way  out,  and, 
without  being  observed  by  him,  fell  to  the  ground.  Charlotte  saw 
it,  picked  it  up,  and  handed  it  to  htm,  after  a  hasty  fflanee*  "  Here 
is  something  in  your  haad,"  she  said,  <<  which,  perhaps,  xqu  would  ^ 
aot  like  to  lose/  *        Digitized  by  0130^1 1: 


THE  MUSICAIi  WORLD. 


19 


He  was  thunderstruck.  "  Is  this  disiimulation  ?  "  ho  thought. 
'*  Does  she  koow  the  contents  of  the  paper,  or  is  she  misled  by  the 
similarity  of  the  hands  ?  "  He  hoped— he  thought  the  last.  He 
was  warned,  doubly  warned,  but  these  strange  accidental  signs,  by 
which  a  higher  Being  appears  to  address  us,  were  unintelligible  to 
his  passion.  Perhaps,  as  this  led  him  further  on,  he  felt  the  con- 
finement, in  which  he  seemed  to  be  placed,  more  and  more 
unpleasant.  The  friendly  society  was  at  en  end  ;  his  heart  was 
closed,  and  when  he  was  compelled  to  be  in  company  of  his  friend 
and  bis  wife,  he  could  not  recall  or  revive  in  his  heart  the  inclination 
he  bad  formerly  felt  towards  them.  He  could  not  avoid  silently 
reproving  himself  on  this  account,  but  the  reproach  annoyed  him, 
and  he  tried  to  help  himself  out  with  a  ki*\d  of  humour,  which, 
because  it  was  without  love,  wanted  even  the  ordinary  charm. 

Cliarlotte's  own  internal  feeling  helped  her  through  all  these  trials. 
She  was  conscious  of  her  earnest  resolution  to  renounce  an  incli- 
nation which  was  at  once  so  noble  an4  beautiful. 

How  much  did  she  wish  to  assist  the  other  two  I  She  felt  that 
the  mere  absence  of  Ottilia  would  be  insufficient  to  remedy  the 
evil.  She  proposes  to  talk  to  the  dear  girl  on  the  subject,  but  she 
is  unable,  for  the  recollection  of  her  own  wavering  acts  as  an 
impedimenL  She  tries  to  express  herself  in  general  terms,  but 
these  general  terms  are  just  as  applicable  to  her  own  situation, 
which  she  is  afraid  to  avow.  Every  hint  which  she  wishes  to  give 
Ottilia  points  back  to  her  own  heart.  She  wishes  to  warn,  and 
feels  that  she  herself  might  be  in  want  of  a  warning. 

Without  saying  a  word,  therefore,  she  still  keeps  the  lovers  apart, 
but  the  affair  X9  not  improved.  Slight  intimations,  which  fr  3quently 
escape  her,  produce  no  effect  upon  Ottilia,  for  she  has  been  con- 
vinced by  Edward  of  Charlotte's  inclination  for  the  Captain, 
couTinced  that  Charlotte  herself  desires  a  separation,  whicn  he 
thinks  of  effecting  in  a  decorous  manner. 

Ottilia,  supported  by  the  feeline  of  her  innocence,  and  on  the 
road  to  the  most  ardently  desired  happiness,  lives  only  for  Edward. 
Stren^hened  by  her  love  to  him  in  ^11  that  is  good  ;  on  hb  account 
more  joyful  in  her  sphere  of  action,  and  mpre  open  towards  others, 
she  finds  herself  in  a  heaven  upon  earth. 

Thus  do  all  together,  each  after  their  own  fashion,  pursue  their 
ordinary  life,  with  and  without  r^fiection.  All  seems  to  mdre  in 
its  accottomed  coarse,  just  as  even  in  monstrous  cases»  where  all  is 
at  stake,  people  go  living  on,  as  if  nothing  was  the  matter. 


1 


PART    I.-CH  AFTER    XIV. 

In  the  meanwhile  a  letter  fVom  the  Count  to  the  Captain  had 
arrived.  It  was  rather  an  enclosure  containing  two  letters,  one  of 
which,  pointing  out  cheerful  prospects  in  Uie  future,  might  be  shown 
t'i  any  one  ;  while  the  other,  which  contained  a  definite  offer,  for 
the  present,  of  an  important  place  both  at  Court,  and  in  office  with 
the  rank  cf  major,  a  considerable  salary,  and  other  advantages,  was 
to  be  kept  private  qn  account  of  sundry  additional  circumstances. 
The  Captain,  therefore,  only  informed  his  friend  of  the  more 
distant  hopes,  and  concealed  that  which  immediately  concerned  the 
proieDt. 

The  work  now  In  liand  he  conUnued  to  carry  on  with  energy, 
and  quietly  made  arrangements,  that  the  whole  might  progress 
without  interruption  in  his  absence.  He  himself  now  feels  it 
expedient,  that  for  many  things  a  fixed  term  should  be  settled,  and 
that  Ottilia's  birth-day  shouldcause  much  acceleration.  The  two 
friends,  without  any  express  understanding,  now  work  readily 
together.  Edward  is  quite  pleased  that  the  fund  is  strengthened 
by  the  money  which  has  been  raised,  and  the  whole  work  proceeds 
as  rapidly  as  posttble. 

The  plan  of  converting  the  three  ponds-  into  one  lake  thb 
Captain  would  willingly  have  opposed  altogether.  It  would  be 
necessary  to  strengthen  die  lower  dam,  to  carry  away  the  middle 
ones ;  indeed,  the  whole  affair  was  momentous  and  critical  in  several 
respects.  Both  works,  as  far  as  they  could  be  combined,  were 
already  -begun,  and  on  this  account  a  young  architect,  formerly  a 
pupil  of  the  Captain's,  came  very  acceptably.  Partly  by  the 
appointment  of  able  masters,  and  partly  by  hiring  laborers,  where 
it  was  practicable,  he  ibrwarded  the  progress  of  the  undertaking, 
sad  promised  security  and  durability  to  the  work.  At  this  the 
Captain  was  secretly  pleaded,  as  ho  saw  that. his  absence  would  not 


be  felt.  It  was  with  him  a  fixed  principle  not  to  abandon  a  work 
which  he  had  undertaken,  and  had  not  completed,  without  appoint- 
ing ^ome  one  who  could  satisfactorily  fill  his  place.  He  despised 
those  who  create  a  confusion  in  their  own  circle  on  purpose  to 
make  people  sensible  of  their  departure,  and,  acting  like  uncultivated 
egotists,  wish  to  destroy  thatia  which  they  can  take  no  part. 

Thus  the  work  was  carried  on  with  great  perseverance  for  the 
solemnization  of  Ottilia's  birthdav  without  this  purpose  being 
expressed,  or  even  avowed  internally.  On  account  of  Charlotte's 
views,  free  from  envy  as  they  were,  there  could  be  no  decided 
festival.  The  youth  of  Ottilia,  the  state  of  her  fortunia,  her 
position  with  respect  to  the  family,  rendered  it  improper  for  her 
to  appear  as  the  queen  of  a  festal  day.  Besides,  Edward  did  not 
wish  to  speak  of  the  sutiject,  as  be  intended  that  everything  should, 
as  it  were,  spring  from  itself,  create  astonishment,  and  please  in  a 
natural  manner. 

All,  therefore,  silently  agreed  to  tho  pretext  of  erecting  the 
timberwork  of  the  house  on  that  particular  day  without  any  especial 
reason.  The  occasion  would  admit  of  a  feast  being  announced  for 
the  benefit  both  of  their  friends  and  of  tho  people. 

Edward'^  inclinations  were  boundless.  Desiring  to  appropriate 
Ottilia  to  himself,  there  was  do  moderation  in  sacrifices,  gifts,  and 
promises.  For  some  presents  which  he  wished  to  make  Ottilia  on 
ner  birthday,  the  propositions  uttered  by  Charlotte  seemed  much 
too  niggardly.  He  spoke  with  the  valet  who  had  tho  care  of  his 
wardrobe,  and  who  remained  in  constant  intercourse  with  thu 
tradespeople  and  the  dealers  in  fashions.  This  man,  who  well 
knew  what  were  the  most  agreeable  presents,  and  also  what  was 
the  handsomest  way  of  making  them,  immediately  ordered  in  the 
town  the  very  neatest  of  chests,  covered  with  morocco  leather, 
studded  with  steel  nails,  and  filled  with  ^ifts  worthy  of  such  a 
covering. 

He  made  Edward  another  proposal.  They  had  by  them  a  little 
fire-work,  which  they,  had  always  delayed  firing  off*,  and  this  could 
easilj^  be  enlarged.  Edward  caught  at  the  notion,  and  tho  valet 
promised  to  see  it  carried  out.  The  whole  affair  was  to  be  kept 
secret. 

The  Captain  in  the  meanwhile,  as  the  day  approached,  made  his 
police  arrangements,  which  he  coosidered  very  essential,  when  a 
mass  of  persons  was  called,  or  attracted  together.  He  had  taken 
precautions  with  respect  to  beggars  and  other  annoyances  by  which 
the  pleasure  of  a  festival  is  disturbed. 

On  the  other  hand,  Edward  and  his  confidentid  valet  chiefiy 
occupied  themselves  with  the  fire^woik.  It  was  to  be  let  off  by 
the  middle  pond,  in  front  of  the  large  oaks,  while  the  company  were 
to  be  assembled  under  the  plane-trees,  and  then  at  a  suitable  dis- 
tance safelv  and  commodlously  to  see  the  general  effect,  and  the 
reflection  from  the  water,  as  well  as  the  parts  of  the  exhibition 
that  were  to  float  ou  tho  waters'  surface. 

On  this  account,  but  under  another  pretext,  Edward  caused  the 
space  under  the  plane-trees  to  be  chared  of  brushwood,  grass, 
and  moss,  and  the  ground  being  thus  disencumbered,  the  no\)le 
growth  of  the  ttrees,  both  in  height  and  breadth,  was  for  the  first 
timo  properly  apparent.  Edward  was  highly  delighted.  The  time 
of  year  was  about  the  sam^  as  that  in  which  ho  had  planted  the 
trees.  "  How  long  is  that  ago  ?*'  he  said  to  himself.  As  soon  as 
he  had  relumed  home,  he  turned  over  an  old  diary,,  which  his 
father,  especially  during  his  residence  in  the  country,  had  kept  with 
great  regularity .  It  was  not  possible  that  this  planiation  would  be 
mentioned,  but  an'^ther  important  event  which  happened  on  the 
same  day,  and  which  Edward  perfectly  remembered,  would  cer- 
tainly be  set  down*  He  ttuned  over  several  leaves,  and  found  tho 
event  in  question,  but  how  astonished,  how  delighted  he  iCas  to 
discover  a  wonderful  coincidence !  The  day  and  the  year  of  planting 
the  trees,  were  precisely  tho  day  and  the  year  of  Ottilia's  birth'. 
( To  be  continued,) 

»%  To  prevent  misunderBtandina:  it  may  be  Btated  that  the  copyrig^Iit  of  thii 
trantiation  beloogi  aoiely  to  the  translator. 

DRAMATIC  INTELLIGENCE. 

Frknch  Plays. — On  Monday  week  we  witnessed  for  the 
first  time  this  season  the  performauGc  of  L'Ecole  dee  Maris, 
by  Moli^re.    This,  although  one  of  the  author's  first  produ«* 


20 


THE  MUSICAL  WOKLD. 


tions,  is  inferior  to  none  in  humotir  or  wit.  His  anterior 
pieces  held  out  promises  of  talent,  which  were  for  the  first 
time  realised  in  this.  The  diction  is  elegant,  easy,  and  more 
grammatical  than  any  that  preceded  it ;  for  it  must  be 
remarked  that  this  celebrated  author  and  actor  did  not  appear 
in  Paris  until  1658,  under  the  patronage  of  Monsieur,  at  a 
theatre  prepared  for  him  by  order  of  his  patron  in  the  palace 
of  the  old  Louvre ;  and  consequently,  his  dic)^ion  is  sometimes 
provincial  and  antique,  and  occasionally  forced.  Although 
we  discover  traces  of  great  genius  and  flashes  of  brilliant  wit 
in  the  pieces  written  in  the  provinces,  the  principal  of  which 
are  the  Precieuses  Ridicules,  le  D^it  Amoureux,  and  VEtourdi, 
not  to  mention  the  Midecin  walgr4  lui,  which  was  almost 
entirely  re-written  at  a  later  period,  yet  there  is  a  heaviness 
in  the  plot,  a  want  of  individuality  in  the  characters,  and  not 
unfrequently  a  grossness  in  the  language,  evidently  corrected 
and  altered  at  a  later  period,  which  are  not  to  be  found  in  his 
later  productions.  The  Eeole  des  Maris  waSf  as  we  have 
said,  the  first  fruit  of  Molli^ie^ridsidence  at  Paris,  and  is  in  no 
respect,  in  our  opinion,  inferior  to  those  which  are  generally 
considered  his  best  pieces.  The  language  is  peculiarly  chaste 
and  elegant,  the  verses  flow  smoothly  and  freely,  and  the  wit 
and  genius  of  the  author  are  abundantly  conspicuous.  The 
object  of  the  play  is  evident  from  the  first  scene,  in  which  two 
brothers,  Sganarelle  and  Ariste,  discuss  which  is  the  best  means 
educating  a  woman.  Both  are  of  mature  age^  but  the 
former^  of  a  iDorose  and  austere  temper,  advocates  austerity 
and  seclusion  ;  the  latter,  of  a  gay  and  lively  turn,  pleads  the 
necessity  of  perfect  liberty  and  free  agency.  The  two  brothers 
have  bcen-constituted,  by  the  will  of  a  deceased  friend,  guardians 
to  his  two  daughters,  with  full  powers  over  them  to  marry 
them  themselves,  or  dispose  of  them  as  they  may  think  proper. 
Of  course  they  now  put  in  practice  their  favourite  notions ;  and 
the  consequence  is,  as  the  sequel  shows,  that  mildness  proves 
to  be  better  than  coftipulsion  ;  for  as  Lisette  rightly  observes : 

••  Pphcez-vous,  apres  tout,  que  ces  prdcautioin 
Seivent  de  quekfue  obstacle  It  nos  intentions  ? 
£t,  quand  nous  nous  met  tons  quelque  chose  h.  la  t6(e. 
Que  rhomme  le  plus  fin  ne  soit  pas  une  b^te  ? 

C'est  nous  inspirer  preaque  un  d^ir  de  p^hcr. 
Que  montrer  tant  de  soins  pour  nous  en  emptehcr.*' 

This  is  the  moral  of  the  story,  and  it  is  admirably  worked  out 
by  the  manner  in  which  the  author  makes  jealousy  the  instru- 
ment of  its  own  destruction*  IsabeUe  has  been .  rK^marked  by 
Val^re,,who  has  tried  every  possible  means  to  communicate 
with  the  object  of  his  passion,  but  without  suocessy  thanks  to 
the  jealousy  and  watchfulness  of  Sganarelle,  He  is  in  despair ; 
but  his  mistress,  endowed  with  an  invention  undiscovered  by 
her  guardian,  helps  him  out  of  the  difliculty,  by  sending  this 
very  guardian  to  complain  of  his  assiduities,  and  begs  of  him 
to  desist,  as  he  cannot  h&pe  to  succeed,  even  should  his  inten- 
tions be  honest.  The  lover  is  now  convinced  that  he  has  been 
remarked,  and  the  guardian  delighted  at  having  so  virtuous 
a  pupil,  and  hugging  himself  with  the  anticipation  of  aH  the 
pleasure  he  shall  enjoy  in  the  possession  of  such  ^  paragon  of 
excellence,  exclaims : 

"  Ellfe  n^ontre  le  ftaiit 
Que  r^ucation  dans  une  Ime  produit ; 
La  vertu  fait  sea  soina,  et  son  cceur  8*7  consomme 
Jusque  a  s'ofienscr  des  sculs  regards  d'un  homme." 

But  how  great  is  his  delight  when  she  presents  him  him  with 
a  letter^  prepared  for  herTover,  sealed  of  course,  and  expresses 
her  indignation  at  his  having  dared  to  write  to  her !  The 
oflicious  dupe  falls  into  the  trap,  and  is  himself  the  bearer  of 


the  amatory  epistle.  An  admirable  scene  follows,  in  which 
Sganarelle  pities  the  young  man,  and  advises  him  to  give  up 
his  useless  pursuit,  and  bears  back  vows  of  eternal  love  and 
fidelity  with  a  feigned  show  of  despair,  to  blind  the  old  man. 
Poor  fellow,  he  says  : 

"H  me  fait  grand  pltl^ 
Ce  pauvre  malheureux  tout  rempti  d'amiti^." 
Isabclle  now  pretends  that  the  rascally  fellow  h  a  sd  ared 
to  propose  by  the  instrumentality  of  a  third  -party  to  carry  her 
off — and  to  confotind  him,  the  guardian  insists  upon  their 
meeting,  in  order  as  he  says,  that  he  may  hear  from  her  own 
mouth  that  his  sissiduities  cannot  be  successful.  This  scene 
is  admirably  managed,  and  all  the  parties  are  of  course 
delighted  and  the  old  man  most  of  all,  how  I  pity  him  after 
all,  poor  wretch !  and  to  recompense  his  word  promises  her 
that  her  marriage  shall  take  place  the  very  next  day.  In  the 
meantime  the  lovers  are  not  idle,  but  Isebelie  is  surprised  by 
Sganarelle  just  as  she  is  leaving  Uie  house  to  fly  to  the  object 
of  her  choice.  She  is  however  soon  provided  with  a  plausible 
story  and  persuades  the  old  fellow  that  her  sister  was  in  the 
house,  and  being  in  love  with  Val^re,  and  hearing  of  his 
passion  rejected  by  herself,  has  requested  to  borrow  her 
name  ior  the  occasion,  in  order  to  have  an  interview  with 
him.  The  old  man  is  indignant,  and  insists  upon  her  im- 
mediate expulsion  from  the  house.  This  Isabella  undertakes  to 
effect,  and  haying  retired,  soon  re-appears  under  the  disguise 
of  her  sister,  and  enters  the  house  of  Yal^re.  Sganarelle  now 
hastens  to  [fetch  a  magistrate  and  a  notary,  and  repairs  to 
Yaldre's  house  with  his  brother,  whom  he  forces  to  accom- 
pany him,  and  who  is  somewhat  astonished  at  the  treatment 
he  receives  at  the  hands  of  El^onore,  and  is  taunted  by  his 
brother  on  the  edqcation  he  has  thought  proper  to  give  his 
ward.  The  marriage  papers  are  ready,  signed  by  Yal^re  and 
Isabelle,  and  all  present  sign  their  consent  to  them,  the  two 
lovers  keeping  within  the  house  mitil  they  obtain  the  precious 
document.  Then  Eldonore  appears,  and  Yal^re  and  Isabelle 
married  in  reality.  The  tables  are  turned,  and  all  are  pleased  are 
except  Sganarelle,  who  exclaims, 

*'  Je  renonce  It  jamais  i  ce  sexe  trompeur, 
£t  je  le  donne  tout  au  diable  de  boa  eoeur." 

On  Monday  last,  M.  Perlet  played  in  two  of  his  fiavourite 
parts,  Le  Savant  and  Le  Parrain.  We  have  delayed  speaking 
of  the  former  piece,  afraid  of  being  carried  away  by  the  enthu- 
siasm with  which  it  inspired  us  on  a  first  hearing.  It  is  so 
different  from  any  of  his  other  conceptions,  so  essentially 
chaiHcteristic,  that  we  were  quite  taken  by  surprise,  and  were 
confirmed  in  our  opinion,  that  to  appreciate  this  consummate 
actor  and  wofidcrfiil  genius,  he  should  not  be  seen  in  any  one 
of  his  creations  alone«  but  in  the  whole  range  of  His  characterF  ; 
and  we  pledge  our  critical  knowledge  that  our  opinion  will 
be  universally  adopted,  that  M.  Perlet  is  the  greatest  comedian 
living.  This  is  a  truth  at  which  we  have  arrived  by  slow 
degrees,  carefully  weighing  him  against  the  first  men  of  the 
present  time,  both  in  France  and  England.  No  man  like  him 
can  so  entirely  divest  himself  of  himself,  and.  take- upon  him 
the  individuality  conceived  by  the  author.  For  the  present 
we  will  merely  point  out  the  principal  features  of  this  week's 
performance,  leaving  it  to  the  future  to  indicate  the  points 
which  stamp  and  bring  out,  in  such  brilliant  and  bold  relief, 
the  impersonations  of  M.  Perlet.  The  Savant  is  one  of  those 
pieces  addressed  more  to  the  gentler  and  more  pathetic  feelings 
of  the  heart  than  to  the  risible  faculties.  It  is  by  Messrs. 
Scribe  and  Mcuvel,  and  is  well  worthy  of  the  reputation  of 
both  these  gentlemen.  The  story  is  simple  :  so  simple,  thii; 
we  scarcely  know  that  there  is  oneQj  jfji^^e  principal  int«:es|C 


THE  MUSICAL  WORLD. 


HI 


is  concentrated  in  theMvoHi  himself,  and  in  the  developement 
of  his  kind»  amiable*  and  child<rlike  character.  The  savant » 
a  German  student,  entirely  devoted  to  books  and  rare  editions. 
lie  loves  science  for  its  own  sake,  shuns  the  world  because  it 
interferes  with  his  own  pursuits,  and  from  no  feelings  of 
misanthropy,  and  is  beloved  by  all  who  approach  him.  But, 
alas!  at  thirty-three  he  is  an  old  man,  and  his  doctor,  who 
is  bis  fiiend,  threatens  him  with  speedy  dissolution,  advises 
him  to  take  a  little  recreation^  and  prescribes  marriage.  The 
gentle  Reynolds,  whose  only  fear  is  the  non-completion  of 
his  great  work,  reluctantly  consents,  on  condition  the  Doctor 
will  undertake  to  find  him  a  wife.  The  Doctor  agrees 
to  do  so,  and  pitches  upon  H^l^ne,  a  favourite  pupil  of  our 
Reynolds,  to  whom  he  is  already  attached  without  knowing  it, 
and  by  whom  he  is  beloved  in  return.  This  marriage  is 
crossed  by  Frederick  Stop,  the  son  of  our  hero's  old  school « 
master,  bat  who  withdraws  his  claim  on 'finding  that  Reynolds 
18  his  benefactor,  and  the  marriage  takes  place.  There  is  a  charm 
even  in  (iie  simplicity  of  such  a  plot  as  this ;  and  the  quiet 
humour,  excellent  feeling,  prevalent  throughout,  the. exquisite 
touches  of  hearty  and  real  sentiment  with  which  it  abounds  form 
a  pattern  which  our  dramatists  might  imitate  with  advantage. 
To  point  out  any  particular  parts  would  lead  us  into  a  review 
of  the  whole  work,  which  must  not  be  judged  in  its  details ; 
but  as  a  portrait  highly  finished  and  exquisitely  coloured,  we 
shall  merely  say,  that  in  the  whole  range  of  M.  Perlet's  per* 
formances,  none  has  pleased  us  so  much  as  this.  It  must  also 
be  remarked  that  in  the  pieces  played  by  M.  Perlet,  the 
actors  seem  to  have  a  more  careful  conception  of  their  parts  ; 
his  influence  is  evident  even  in  the  most  subordinate  characters. 
The  Doctor  was  very  well  played  by  M.  Jiangeval,  and 
Madame  Grassau  as  usual  was  judicious  and  pains- taking. 
The  Parrain  is  a  slight  fiBtrce,.in  which  the  miseries  of  being 
a  godfather  axe  whimsically  and  laughably  put  forward.  Mr. 
Scribe  has  also  a  hand  in  this  and  we  should  like  to  know  in 
what  he  has  not  had  a  hand  these  last  ^ye  and  twenty  years. 
M.  Perlet  acquitted  himself  of  the  egotistical  old  bachelor  to 
admiration,  and  elicited  shouts  of  laughter,  especially  when  it 
is  discovered  that  after  all  they  have  baptized  the  wrong 
child.  Madame  Grassau  was  excellent  as  the  old  nurse ; 
indeed  the  whole  play  was  well  cast  and  well  executed.  Of 
the  Jvare,  given  on  Wednesday  for  M.  Perlet's  benefit,  we 
can  say  but  little  this  week,  our  space  being  confined.  We 
having  already  indeed  gone  beyond  the  limits  allotted  us. 
This  part  is  perhaps  the  triumph  of  the  actor — that  to  which 
he  has  devoted  most  care  and  is  most  highly  finished  and 
developed.  We  must,  however,  mention  the  scene  when  he 
has  lost  his  cassette^  where  his  triumph  was  complete,  but  in 
which  dangers  are  so  thick  set  round  the  actor  that  the  least 
-approach  'to  exaggeration  in  his  part  would  turn  to  the 
absurdly  ridiculous.  M.  Perlet  was  admirable  and  elicited 
frequent  marks  of  approbation  ;  his  triumph  was  complete  in 
this  as  well  as  in  the  following  scene  when  he  accuses  Yaler^, 
and  confounds  his  daughter  with  his  treasure.  The  house  was 
well  attended,  and  M.  Perlet  was  called  before  the  curtain 
after  the  performance.  The  evening's  entertainments  concluded 
with  the  Rendezvous  Bourgeois,  in  which  M.  Cartigny  was  as 
good  as  ever.  A  word  of  praise  to  that  very  useful  and 
intelligent  actor,  M.  Dumcry,  is  the  least  we  can  bestow  on. 
his  clever  performance  in  La  Famlle  Improvisee,  which  pre- 
ceded L'Avare  on  Wednesday  night.  J.  de  C— «. 

PauRT  La»e.— -We  have  nothing  new  to  record  in  our 
present  weekly  notice.  The  Bondman  still  continues  its. 
career  with  success,  and  draws  good  houses.  The  Pantomime 
improves  considerably  since  its  first  representation,   and  is  re- 


ceived nightly  with -great  applause.  Mr.  D.  W«  King  has 
undertaken  the  part  of  Ardenford,  in  the  Bondman^  in  conse- 
quenee  of  the  illness  of  Mr.  Harrison,  and  acquits  himself 
very  creditably. 

The  Haybiabkbt.'— Thistheatre  has  varied  its  peHbrnumces 
during  the  week.  London  Assurance^  Money ^  Look  before 
you  Leap,  and  The  Refund  of  Wrong,  have  added  diversity  to 
the  attractions.  The  Invisible  Prince  continues  to  be  received 
with  immense  favor. 

PaiNosss's. — ^The  Night  Dancers  is  alternated  with  the 
Seven  Maids  of  Munich,  and  the  Pantomime  is  given  every 
evening  with  increased  effect. 

Adelpbi. — As  we  imagmed,  the  new  piece  of  Cohmha,  ike 
Corsican  Sister,  in  losing  its  novelty,  has  been  deprived  of  its 
chief  source  of  attraction.  We  should  be  glad  to  see  Coiomha 
superseded  by  something  more  sterling,  and  better  adapted  to 
the  means  of  the .  establishment. 


SONNET. 

NO  XVI. 

A  RAT  falls  on  my  hetrt,  serenely  bright. 
And  CT'ry  dork  recess  that  form'd  a  lair. 
Where  crouch'd  some  hideous  figore  of  despair, 

Now  sparklts  with  the  magic  of  that  light. 

Softeo'd  betomes  my  soul's  eternal  night. 
And  even  Joy  displays  his  image  fair. 
Stealing  upon  me  with  h  timid  air. 

As  one  who  ventures  with  a  doubtful  right. 

This  trsnqoU  state^oh,  is  it  made  to  last— 
This  pause  amid  my  bosom's  hurricane—^ 
This  breath  of  peace  tliat  calms  the  fevei'd  brow. 

Or  comes  it  to  alleviate  the  past. 
Only  to  make  more  bitter  future  pain  f 
All,  all  on  thee  depends.    Then  answer,  thou . 

N.D. 

REVIEWS    ON  BOOKS. 

"  Christmas  Carols  with  the  Old  Tunes/'   Edited  by  Edward 
^  F.  RiMBAULT,  LL.D.,  F.S.A.«-*CaAMBB,  Beale,  &  Co. 

Ma.  Rimbault,  in  his  introduction,  which  displays  con- 
siderable riesearch,  has  attempted  to  explain  the  meaning  of  the 
term  '*  Carol,*'  byascribingittosongsintermingledwithdancingy 
and  traces  it  back  to  a  period  antecedent  to  the  fifteenSi 
century.  He  has  not  furnished  us  with  the  derivation  of  the 
word.  Mr.  Rimbault's  book  seems  but  the  precursor  of  a 
more  elaborate  and  complete  work.  The  editor  has  supplied 
but  six  Christmas  Carols.  Doubtless,  for  a  book  intended  to 
be  nothing  more  than  a  seasonable  and  amusing  present  at 
this  period  of  the  year,  Mr.  Himbault  has  performed  his  task 
to  the  extent  required,  and  we  must  award  him  great  praise 
for  the  zeal  and  ingenuity  he  has  shown.  The  Book  of  Christ- 
mas Carols  is  an  admirable  Jittle  work,  and  should  find  a 
place  on  the  desk  of  every  lover  of  the  strains  of  bye-gone 
times,  and  the  quaint  rhymes  of  '*  hoar  antiquity.*'  The 
work  is  beautifully  got  up. 

"  Nursery  Rhymes  mth  the  Old  Tunes."  Collected  and  edited 
by  Edward  F.  Rimbault. — Cramer,  Bealb,  &  Co. 
Welcome,  old  Friends !  Dear,  kind,  soothing,  half-lost, 
but'never-forgotten  old  Friends !  welcome  once  more  to  bur 
hearts.  Ye  make  us  children  again,  and  bring  back  the  fami- 
liar faces  of  our  childhood,  and  the  green  meads,  and  the  laugh-' 
ing  waters  of  our  happy  home,  and  the  cheery  fireside,  and  the 
stories  of  old  nurse,  and  summer  sports,  and  dawning  h(^es, 
and  loves  bubbling  from  the  wild  current  of  our  young  hearts, 
and  joy,  and  nurthj  and  prank»  and  all  the  lost  entrancements 


32 


THE  MUSICAL  WORLD. 


of  haedleas  juvenescence.  Ye  are  gone  for  ever,  but  memory 
learee  us  your  ahadows,  and  lo  !  at  a  word,  like  visions  in  a 
magic  mirroff  ye  pass  before  as,  as  bright,  but  as  evanescent. 
Show  us  the  man  that  could  hear  the  songs  of  his  youth 
unmoved,  and  we  will  set  him  down  as  aenieless  as  a  block,  a 
stone,  or  any  other  inert  mass  of  matter.  For  our  own  poor 
part,  we  are  not  ashamed  to  confess,  that  the  old  song,  ''  There 
was  an  old  Woman  tost  ap  in  a  blanket,"  screamed  by  some 
crone  far  gone  in  years,  has  more  power  to  move  us  than 
''Fra  Poco''  thrillingly  warbled  by  Rubini.  This  is  not  a 
matter  of  tast^j  but  of  feeling.  If  we  go  on  we  shall  grow  melan- 
choly. Nevertheless,  we  must  tell  an  anecdote  of  our  boyhood, 
The  first  time  we  heard  **  Hey,  my  kitten,  kitten" — but  no,  we 
cannot  go  on*  the  tears  are  stealing  to  our  eyes,  and  we  must 
e'en  turn  from  suggestions  of  the  past,  to  thoughts  of  the 
present.  Mr.  RimbauU  has  accomplished  his  task  in  the 
**  Nursery  Rhymes,"  still  more  happily  than  in  the  **  Christmas 
Carols."  The  book  is  altogether  better,  and  more  valuable, 
inasmuch  as  the  subjects  are  more  familiar,  and  will  therefore 
meet  with  greater  appreciation.  The  old  airs  are  all  supplied, 
and  arranged  for  the  piano,  with  the  melody  and  a  simple 
bass.  This  is  as  much  as  was  required  in  a  volume  of 
nursery  airs.  The  preface  contains  some  excellent  informal 
tion.  If  Mr.  Rimbault  is  neither  a  Ritson,  nor  a  Percy,  he 
has  at  least  brought  forth  as  original  a  work  on  minstrelsy,  as 
either  the  compiler  of  "  The  Reliques,"  or  the  editor  of  the 
**  Robin  Hood  Ballads."  We  most  heartily  recommend  the 
*'  Nursery  Rhymes  "  to  all  classes  and  to  all  ages. 

'•  The   Silver   Swan ;"    a    Fairy    Tale,    By   Madame   de 
Chatelatn. — Grant  and  Griffith. 

^*The  Silver  Swan"  is  a  neatly  constructed  story,  and 
is  written  in  a  succinct,  ^asy  style.  The  characters  are 
amusing,  the  plot  is  entertaining,  and  the  moral  striking. 
Madame  de  Chatelain  has,  for  some  time,  been  a  worshipper 
of  the  muses,  and  has  heretofore  appeared  in  print  as 
Mademoiselle  Pontigny.  Her  efusions  are  remarkable  for 
ease  and  grace. 

REVIEWS   ON    MUSIC. 

"  Ronald^'*  BaUad^  Words  hy  Coventry  Patmorb  ;   Music 

by  Clement  White. 
**  He  never  can  be  Mine,"  Ballad,  written  by  Desmond  Rtan, 

composed  by  Clbment  White. 
"  WaUmy  for   Thee^'*  Serenade^  written  by  Dbsmomd  Ryan, 

composed  by  Clbmbnt  Wvira.-— P.  £.  Rowe. 
Mr.  Rows,  the  music-seller  at  Plymouth,  has  just  pub- 
lished the  three  very  pretty  songs  above  named.  Of  these 
Ballads,  we  hardly  know  to  which  to  give  the  preference. 
'*  Ronald"  is  written  in  the  old  ballad  fashion,  and  contains  a 
very  striking  melody.  It  is  composed  appropriately  to  the 
words,  which  are  indited  by  a  true  poet.  Coventry  Putmore's 
lyric  muse  is  original  and  graceful,  and  is  replete  with  the 
deepest  sentiment.  If  wohls  be  of  any  value  in  a  song,  the 
verses  alone  of  this  ballad  would  re-pay  the  purchaser  in 
the  perusal.  If  it  were  sung  in  public,  by  some  favorite 
vocalist,  WfB  have  no  doubt  that  "Ronald"  would  become 
one  of  the  most  popidar  songs  of  the  day.  We  know  bal- 
lads, inferior  in  every  respect  to  this,  that  have,  gone 
near  to  make  a  publisher's  fortune.  *'  He  never  can  be  mine," 
pet  haps  is  the  least  happy  of  Mr.  White's  three  songs.  It  is 
tender  enough,  and  the  melody  is  well  fitted  to  the  poetry, 
but  it  is  too  sentimental  for  our  nerves,  though  doubtless  the 
song  would  delight  all  who  are  more  romantically  inclined  than 


we  are.  The  last  song  of  the  three  is  a  most  charming  and 
graoefttl  ballad,  and  does  infinite  credit  to  the  composer.  The 
very  first  bar  of  the  melody  is  striking,  and  at  once  captivates 
the  ear,  and  the  whole  song  is  written  spontaneously,  and 
without  effort.  The  ballads  of  Mr.  Clement  White  are 
carefully  arranged,  and  present  no  difficulties,  either  to  the 
singer  or  performer. 


JULLIEN'S  ALBUM  FOR  1847. 

(From  the  Lwirpool  CkronidB.) 
If  any  thing  were  wanted  to  proTe  the  great  advance  that  music  has 
made  in  England  daring  the  last  few  years,  we  tbinJL  there  is  nothing 
more  lilceiy  to  do  so  than  the  number  of  beautiful  musical  albums  which 
have  been  brought  out  this  year.  The  only  one  we  have  seen  yet  is 
Monsieur  Jullien's,  and  a  magnificent  one  it  is.  We  cannot  give  our 
readers  abetter  idea  of  this  splendid  production,  than  by  quoting  a  part  of 
the  prospectus  :*-^'*  It  contains  no  less  than  thirty  pieces  of  vocal  and 
fourteen  of  instrumental  music.  The  illustrations,  in  addition  to  the 
elaborately  executed  covers,  title,  and  dedication  pages;  include  two 
magnificent  views  of  the  interior  of  Coven t-garden  theatre,  the  one. taken 
during  the  brflliant  scene  exhibited  in  that  splendid  arena  on  the 
occasion  of  M.  Jullien's  Grand  Bal  Masqu^ ;  the  other  a  view  of  the 
theatre  taken  during  the  concerts,  the  grouping  of  the  tlgares  in  both 
views  exhibiting  the  audience  in  a  manner  at  once  life-lilce  and  elegant. 
To  those  who  have  visited  the  theatre  on  either  occasion,  the  album  will 
form  a  delightful  touvefUr,  and  to  those  who  have  not  had  the  opportunity, 
it  wiU  convey  an  accurate  idea  of  the  gorgeous  scene.  A  splendidly 
coloured  portrait  of  the  celebrated  danseuse^  Madlle.  Flora  PabbrI,  In  the 
admired  pas,  'La  GastigUaoa,'  is  also  given  with  'The  Fortune 
Teller,'  illustrating  Baker's  beautiful  ballad  of  that  name.  The  whole  of 
this  cjepartment  of  the  Album  has  been  under  the  active  superintendence 
of  J.  Brandard,  Esq.;  whose  pencil  only  has  been  employed  in  Its  produc* 
tion.  Nothing  more  need  be  said  in  favour  of  the  musioU  department  of 
this  album;  and  in  proof  of  its  vast  superiority  over  aU  others,  than  to 
call  attention  to  the  names  of  the  contributors,  where  will  be  found  the 
principal  talent  in  Europe ;  vis,  Rossini,  Verdi,  Donizetti,  Rubini,  Roch- 
Albert,  Hoelzel,  Goldberg.  Schira,  Schulz,  Stcepel,  Duprez,  Jose  Gomis, 
Maraanau,  Maretsek,  Balfle;  Jullien,  Hatton,  Barret,  Alexander  Lee, 
Konig,  Knig-bt,  Baker,  ftu'mer,  Unley,  Lake,  Fitaball,  Mould,  Horrey, 
Forest,  Desmond  Ryan,  Albert  Smith,  &c.  &c.  It  will  thua  be  perceived 
that,  in  addition  to  the  latetft  compositions  of  the  best  English  composers, 
the  album  will  contain  some  of  the  newest  and  most  popular  productions 
of  Italy,  Germany,  France,  Spain,  &c.,  a  careful  selection  of  which  has 
been  made  from  those  works  that  are  now  attracting  the  attention  of  the 
continental  dilettanti."  Every  word  of  the  prospectus  is  perfectly  true, 
and  some  of  the  songs,  ballads,  &c.,  are  of  a  very  superior  description, 
more  particularly  *'The  Fortune- teller," the  words  of  which  are  by  G. 
Linley,  and  the  music  by  Baker.  The  instrumental  portion  vrill  be  in 
great  demand  for  parties  and  balls  this  Christmas,  as  it  includes  several 
of  the  most  popular  quadrilles,  pollcas,  waltzes,  &c.,  as  pkyed'  at 
M.  Jullien's  concerts  at  Covent-garden  theatre,  including  the  celebrated 
"British  Army  Quadrille."  The  illustrations  themselves  would  formerly 
have  cost  three  times  as  much  as  the  whole  book,  which  is,  considering 
the  variety  and  exoeUence  of  its  contents,  worth  treble  its  price. 

ORIGINAL   CORRESPOMDENCE. 

To  ihe  Editor  i^  tho  "Mutical  World," 
Deab  SiR,<— Your  pages  a  few  weeka  %go  contained  an  address,-^" To 
Women,  and  EngUah  Women  in  particular."  Will  you  allow  me,  through 
the  same  channel,  to  publish  a  few  remarks  on  the  subject  so  well  advo- 
cated by  your  fair  correspondent :  1  allude  to  the  proposal  for  a  monu- 
ment to  be  erected  to .  the  memory  of  our  poet,  Shakespere,  by  the 
ladies'  subscriptions.  And  here,  that  I  may  not  be  misunderstood,  let 
me  add,  that  I  am  one  of  his  devoted  admiren,  and  that  I  thank  him 
from  my  heart  for  showing  forth  the  virtnes  of  our  sex.  But  he  has 
slept  in  peace  for  230  years  with  no  other  memorial  than  the  ouc  he  so 
nobly  carved  for  himself— one  that  will  outlive  the  stone  pillar,  or  the 
scniptured  sUtue— for  as  long  as  the  English  language  is  known  on  the 
earth  shall  the  writings  of  our  immortal  bard  be  treasured  In  the  hearts 
of  all  true  loven  of  poetry.  Let  him  then  still  slumber  on  for  a  little 
while  longer  with  his  fame  for  his  monument;  and  let  us  not  in  a  time 
when  every  paper  is  rife  with  accounts  of  death  from  starvation — when 
every  penny  might  help  to  save  a  life,  let  us  not  rmt,  I  say,  collect  our 
mites  together  to  enrich  the  pocket  of  some  wealthy  architect,  and  to 
hqr  gilt  on  gold ;  but  let  us  rather  give  of  that  we  are  able  to  him  ! 
that  aeedeth.    It  .was  but  last  week,  and  that  in  a  city  where  charity  [C; 


THE  MUSICAL  WOELD. 


23 


is  btttowtd  libcnUy,  that  a  woomii  in  the  hour  of  her  greatest  trial 
h9A  not  even  %  hmdful  of  ttraw  to  keep  her  from  the  cold  earth,  or  a 
rag  to  cover  her  new-bora  babe,  while  five  others  were  crying  for  food. 
True,  she  might  have  gone  to  the  Unjon,  but  for  what  T  To  be  seoarated 
from  her  dear  one»— to  be  deprived  of  liberty—  to  be  Imprisoned,  In  fact, 
for  the  crime  of  poverty.  And  this  we  lenow  to  be  but  one  case  among 
tliottaandt.  O  let  then  tlie  penny  and  the  donation  of  the  rich  be 
added  together,  and  distributed  among  such  as  these,  till  the  name  of  the 
English  woman  shall  be  mentioned  with  thankfulness  by  thousands. 
And  thm  shall  each  subscribers^  name  instead  of  being  enclosed  in  a 
stone  to  be  read,  perhaps,  when  the  dust  of  its  owner  shall  be  returned 
to  dost ;  but  more  likely  never  to  see  the  Ught^instead  of  this  shall 
each  name  be  written  in  heaven,  to  be  read  ^hcn  all  shall  hear  and  be 
repaid  len-fold,  for  "  Charity  covereth  a  multitude  of  sins."  If  I  hear 
that  subscriptions  are  received  at  Messrs.  Coutts  and  Co.,  or  any  other 
place  for  this  purpose,  my  mite  shall  not  be  wanting,  and  O  if  every 
woman  that  can  spare  a  penny  will  do  likewise,  how  many  a  heart  will 
be  gladdened.  I  humbly  pray  that  H  may  be  so.  I  remain,  dear  Editor, 
yours  faithfully.  An  Englishwoman.. 

Sir,  I  have  gone  into  my  subject  at  much  greater  length  than  I  at  first 
intended,  and  find  on  reading  it  that  it  is  rather  a  sedate  artide  for  a 
journal  of  the  description  of  Ihe  Musical  World.  I  should,  however,  if  you 
could  save  a  comer,  be  glad  to  see  it  in  print,  as  the  suggestion  it  contains 
may  be  useful.^Bmto^,  Dec.  I6ih,  1840. 

PROVINCIAL. 

RTni.— On  Tuesday  evening  last  a  music  class  of  the  Literary  Institu- 
tion commenced,  under  the  leadtnhy  of  Mr.  Dawes,  Organist ;  it  is  to 
be  hoped  Mr.  Dawes  will  aacceed  in  improving  the  mtinea/ taste  of  Aydtf, 
which  ia  at  present  at  c  low  ebb.-^Dec.  1 7th,  1846. 

WoLVSRHAMPTON.-— Mr.  PearsaU  haa  been  giving  his  musical  lectures 
here,  with  great  success.  A  Miss  Hunt  assists  him  in  the  vocal  illus- 
trations. 

Cbiltknham.— Mr.  Alban  Croft's  concert  last  week,  at  the  Assembly 
RooBM,  obtained  a  iiighly  respectable  audience,  and  much  better  as  to 
numbers  than  either  of  the  two  previous  ones,  though  by  no  means 
better  than  it  deserved,  for  the  music  was  excellent.  Mrs.  Croft  sang 
very  effectively  all  her  songs,  and  was  deservedly  greeted  with  warm 
applause.  Her  '*  Auld  Robin  Gray"  had  some  exquisitely  musical 
touches  about  it.  Miss  and  Master  Croft  sang  "  Per  Vdlie*  and  another 
Italian  dnet  very  sweetly  indeed,  and  in  a  way  that  told  of  careful 
teaching ;  and  the  latter  also  gave  us  "  Scenes  that  are  brightest"  with 
aurprising  effect  for  one  so  young.  The  performances  altogether  went 
off  remarkably  well. 

IfANcawinn.— Mbcbamics'  iNSTiTuTroN.— The  Directdrs  of  this 
uaeftil  Institution^  always  anxious  to  introduce  the  first  talent  to  their 
aumerouB  subscribers,  made  arrangement  with  Miss  Whitaali,  to  give  a 
grand  concert  on  Monday  evening  last. — As  soon  as  the  doors  were 
thrdwn  open  the  rush  into  the  Lecture  Hall  was  terrific,  the  house  was 
Instantly  filled  in  every  part,  and  those  parties  who  generally  occupy  the 
best  seats  in  the  boxes,  were  glad  to  secure  seats  in  the  pit.^^There  is 
no  doubt,  but  in  a  short  time  the  lecture  hall  will  become  too  small  to 
contain  half  the  number  of  subscribers  to  this  valoable  Institution. 
The  performers  engaged  on  this  occasion  were  Miss  Whitnall,  Senior 
Sapio,  yh.  H.  V.  Lewis,  and  Mr.  John  Parry.  A  variety  of  glees,  songs, 
and  duets,  were  given  during  the  evening  with  good  effect,  and  much 
appose  WIS  elicited  by  Mr.  John  Parry,  in  the  two  songs  which  he  gave, 
entitled  the  "  London  Season,  or  as  Ciqptain  Clifford  says,"— the  other, 
"  Family  Argument  Foreign  Affairs."^(A  short  maternal  course  of  the 
Ftench  language.)  He  was  encored  In  both  songs,  bat  as  a  general 
principal,  he  did  not  repeat  them,  but  gave  two  others  entitled  "  Marriage," 
•ad the"  Fine  young  English  gentleman  of  the  present  time."  The 
company  sepamted  about  1 1  o'clock,  highly  delighted  with  the  evening's 
entertainment.— A/oncAesfer  Qmrisr. 

TuNBainoi. — An  evening  concert  of  vocal  and  instrumental  music 
took  place  in  our  Town-HaU  on  Wednesday  evening,  Dec.  28,  consisting  of 
^ees,  duets,  songs,  sod  instrumental  pieces.  Miss  Cole  and  Miss 
GreaVeSi  two  young  ladies  from  the  Royal  Academy  of  Music,  were  the 
principal  vocalists,  and  i ang  the  songs,  &c.,  allotted  to  them  in  excellent 
.  style.  We  may  mention,  in  particular,  the  duet, "  The  fiight  of  the 
awaUow"  (by  Kncken,  a  German  composer),  very  effectively  sung  by 
the  two  ladies,  and  eliciting  an  unanimous  encore.  The  difllcuit 
cavatina,  "  Ah  I  Rammento,"  by  Mercadante,  was  very  chastely 
executed  by  Miss  Cole,  accompanied  on  the  pianoforte  by  Mr.  Cullom 
in  his  usual  masterly  style.  Parry's  duet,  "  Flow  gently,  Deva,"  was 
excellently  given  by  Messrs.  Hnelling  and  Humphrey ;  indeed,  it  was 
quite  a  treat,  and  was  received  with  great  applause.  Hobbs*  popular 
ballad.  "  A  friend  m  distress."  sung  by  Mr,  Humphrey,  merited  and 
lecetved  ft  beart|  easore.     The  gcand  feature  of  the  evening  was 


Mr.  MorflU's  performance  on  the  violin,  consisting  of  De  Beriot's  6th 
air,  and  a  piece  by  Mayseder,  which  were  played  in  the  most  masterly 
style.  His  tone,  in  the  adagio  passages  was  most  exquisite,  and  his 
rapid  passages  were  brilliant  in  the  extreme.  The  other  Instrumental 
pieces  were  Mosart's  symphony  (No  1),  and  his  matchless  overture, 
"  Zauberflote,"  played  in  a  style  that  reflected  the  greatest  credit  on  the 
gentlemen  composing  the  band.  Altogether  the  concert  was  well  got  up, 
and  we  have  seldom  seen  a  better  selection  of  pieces  than  that  contained 
in  the  programme.  The  managers  of  the  concert  are  exceedingly 
pleased  st  the  success  of  their  efforts  to  afford  their  neighbours 
deUght(\il  evening's  amusement,  which,  they  are  assured,  was  the  case 
on  this  occasion.    (From  a  Correspondent.) 

Cbsltimuam. — (From  a  CorrMpwid^ni.)— Madame  Anna  Bishop  has 
Kiven  no  less  than  three  concerls  here  this  week,  at  the  Assembly 
Rooms,  and  with  immense  swcess.  Her  voice  is  indeed  ublooious,  if 
ever  voke  deserved  thai  epithet.  Eoery  note  goes  to  the  heart ;  and  there 
it  remains.  She  Is  both  wonderful  and  pleasing;  and  that  is  the  case 
with  very  few  performers,  either  vocal  or  instrumental.  She  was  encored, 
una  voce,  in  most  of  her  Italian  songs,  as  also  in  that  pathetic  ballad, 
"  John  Anderson,  my  Jo,"  m  which,  indeed,  she  appealed  to  the  hearu 
of  her  auditors,  and  was  really  triumphant!  Suck  a  triumph  has 
been  very  seldom  witnessed  in  Cheltenham ;  Moa  vtill  it  svxr  bb 
FOROOTTBN  ! ! !  No  wouder  that  Madame  A.  B.  should  be  prima  donna 
assoluta  of  the  Theatre  San  Carios.  Naples ;  but  what  an  honor  to 
England,  where  Madame  Anna  Bishop  is  bom !  Not  even  a  Billington  is 
to  be^compared  to  her  I  Mr.  Cianchetrinl  conducted  these  concerts, 
and  performed  an  extemporaneous  fantasia  at  the  first;  as  also,  at  the 
second,  his  untie  Dusiek's  celebrated  *' Notturno  Concertante,**  (op.  68.) 
for  the  piano-forte  and  the  violin ;  in  which  he  was  most  artistically 
accompanied  by  his  friend,  Mr.  R,  Brett.  Mr.  R.  B.  also  performed 
Ernst's  celebrated  "  Camaedl  de.Venise**  and  an  elegant  fkntasia  by 
Artot,  a  pupil  of  the  celebrated  Baillot.  Mr.  and  Mrs.  Alban  Croft  also 
appeared  at  these  concerts,  and  to  the  greatest  advantage  ;  for  they  not 
only  sang  well,  but  good  music,  and  that  is  not  often  the  case  with 
vocalists.  Madame  Anna  Bishop  is  a  truly  classical  lady  as  ever 
appeared  In  this  world.  She  can  only  eigoy  what  is  reaUy  good ! 
— P.C— i. 

Mamcbbstbr.— A  miscellaneous  concert  was  given  by  the  Musical 
Society  on  Tuesday  evening,  in  the  .large  room  of  the  Town  Hall. 
The  principal  vocalists  were.Miss  Panons,  of  London,  Mrs.  Yardly,  of 
Manchester,  and  Mr.  E.  L.  Hime,  of  Manchester.  Mr.  T.  Maude 
presided  at  the  piano>fbrte.  There  was  a  very  large  attendance  of 
subscribers,  most  of  the  principal  families  of  the  town  and  neighbourhood 
being  present,  as  well  as  a  great  number  of  the  general  public ;  in  fact, 
the  room,  which  is  a.  very  large  one,  was  completely  filled.  The 
selection  comprised  songs,  glees,  and  duets,  by  some  of  the  most 
celebrated  composers ;  the  concert  opened  with  the  overture  to  '*  Semi« 
ramlde,"  followed  by  the  beautifol  madrigal,  written  in  1597,  Dowhmd's 
"  Awake,  sweet  Love,  thou  art  returned,"  One  of  Lover's  songs  sung 
by  Mr.  Hime,  was  encored  most  rapturously.  Then  foUowed,  "  Where 
the  bee  sucks."  A  song,  by  Miss  Parson's,  "  Oh,  the  merry  days  when  we 
were  young,"  was  most  applauded..  The  overture  to  " Masaniello'^  was 
performed  with  great  precision.  In  the  "  Cavatina"  (Donna  Caritea) 
Miss  Parsons  was  encored,  when  she  substituted  a  favorite  air :  "In  the 
air,  roving  abroad  in  the  night."  Mr.  Hime  was  loudly  encored,  when 
he  sang  "  Lucy  NieL"  The  concert  closed  with  the  chorus  "  Welcome, 
welcome,  Lady  Fair."  The  audience  were  evidently  much  delighted, 
both  with  the  performance  and  the  selection.— AfoncAeifsr  Courier. 

SALisBtwY  SoBscBiPTiON  CowcxRTS.— The  sccood  concert  for  the 
season  (under  Mr.  Aylward's  management),  on  Wednesday  evening  last, 
at  the  Assembly  Rooms,  was  attended  by  a  brilliant  and  crowded  audience, 
there  having  bean  no  less  than  500  persons  present.  The  great  attraction 
Of  the  evening  was  the  engagement  of  the  Distin  FamUy,  who  played 
with  their  accustomed  Ulent  and  success.  The  eider  Distin,  in  "  The 
Soldier  tired  of  War's  Alarms,"  was  loudly  encored.  The  principal 
vocalist  on  this  occasion  vroM  Miss  Dolby,  who  in  the  unavoid- 
able absence  of  Miss  Rainforth,  detained  in  London  by  severe 
indisposition,  with  much  kindness  end  good-nature,  consented  to 
supply  her  place,  and  proved  herself  a  worthy  substitute.  Miss  Dolby 
was  in  fine  voice,  sang  delightfully,  and  was  more  than  once  unanimously 
encored.  Mercadante's  air.  "Ateriede,"  Linley's  ballads,  "Thou  art 
gone  from  my  gaze,"  and  "  Primrosfs  deck  the  bank's  green  side,"  and 
the  Scottish  ballad,  "Willy  Gay,"  were  dellciously sung  by  Miss  Dolby, 
and  deservedly  applauded.  Mr.  Ransford  sang  several  songs  and  loudly 
in  the  course  of  the  evening,  and  experienced  a  very  favourable  reception. 
In  the  "  Gipsies'  Laughing  Song  "  be  was  encored.  Among  the  instru- 
mental performances,  was  a  fantasia  on  the  violoncello  by  Master  Aylward, 
having  for  iu  theme  the  melody  "The  la^tRose  of  Summer,"  which 
was  played  with  so  much  taste  and  expression  as  to  elicit  well-merited 
applause.     This  young  gentleman  does  leredlt  to  his  other's  tuition. 


24 


THE  MtrSiCAL  WORLD 


A  trio  for  flate,  yiolonceUo,  and  pitno.forte,  by  Mr.  and  Muter  Aylvaid 
and  Mr.  Willy,  jun.,  was  nicely  played,  and  afforded  much  pleasure.  Mr 
Willy,  jun.,  accompanied  the  Boogs  with  judgment— iSoZti^vry  and 
fVmehest^  JoumaL 

MISCELLANEOUS. 

Madame  Bishop  sang  three  tiroes  last  week  at  Cheltenham. 
Her  reception  on  each  occasion  was  enthusiastic.  She  was 
encored  in  most  of  her  songs ;  and  at  the  morning  concert,  on 
Saturday,  the  enthusiasm  was  so  great,  that  the  fair  cantatrice 
sang  ten  times ;  for  not  only  were  four  of  the  morceaux  re- 
demanded,  but  she  was  obliged  thrice  to  repeat  a  very  charm-^ 
ing  ckansonnette^  '*  Je  suis  ]a  Bayadere,"  in  which  Madame 
Bishop  accompanied  herself  on  the  tambourine. — Morning 
Post. 

Brighton. — A 'matinee  musicale  was  given  by  Madame 
d'Eichthal,  the  harpist,  on  Thursday  wee^at  Weston  House, 
the  residence  of  Lady  Hotham.  Madame  d'Eichthal  is  a  harpist 
of  superior  merit,  uniting  the  qualities  of  correct  execution  and 
graceful  expression.  She  played  several  pieces  with  good 
effect  and  was  warmly  applauded.  The  selection  was  vnried 
by  some  German  and  iVendi  songs  pf  Madame  M  ortier  de 
Fontaine,  which  were  deservedly  received  with  great  favour. 
The  attendance  was  fashionable  and  numerous.— /Vow?  a  Cor- 
respondent, 

Mr.  Bird,  Organist  of  WalthamstoW}  gave  his  patrons  a 
great  musical  treat  last  Monday  evening.  Mr.  Turle  con- 
ducted. The  vocal  corps  consisted  of  Miss  A.  Williams,  Miss 
Ellen  Lyon,  Mr.  Howe,  Mr,  Barnaby,  Mr.  Kench,  Master 
Turle,  and  fpur  other  young  vocalists.  A  duet  composed  by 
Kalliwoda,  admirably  rendered  by  Misses  A.  Williams  and 
Ellen  Lyon,  and  Mr.  ^^ench's  "  Last  Man,*'  were  the  promi- 
nent features  of  the  evening,  but  the  whole  programme  was 
capitally  performed  and  conducted, 

Mr.  J.  L.  Hatton  gave  one  of  his  musical  entertainments 
on  Thursday  evening  at  the  Marylebone  Institution,  Edward 
street,  Portman-sqtiare.  The  vocal  performance  was  diver- 
sified with  pianoforte  playing  from  authors  ancient  and  modern. 
Mr.  J.  L,  Hatton  gave  sundry  manuscript  songs  of  various 
merits.  His  introduction  to  the  entertainment,  and  the  inter- 
spersed verbal  portions,  were  happily  sprinkled  with  anecdote 
and  information.  The  concert  was  on  the  whole'  e^tcellent, 
but  wei  have  not  room  at  present  to  particularize.  We  shall 
shortly  speak  of  these  entertainments  at  length.  Mr«  Hatton 
is  an  excellent  musician^  and  his  efforts  are  worthy  serious 
attention. 

Madame  Bishop  has  given  three  concerts  during  thd  past 
week  at  Cheltenham,  in  each  of  which  she  excited  the  greatest 
enthusiasm.  At  her  last  concert  she  was  encoded  in  every 
song,  with  one  exception,  and  was  called  upon  to  repeat  a 
French  air  twice,. in  which  she  produced  a  novel  effect  by 
accompanying  herself  on  the  tambourine.  Her  execution  of 
this  chansonette  proved  that  Madame  Bishop  is  a  great  artist, 
whether  she  interprets  the  most  difficult  or  the  most  simple 
music.  A  third  cavatina,  from  Ugo  di  Parigi^  exhibited  to 
perfection,  the  rare  and  artistic  resources  of  this  cnbst  accom- 
plished yocsXht.-'Morning  Herald. 

Mr.  J.  L.  Downs,  principal  Flautist  of  the  Italian  Opera, 
New  Orleans,  gave  a  concert  at  Blagrove's  Rooms,  Mortimer 
Street,  on  Tuesday  evening.  The  concert  was  remarkable  for 
the  introduction  of  names  of  artists,  instrumental  and  vocal, 
unknown,  or  little  known,  if  we  except  Nicholson,  the  Oboe 
player,  and  Hancock,  the  Violoncellist.  The  vocalists  were, 
Mrs.  Alexander  Gibbs,  (formerly  Miss  Graddon,)  Mr.  John 
Roe,  Miss  Allen,  Miss  Collins,  Signor  Furtado,  and  Mr. 
Weeks;  Messrs.  Hancock,  Nicholson^  Casolani,  Dean,  Reed, 


and  Downe.  Mr.  Downe  played  two  solos  on  the  flute,  and 
was  greatly  applauded.  His  execution  is  biiUiant,  and  his 
tone  clear  aiid  distinct.  He  performed  an  Italian  air^  with 
variations,  in  a  superior  manner.  Mr.  Nicholson  played  a 
fantasia  on  the  oboe  in  his  usual  masterly  style ;  and  Mr. 
Hancock,  on  the  violoneello,  gave  great  effect  to  a  trio  of 
Corelli's,  which  was  encored.  Miss  Allen  distingiiished  herself 
in  a  song  from  the  Night  Dancers,  and  the  rest  of  the  ladies^ 
by  their  endeavors,  gave  interest  to  the  entertainment.  Mr* 
Charles  Blagrove  presided  at  the  piano. 

Madaub  Anna  Bishop. — This  charming  English  vocalist^ 
who  of  late  years  has  astonished  and  delisted  the  lovers  of 
nsusic  in  the  principal  continental  cities,  took  the  leading 
part  hi  three  grand  concerts  at  the  ,  Assembly  Roonw,  during 
the  past  week.  These  r^c^^dlf  entertainments  were  given 
under  the  auspices  of  Messrs.  Hale  and  Son,  the  first  of 
which  took  pidce  on  Wednesday  evening,  and  was  but  thinly 
attended, 'owing  no  doubt  to  the  want  of  sufficient  publicity; , 
the  other  two  bad  to  boast  of  a  company  more  numerotts,  and 
fJEiahiOnable.  Madame  Anna  Bishop^  sang  selections  from  ihe 
Maid  of  ArtoiSy  and  Lorttta,  in  exquisite  style,  which  elicited 
gieat  a^plttuse.  The  pathos  and  execution  thrown  into  these 
gems  (^  composition  had^  thrilling  effect  upon  .the  audience, 
who  were  lost  iii  admiration  at  the  grace  with  which  the 
whole  were  given •  Mr.  axid  Mrs.  Alban  Croftt  Mr. 
Cianchettini,  and  Mr.  Robert  Butt,  proved  able  auxiliaries, 
and  seldom  have  concerts  altogether,  gone  off  with  greater 
eclat.  At  the  morning  concert  on*  Saturday,  Madame  Bishop 
'was  encofed  four  times  ;  and  on  the  execution  of  the  French 
song,  she  received  a  double  encore,  wiiich  manifested 
the  estimation  in  which  she  v\  held.  Madame  Bishop's 
triumph  in  London,  during  the  present  season,  has  been 
perfect  and  unquestionable,  such  as  sufficiently  indicates  that 
she  will  be  permitted  to  continue  her  career  in  this  country 
with  'the  same  ecldt  which  so  long  marked  her  prosperous 
efforts  in  the  great  capitals  of  Europe.  The  opera  chosen 
for  her  first  appearance  in  London  a  few  months  since,  was 
Balfe's  Maid  of  ArUAs,  in  which  a*  r^^  was  allotted  to  her 
rendered  memorable  for  its  having  been  first  selected  for  that 
qu^en  of  songstresses— ^poor  MaUbran*  of  whose  triumphs  it 
was  one  of  die  noblest  and  the  best.  In  the  revival  of  an 
opera,  which  since  that  time,  had  been  suffered  to  die  away 
from  public  recollection,  save  in  the  single  song.  The  Light  of 
other  Dags,  Madame  Bishop  has  presented  the  rare  gift  of 
musical  excellence  combined  with  dramatic  intensity ;  and  as 
such,  her  first  provincial  tour  is  calculated  to  excite  feelings 
of  no  common  interest  among  those  who  look  forward  to  the 
opportunity  now  about  to  be  afforded  them  of  personally 
appreciating  the  bird-like  purity  of  intonation,  and  the  zefined 
and  delicate,  but  brilliant  points  of  execution,  which  are  so 
remarkable  in  the  vocalism  of  this  English  warbler — this 
prophetess  in  the  land  of  her  birth.  We  understand  that 
this  celebrated  caniatriee  is  engaged  at  Brighton  during  the 
present  week;  for  the  then  ensuing  three  weeks  she 
proceeds  to  Birmingham,  Liverpool,  Manchester,  and  other 
places  in  that  neighbourhood.  The  first  week  in  February 
will  be  divided  between  the  two  University  towns,  Oxford 
and  Cambridge.  On  February  the  8th,  she  purposes  going  to 
Dublin,  where  she  performs  until  the  22d,  and  thence  to 
Belfast  and  Cork.  On  the  Ist  of  March  she  takes  Edinburgh 
for  a  fortnight,  and  Glasgow  for  three  days,  returning  south 
again  to  Bath  and  Bristol  for  four  days,  and  during  passion 
week  she  will  be  at  Exeter  for  the  sacred  concert  there.  In 
short,  the  British  syren  has  not  a  day  disengaged 
and  this  the  hepi^ning  of  Apvih^CheUenhamJournaU 


THE  MUSICAL  WOiHJ). 


25 


Taunton  and  Sombrsbt  PHitHAEHOfiic  SociSTY«-^We 
havepleasarein  etating  that  there  ia  every  reftson  to  hope  that 
a  soci^y,  upon  an  extended  basis,  and  kaving  for  ita  objects 
the  oultivatioB  of  music,  and  the  providing  of  a  soi^rce  of  enter- 
tainment fijr  the  inhabitants  of  this  town,  will  shortly  be 
formed.  The  following  are  some  of  its  principal  features,  tm 
stated  in  a  circular  jusb  issued  :*-***  It  is  proposed  that  the 
society  shall  be  open  to  persons  residing  iu  all  parts  of  th6 
county,  and  that  it  shall  be  governed  by  a  president  and  eom*- 
mittee,  assisted  by  a  treasurer  and  secretary.  [A  number  of 
^influential  gentlemen  have  signi6ed  their  wiUiagnesa  to  become 
members  of  the  committee :  and  it  is  hoped  ^at  the  office  of 
president  will  be  taken  by  some  nobleman.]  That  the  prin- 
cipal gentry  of  the  county  be  requested  to  become  patrons  of 
the  society.  That  during  four  months  in  the  year,  the  mem- 
bers shall  meet  weekly  for  the  purpose  of  performing  instru- 
mental and  vocal  mu«ic;.  and  that  during  the  remaining  eight 
months  the  meetings  shall  take  place  at  intervals  of  a  fortnight 
That  sacred  and  secular  music  shall  be  performed.  That  the 
amount  of  subacription  shall  be  about  five  shillings  p^  annum. 
That  a  public  music  library  be  established  ip  connection  with 
the  society.  That  prizes  shall  be  offered  for  the  best  compo- 
sitions of  music  by  members.  That  during  the  winter  seaspn 
there  shall  be  five  public  concerts,*— two  of  sacredt  and  thm^e 
of  secular  musie^  Mentkbers  to  have  the  option  of  taking  part 
in  the  performance  or  not."  We  hope  our  musical  friends  all 
over  the  (xmnty  will  join  the  society  without  delay .-^7atii|/aJt 
Ccunly  G4U€tie. 

Waiting  foe  Applausb.— Perhaps  idl  readers  are  not 
acquainted  with  the  following  fmct.  A  certain  singer  was 
engaged  to  sin|^  at  the  rooms  at  Margate ;  and  having  a  pretty 
good  opini<»i  of  himself,  wrote  in  the  leader's  book  at  a  par 
ticular  place,  '^  wait  for  the  applause/'  The  leader^  as  in  duty 
bound,  stopped  the  band;  but,  alas !  there  was  no  applause ; 
when  the  disappointed  voealist  turned  sharply  round  and  said, 
rather /(?He,  "Whydpn't  you  go  on  ?"  The  m^whief-loving 
leader  replied,  much  more  loud,  "  We  are  waiting  for  the 
applause."  This  was  heard  by  several  of  the  atidisnce,  and  a 
general  titter  pervaded  die  room. 

MoLiQfrs's  Thieo  set  of  six  German  Songs. — (JVes 
ieU  ^  Co^) — The  third  set  of  Herr  ACohque's  songs  is,  in  our 
opinion;  not  so  good  as  the  fourth  set,  which  was  our  plei^sing 
task  to  notice  a  short  time  since.  It  seems,  however,  imt 
possible  for  this  elegant  and  characteristic  qomposer  to  send  ^ 
work  into  the  world  without  impressing  it  with  soipe  markf 
of  great  musical  interest.  Thus,  although  the  songs  before 
us  have  been  unable  to  obtain  very  great  popularity,  there 
are  three  at  least  of  them  wliidi  mus^  bo  always  admired; 
These  are  No.  29S,  ^  Cottage  foir"  (HuUelein's,  a  most 
pretty  and  playful  little  song,  set  to  one  of  the  most  charm- 
ing of  all  the  beautiful  lyrics  of  Ruchert ;  No.  295,  <*0 
still  my  heart's  fond  beating"  (O  stille  dies  verlangen)  the 
expression  of  which  is  poetical  as  the  music  is  beautiful ;  the 
restless  and  passionate  character  of  the  work  is  well  pourtrayed 
in  the  broken  melody  of  the  voice  parts  and  the  continual 
motion  of  the  accompaniments ;  and  No.  296  **  Come  dearest 
come,**  (Komm,  Liebdieu,  Komm,)  a  very  melodious  serenade, 
and  perhaps  the  most  vocally  effective  of  the  whole  set. — 
Moming  Pott, 

Crosby  Hall.— The  Third  Concert  of  Sacred  Music,  for 
the  season  1846-7,  took  place  on  Tuesday  evening,  and  was 
well  attended.  The  concert,  as  usual,  was  under  the  direction 
of  Miss  Mounsey.  The  programme  was  by  no  means  in- 
teresting, the  selections  made,  for  the  most  part,  being  neither 
suited  to  the  Crosby  Hall  audiencei  nor  adapted  to  the  powers 


of  the  principal  singers  and  choir«  For  instance,  the  chorus, 
*'  Unto  us  a  child  is  born,"  having  for  its  interpreter  no  more 
than  thirty  vocalists,  couhf  hardly  produce  the  idea  of  sublimity 
and  immensity  intended  by  the  composer.  The  names  also 
of  Ciampi,  Otto  Braui^e,. and Nfaumauu,  introduced  into  the 
scheme,  reflected  nogrent  credit  on  the  direction.  There  were, 
however,  many  excellences  in  the  concert  to  which  we  would 
call  attention.  We  shall  first  state  that  the  principal  singers 
were  the  Misses  Dolby  and  Bassano,  and  the  Messrs.  Lockey, 
Francis,  and  J.  A.  Novello.  The  two  ladies  gave  Handel's 
fine  duet,  "  O  lovely  peace,"  from  Judas  Maccabeus,  with 
great  .effect,  their  voices  consorting  in  an  admirable  manner. 
Mr.  Lockey  was  encored  in  ^he  recitative  and  air  from  the 
same  oratorio,  *•  Tis  well,  my  friends,"  which  he  delivered 
with  power  and  energy.  Beethoven's  most  charming  trio, 
"  0,  shall  we  then  behold  the  .Lord,"  from  the  Mounl  of 
Olives^  was  rendered  with  much  grace  and  expression  by 
Miss  Bassano,  with  Messrs.  Francis  and  Novello.  The  ensemble 
at  the  end  was  beautifully  given  by  the  three  artists.  Miss 
Dolby  sang  an  air  of  Miss  Mounsey *s,  "  Save,  Lord,  and  hear 
us,"  and  received  very  great  applause.  The  composition  has 
considerable  merit.  The  second  part,  commencmg  on  the 
words  **  Praise  the  Lord,  0  my  soul"  contains  a  highly 
pleasing  and  expressive  melody,  and  by  its  arrangement 
evidences  proofs  of  Miss  Mounsey's  talents  for  writing  sacred 
niusic.  Miss  Dolby's  singing  deserved  great  credit.  She  sang 
wit)i  the  true  feeling  and  expression  of  an  artist.  Mr.  J.  A. 
Novello  was  heard  to  little  advantage  in  an  air  of  Neukomm's. 
His  fine  voice  and  chaste  style  were  entirely  thrown  away. 
Miss  Qi^sano  gave  Proch's  favourite  song,  **  The  blind  girl 
to  her  mother,*'  and  mterpreted  it  with  much  taste  and  judg- 
ment. There  is  little,  or  nothing,  in  Proch's  air  :  nevertheless 
the  sentiment  which  the  words  convey  is  capable  of  being 
felicitously  expressed  by  au  artist  of  sensibility  and  impulse. 
Miss  Bassano  displayed  these  two  qualities  in  her  singing,  and 
in  addition  exhibited  a  degree  of  energy,  which  we  have 
hopes  will  bring  bar  laureb  on  another  arena.  We  must, 
however,  make  one  excepUon  'to  Miss  Bassano's  singing  of 
"  The  blind  maiden,"  viz, — the  manner  in  which  she  drawls 
the  penultimate  note  of  the  song,  endeavouring  thereby  to 
produce  a  lasting  effect.  To  us  this  vicious  taste  completely 
nullified  the  vocalist's  previous  excellences,  and  made  us  en- 
tertain doubts  of  Miss  Bassano's  judgment;  but  when  we 
recalled  to  mind  the  numberless  English  songstresses  \i  ho  have 
recourse  to  this  useless  claptrap,  we  could  hardly  attach  par- 
ticular blame  to  the  young  artist,  to  whose  many  merits  we 
have  borne  now,  as  oft,  honorable  testimony.  AVe  would 
entreat  of  Miss  Bassano  to  eschew  altogether  this  vile,  modem, 
indigenous  propensity.  Miss  Dolby  gave  two  solos  in  the 
second  part,  and  produced  a  great  sensation  by  her  splendid 
singing.  The  first  was  an  air  of  Marcello's,  of  no  particular 
merit ;  the  second  was  Andre's  **  Unto  thee,  O  Lord,  I  cry," 
which  was  finely  adapted  to  Miss  Dolby's  contralto  voice; 
she  sang  it  with  exquisite  taste  and  passion,  and  was  rap- 
turously encored*  but — here  again  we  must  be  critical — she 
nearly  marred  all  the  effect  she  produced  by  an  ineffective  and 
useless  eadence  at  the  close.  Bach's  magnificent  corale, 
"  The  Firmament,  the  Heavens  that  stand,"  was  well  given 
by  the  choir,  and  the  concert  terminated  with  a  Hallelujah  of 
Mozart.  At  the  commencement  of  part  second  Miss  Mounsey 
performed  an  oigan  concerto  of  Handel's,  for  which  she  obtained 
the  unanimous  applause  of  the  audience. 

Stbw art's  Violin  Holder. — The  utility  of  this  simple 
and  highly  efficient  apparatus,  for  facilitating  the  holding  of 
the  Violin,  has  been  acknowledged  by  all  professors  of  that 


26 


THE  MUSICAL  WORLD. 


instrument,  and  is  now  in  course  of  being  universally  adopted. 
The  holder  may  be  carried  in  the  waistcoat  pocket,  and 
attached  to  the  violin  instantaneously,  when  required.  We 
ourselves  have  tested  the  use  of  the  instrument,  and  are  war- 
ranted in  strongly  recommending  so  admirable  and  efficient  a 
contrivance.  To  the  beginner,  above  all  others,  it  will  prove 
of  the  greatest  service  in  facilitating  his  progress,  and  render- 
ing compasaable,  in  a  brief  period,  difficulties  which  at  present^ 
can  only  be  surpassed  by  a  long  course  of  practice.  Mr. 
Stewart,  has  conferred  a  boon,  on  all  violin  players  by  his 
ingenious  invention. 

Choral  Harmonies  of  Nature. — Sitting  here,  I  can 
discriminate  almost  every  sort  of.  tree,  as  it  is  called  upon, 
either  solo  or  in  score,  to  take  part  in  the  grand  choral  hjar< 
monies  of  the  tempest.  Now  it  roars  deep  and  still  among 
the  oaks  behind  this  bookroom ;  anon,  breathes  hoarse  and 
hollow  upon  the  dark  old  Scotch  pines  of  the  cider-mill 
grove ;  groans  through  the  sycamores  and  lime  avenua,  **  that 
weather-fends  my  cell  ;*'  rattles  the  bony  boughs  of  the 
skeleton  ash  ;  howls  through  the  elms ;  hisses  (and  each 
obviously  different)  in  the  cedars,  spruce,  and  silver  fir; 
whistles  through  the  larch;  whispers  in  the  Weymouth  and 
aphornousli ;  and  suddenly  whisks  a  solitary  cypress  ;  while 
the  evergreens,  and  dry-leaved  hornbeams,  keep  up  a  constant 
accompanimqpt,  each  after  his  kind.— -ilfr.  Dovastorif  in 
Loudon's  Magazine  of  Natural  History. 

Her  Majesty's  Theatre. — So  much  has  been  said  re- 
specting a  new  I  talianopera  that  any  information  relating  to 
the  arrangements  for  the  season  at  Her  Majesty's  Theatre, 
cannot  fail  to  be  interesting.  From  authentic  sources  we 
have  iearnt  that  Mr.  Lumley,  in  providing  for  the  ensuing 
campaign,  has  succeeded  beyond  his  usual  success.  Three  o^ 
the  greatest  lyrical  comj>osers  of  the  age  will  contribute  new 
works  for  the  season.  Lablache,  a  host  in  himself,  wiU  be 
supported  by  Gardini  Fraschini  Superchi  (Verdi's  favourite 
hero,)  Colletti  and  Staudigl.  The  orchestra  is  composed  of 
artistes  of  tried  abilities,  at  tlie  head  of  whom  are  Tolbecque 
and  Nadaud,  and  a  chorus  of  extraordinary  power  has  been 
selected  with  great  care.  The  ballet  will  be  under  the  direction 
of  Paul  Taglioni  and  Perrot.  The  pas  de  quatre  and  the  pas 
de  dresses ^  will  be  revived,  with  the  aid  of  Tagliani,  Lucile 
Grahn,  Cerito,  Carlotta  Grisi,  and  Rbsati,  a  young  Italian 
dancer  of  distinguished  ability.  We  believe  we  might  add, 
that  the  vocal  department  will  be  ejiriched  by  other  talent  of 
no  ordinary  power. — Times. 

The  Duke  and  Duchess  of  Bedford  have  been  entertaining 
a  large  party  at  Woburn  Abbey;  and  the  "  Theatre- Royal, 
Woburh  Abbey,"  as  it  is  called,  has  been  opened  for  private 
theatricals,  the  performances  being  under  the  patronage  of  the 
Duchess  of  Norfolk.  The  actors  and  actresses  were  all 
distinguished  personages. 

Munich  Dec.  25. — Jbnny  Lind. — In  consequence  of  the 
extraordinary  sensation  she  created  on  her  last  appearance,  as 
Suzanna'  in  Mozart's  Figaro,  the  royal  management  of  the 
theatre,  by  particular  desire,  induced  this  inimitible  artist  to 
appeat  once  more  in  the  same  opera,  on  the  27th,  to  the 
delight  and  gratification  of  all  lovers  of  the  mnsical  art.  On 
Christmas  eve,  about  fiifty  admirers  of  the  Swedish  nightingale 
prepared  a  feast  at  the  Odeon,  in  honor  of  the  queen  of  song. 
On  her  entering  the  saloon,  which  was  splendidly  decorated, 
accompanied  by*  the  celebrated  hittorical  painter,  Kaulbach 
and  his  lady,  she  was  taken  by  surprise,  with  a  Weihnachts-. 
baun  (the  German  Christmas  tree)ornamented,  with  valuable 
presents.  Among  these  was  s  most  splended  hroche  from  his 
Royal  Highness  the  Duke  of  Bavaria.     The   entertainment 


was  enlivened  with  toasts  and  poetical  efiusionsj   in   honor  of 
he  fair  guest. — Morning  Post 

The  first  nioht  op  Robert  Mac  aire.— (From  Hervey's 
*'  Theatres  of  Paris.*')  After  continuing  his  dramatic  apprentice- 
ship at  the  Odeon,  where  he  was  still  condemned  to  play  the 
confidants,  though  in  tragedy  instead  of  in  spectacle, 
Fr6d^rick  offered  his  services  to  the  manager  of  the  i^mbiga, 
who  had  just  accepted  VAuherge  des  Adrets,  a  melodrama 
which  appeared  to  him  (and  was  in  reality)  sufficiently 
commonplace  to  adniit  of  the  principal  character  being 
intrusted  to  a  debutant.  He  did  not,  therefore,  scruple  to* 
admit  the  young  actor  into  his  company,  and  gave  him  the 
part  of  Redmond  to  study.  The  eventful  night  came,  and 
the  two  first  acts  of  the  piece  havinjg  gone  off  very  heavily, 
VAuh&rge  des  Adrets  was  generally  regarded  as  a  failnre. 
Fr^d6rick,  however,  suddenly  hit  upon  the  ingenious  idea  of 
making  Redmond  a  comic  instead  of  a  melodramatic  rascal,  and 
began  to  introduce  all  kinds  of  drolleries  into  his  part,  which 
backed  by  the  [equally  laughable  acting  of  Serres,  put  the 
audience  into  an  ecstacy  of  delight,  and  decided  the 
triumphant  success  of  piece  and  performer.  One  of  the 
authors  had  sent  his  bonne  to  see  the  first  representation,  and 
was  waiting  anxiously  for  her  return  in  order  to  know  the 
result,  when,  to  his  surprise  she  came  back  hardly-  able  to 
speak  for  laughing,  *  Ah,  sir,"she  exclaimed,  as  soon  as  he  . 
had '  recovered  her  breath,  ^  what  an  excellent  piece  !  how 
funny  it  is  I  I  am  sure  I  never  laughed  so  much  in  all  my 
life  V  'What !  cried  the  amazed  and  indignant  author,  'laugh 
at  my  melodramal  This  comes  of  intrusting  the  leading 
character  to  an  actor  sans  conscience  !*  However,  on  going 
himself  to  see  the  piece,  he  laughed  like  the  rest,  and 
following  the  example  of  his  collaborateur,  pocketed  his 
author's  dues  with  great  good  humour." 

Rachel. — She  does  not  come  on  the  stage  to  recite  a 
lesson  ;  but  to  speak  as  the  spirit  prompts  her ;  she  does  not 
act,  she  feels ;  with  her  adoption  of  the  Roman  or  Grecian- 
dress,  she  adopts  the  Roman  or  Grecian  character  ;  she  is  no 
longer  Rachel,  bnt  Camille  or  Hermione.  This  is  the  great 
secret  of  her  influence  over  the  masses ;  she  stands  before 
them,  but  is  not  of  them  ;  they  have  neither  time  nor 
inclination  to  criticise  her  dress,  her  manner,  or  her  look  ; 
they  are  spell-bound  by  the  reality  -vdth  which  she  invests- 
each  of  her  personations.  She  has  a  power,  unknown  to 
other  actresses,  of  ri vetting  the  attention  of  her  audience^ 
and  this  power  consists  in  her  entire  ignorance  of,  and 
contempt  for,  the  conventional  traditions  of  the  stage.  She 
imitated  no  one,  not  even  herself ;  but  •  keeps  perpetually 
alive  the  curiosity  and  interest  of  the  spectator  by  some  new 
reading  of  a  passage,  some  peculiar  look  or  gesture,  suggested 
by  the  inspiration  of  the  moment,  and  forgotten  by  her  as 
soon  as  that  moment  is  past«  The  very  claqueurs  themselves 
are  puzzled  ;  they  know  not  when  to  applaud,  or  when  to  be 
silent.  While  reserving  their  hired  enthusiasm  until  some 
cabalistic  word,  the  preconcerted  signal  for  its  explosion^ 
shall  have  been  pronounced,  they  are  confounded  by  the 
legitimate  bravos  of  the  audience,  who  are  impelled,  by  some 
magical  and  wholly  unexpected  effect  of  her  acting  to  applaud 
for  themsefves," 


NOTICE  TO  CORRESPONDENTS. 

Fabrtco. — We  have  to  many  original  articleit  on  handt  that  we  niust  beg 

to  decline,  toith  many  thanks,    our    Correspondent' t    humorovs   and 

entertaimng  anecdote. 
HABRXMQtON. — SubserifHom  are  than^vtty  rwceived  from  AmaitA^ 

for  the  Royal  Society  of  Muticiane,  by  the  treaturer,  Mr,  Parrj^,  llv 

Great  RutseU-ttreet,  Bkomsbury. 


THE  MUSICAL  WORLD, 


27 


ADVERTISEMENTS. 

WARREN'S 
20  GUINEA  COTTAGE  PIANO-FORTES 


ARE  NOW  SELLINO  AT  THE. 


Bfann&ctory,  71,  Zieadenhall  Street, 

(Removed from  1  and  2,  Liverpool  Street,  BUhoptgaU  Street.) 
"  These  Inttraments  are  well  manvfactured  of  the  best  seasoned  wood,  FINE 


FULL  TONE  AND  GOOD  TOUCH,  A  two  years  warranty  g:ivcn  with  each  inatm- 
ment,  ESTABLISHED  TWENTY-ONE  YEARS.  The  only  house  in  London 
where  a  good  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 


only).    SMALL  PROFIT  AND  QUICK  RETURNS  I 

JOHN  WARRBiW,  71,  IieadtahaU  St.,  opposite  Aldirate  Pwnp. 

MIU   HANDEL   GEAR 

PrewnU  his  respectful  compttments  to  his  Friends  and  Popils,  and  begs  to 
acquaint  them,  that  he  has  REMOVED  from  No.  96,  Newman  Street,  to 
No.  as,  OBARXtOTTB  STRBBT,    PORTLAND    PLACR, 

where  he  continues  to  gife  instructions  in  Sinfinr.— Pupils  attended  at  their  own 
Residences. 
23,  Charlotte  Street,  Portland  Place,  January,  1847. 


Mr.  imd  Mrs.  "W.  H.  WEISS 

Beg  to  inform  their  friends  and  the  Public,  that  they  have 

REMOVED  FROM  BEDFORD  STREET,  to 

S3,  Momlntton  PlACO,  Hampst«itd  Roadi 


NEW   QUADBILLES 
FOR    THE     NEW     YEAR, 


Bt  RUDOLPH  NORDMANN, 
THE    POPULAR  AUTHOR   OF    '' LES    RAVISSAMTES," 


&C.    &C. 


5.  Les  Ravissantes,  Solo  3b.,  Dneti  4s. 
0.  Nocet  Royales,  Solo  3s.,  Duets  4s. 

7.  Prince  of  Wales,  Solo  Ss.,  Duets  4s. 

8.  Aurore  Borealis,  Solo  3s.,  Duets  4s. 


1.  Les  Triompbants.  Solo  3s.,  Duets  4s. 
9.  Le  Rodeur,  Solo  3s.,  Duets  4s. 
9.  Les  Seduiiumtes,  Solo  3s.,  Duets  4s. 
4.  Sonnambula,  Duels  4s. ;    R«?eries, 
Duets  4s. 

NEW    POLKASi 

By  the  same  Author— LA  BELLE  UNION,  3  Polkas.  ftvorites^jMr  Henri  Herz, 
arranrds  par  Nordman,  Ss.  Also,  a  gpreat  variety  of  Polkas,  waltzes,  &c.,  by 
AdoLpn,  Marschan,  Strauss,  Labitzky,  &c.  &c. 

Pabllahed  by  T.  BOOSEY  and  Co.^ 
FOREIGN  MUSICilL  LIBRARY,  28,  HOLLES  STREET 


DR.   STOLBERG'S   VOICE   LOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years'  (rial,  for  improving 
the  voice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
detgymeni  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thioats. 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop: — 

"Dbab  Sir,~I  ain  happy  to  say  that  all  I  have  heard  respecting  the 
cficaey  of  Dr.  Stolbbrq^  celebrated  Lozbnoe  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
sereral  of  the  Losenges,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly, 

ANNA  BISHOP." 

"  18th  November  1846.— Jermyn  Street." 

Barclay  and  Sons,  Farringdon*street ;  Sutton  and  Co.,  Bow  Churchyard ; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Chuichyard ;  Sanger,  and 
Dietrichsen  and  Hannay',  Oxford-street ;  and  retail  by  all  respectable 
Ch3nni8ts  in  the  Kingdom. 


ASSEMBLY    ROOMS, 
LONG'S     ROTAL    HOTEL, 

CLIFTONi   NEAR   BRISTOL. 

Mrs.  Lono  begs  respectfully  to  inform  the  Public,  that  the  above  Rooms  are 
let  for  Concerts,  Lectures,  &c.,  on  the  folkmfaig  terms,  viz.— 


The  Large  Room,  for  a  Momiog 
Do.  Do.   for  an  Evening 

The  Smaller  Room  for  a  Morning 
Do.'  Do.    Ibr  an  Evenhig 

Clifton,  Bristol,  Dec.  18, 1846. 


.330 
.330 
.  1  11  6 
.    3  13    6 


JtflsUEM'S 

NEW  DANCE  MUSIC   FOR  THE  NEW  YEAR. 

The  British  Army  Quadrille,  the  American  and  Camelia  Polkas— Jullien.  The 
Garland  Waltt  and  Casino  Polka— Kcsnig.  Adrienne  Yalse  and  La  fla  du  Bal 
Galop— Barret.  The  above  compositions,  in  addition  to  being  the  newest  and 
most  fsshionable  of  the  day,  will  be  found  superior  to  an  others  in  their 
applicability  to  Dancing,  the  time  throughout  all  of  them  being  carefhlly  mariced 
for  that  especial  purpose. 

ROYAL  MUSICAL  CONSERVATORY, 
fil4^    RCOBNT    8TRBBT,    and    45,    KINO    8TRBBT. 


JUXsXaZEN'S 

VOCAL  MUSIC  FOR  THE  NEW  YEAR. 

JUST    PUBLISHED:- 

«The  Preference."  and  <*The  Castle  and  the  Cottage,"  Balfe;  YeneUaa 
Serenade,  Roeh  Albert;  «0  how  can  I  imile,"  Baker;  *'Oo  not  to  the 
Rhine,'*  Glover ;  "  O  meet  me  in  the  Fiow'ry  Dell,"  Hatton ;  and  *«  I  lov'd  thee 
in  those  eariv  years."  G.Linley.  The  above  new  and  fuhionable  compositions, 
which  are  admirably  adapted  fDr  the  festive  circle,  are  non  being  sung  with 
unprecedented  success  by  the  most  eminent  vocalisU  at  the  principal  concerts  iu 
town  and  country. 

ROYAb    MUSICAL    CON8BRVATORY, 

214,  REGENT  STREET,  AND  45,  KING  STREET. 


NEW   MUSIC,   BY  CLEMENT  WHITE. 

JUST    PUBLISHED,    BY    P.    E.    ROWE, 
Music  Seller^  I9j  Oeorsa  Street^  Plymouth^ 

And  to  be  had  at  all  the  Music  Sellers  in  London. 

<<  Ronald  "--Ballad       ...  ... 

"  He  never  can  be  mine  "—Ballad  -  - 

**  Waiting  fDr  thee  "-Serenade  .  *  -  -  > 


f.  4. 

a  0 

a  0 

a  0 


MEDICAL  GALVANISM. 

HORNE,  THORNTHWAITB,  Ae  WOOD,  Successors  to  E.  Palmbr,  133,  New- 
rate-street,  in  submitting:  their  improved  KLBCTRO-GALVANIC  MACHINES, 
beg  to  state,  that  they  have  availed  themselves  ot  the  discoveries  of  De  la  Rive, 
Faraday,  Smee,  and  others,  by  which  they  are  enabled  to  construct  a  ooil  with  all 
the  required  intensity  and  quantity  of  electricity  tor  medical  use,  thereby  greet- 
ing both  a  saving  of  expense  and  trouble  to  the  invalid,  and  placing  in  his  hands 
an  effective,  powerfhl,  and  simple  instrument,  that  may  be  excited  at  a  minute's 
notice,  and  without  trouble.— Price,  j^S.  3s.:  j^fl.  10s.;  and  ^^5.  fis. 

PHILOSOPHICAL  APPARATUS.— Every  description  of  Apparatus  connected 
with  Chemistry,  Hydraulics,  Hydrostatics^  Pneumatics,  Frictional  and  Voltaic 
Electricity,  Electro-Magnetism,  Electro-Metallurgy,  Optics,  (including  the  Dis- 
solving Views,  Photography,  &c.)  manufactured  and  sold  by  Horne,  1  horhthwaite 
and  Wood,  successors  to  Edward  Falmer,  las,  Newgate  Street,  London. 

Foreian  orders,  enclosing  a  remittance  or  order  for  payment  in  London, 
promptly  attended  to. 

I         I     ■   I      ■■   ■  ■  ■  III.  III. 

FOR  eOOUiS,  COLOS,  MRITATUm  OF  THE  THROAT,  HOARSERESS, 
PECTORAL  "'emu  LSI  ON, 

Prepared  strictly  according  to  the  ibrmula  of  a  distinguished  Physician  in  Paris. 

Tnis  preparation  having  ei\ioyed  great  celebrity  for  many  years  on  theContinent, 

as  well  as  undergoing  a  trial  for  some  time  in  private  practice  in  this  country,  is 


paaPAaao  only  by 

TUhNER   AND   SPRATT, 

English  and  Foreign  Chymists.  1,  TICHBORNB  STREET,  Haymarket. 

in  Bottles  at  Is.  Ud.  and  Is.  9d.  each.— Importers  of  French  Jnji^bes  and  Syrups. 


28 


THE  MTJSICAL  WORLD. 


J  U  L  L  I  E  N  '  S      ALBUM 

FOR  1847, 

A  most  beAutlfid  Obrtatnuui  Preamtt,   New  Year's  Gift, 
aa<l  Btrenaaf. 


M.JULLIEN 

Has  the  honor  to  annou^te  that  his 

MUSXCAI.    J9.DH0AL    FOR    1847 

•    Is  now'  Published,  and  Is  by  Ikr  the  best  w«rk  of  the  kind  that  has  ever 
appeared ;  contains  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AND 

FOURTEEN   OF   INSTRUMENTAL 

The  greater  part  of  which  ha?e  never  before  bten  pnbKshed,  the  copyrights 
having  been  purchased  expressly  for  this  wori(,  at  an  inmense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  conprise  those  pieces  only  whose 
decidea  success  has  induced  M.  iuLLiBN»  at  the  request  of  numerous 
influential  patrons,  to  inclode  them  in  this  Selection. 
.  The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include 

TWO   MAGNIFiCEHT  VXEW8 

or   THE 

Sntertot  oC  Cos»tit«^iirliien  tlTl^eatre, 

The  one  taken  during  the  brilliant  scene  exhibited  in  that  splendid  arena  of 
the  occasion  of  M.  JULLIGN'S  GRAND  BAL  MASaiJB;  the  other  a 
VIEW  OF  THR  THEATRE  TAKEN  DURING  THE  CONCERTS, 
the  grouping  of  the  figures  in  both  Views  exhibiting  the  audience  in  a 
manner  at  once  ^fe^lUee  and  elegant,  T»  those  w£o  have  visited  the 
Theatre  on  either  occaaion^the  Album  will  fiMrm  a  delightful  Souvenir,  and 
to  those  who  have  not  bad  the  opportunity,  it  wHI  convey  an  accurate  Idea  of 
the  gorgeous  scene. 

A   SFLEMDIPLT-COLOVKID 

PORTRAIT 

Of  the  celebrated  Danseuse, 


MUSICAL  LIBRARY. 

PIANO-FORTES  BY  BRQADWODD  &  WORNUM,  A  SERAPHINE 
BY  GUNTER,  A  llAftP  BYEKARD,  VIOJilNS,  VI0L0N('ELL0\ 
A  DOUBLE  BASS,  FLUTfiS  BY  RUDALL  AND  OTHERS^ 
A  SPANISH  MAHOGANY  BOOKCASE  FOR  MUSIC,  SINGLE 
AND  DOUBLE  VIOLIN  CASES,  STRINGING  AND  NULLING 
FOR  PIANO-FORTE  WORK,  &«. 

PUTTICK  %  SIMPSON, 

Aueiiofieera  of  Music  and  Literary  Property, 

WUI  8eU  Ivf  Anetton^ 

AT  THEIR  GREAT  ROOM,  191,  PICCADILLY, 

On  Tuesday^  Januaar  XS^  *a<1  foUowin«  day, 

At  One  precisely. 

The  valuable  and  extenaive  collection  of  Mnaic,  Piano-forte  Muaic,  Operas, 
Inatrumental  Muaic,  Handel's  Worki,  Sttcred  Music,  Vocal  Moaie,  Glees,  Worka 
on  the  History  and  Theorri  Musical  Instruments,  ftc.  Gatalegues  are  now  ready. 


In  the  admired  Pas,  LA  CASTIGLIANA. 
AN    ORIGINAL  SUBJECT, 

•*  T  H  E     FORTUNE     T  E  L  L  E  «/• 

Illustrating  Baker's  beautifol  Ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  thb  ALBUM,  and  in  proof  of  its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Cotttrihulors,  where  will   be  found  the  prfndpal  taleht  in  Europe:  viz. 

ROSSINI,  VERDI,  DONIZETTI,  BUBINI, 

ROCH-ALBBRT,  HCBLZKLL,      GOLDBERG,  SCHIRA, 

SCHULZ,  ST(£PBL,         DUPREZ,  JOSE  GOMIS, 

MASARNAU,  MARATZEK,    BALFE.  JULLIEN, 

BARRET,         ALEXANDER  LEE,  KCENIG, 

BAKER,  FARMER,  LINLEY, 

FITZBALL,      MOULD,  HURRBY, 

ALBERT  I^MITH,      DESMOND  RYAN,      fre. 

It  will  thus  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  will  contain  soom  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  ftc.,  a  careful 
selection  of  wnkh  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Continental  diletanti. 

PRICI   18s.  AMD  £l.   Is.    ' 

ROYAL   CONSERVATORY   OF    MUSIC 

214^  Begent-Sxbeet,  and  45^  King-Stebet. 


HATTON, 
KNIGHT, 
LAKE, 
FOREST, 


BXETER    HALIm 
ENGLISH    VOCAL    MUSIC. 

The  Committee  of  the  Hullah  Testimonial  Fund,  beg  leave  to  announce  a  series  of 

FOUR   CONCERTS, 

lUustrativeof  the  History  of  English  Vocal  Music. 

A    NEW    ORCAN 

Will  be  erected  by  Mr.  Robsoii,  expressly  for  these  Concerts.    An  Orchestra  will 

be  provided  for  the  second,  Ihird,  and  fourth  Concerts. 

THE  FIRST  CONCERT 

Will  be  held  on 
MOVDAY,    JANUARYia^ 

At  eigh»o*clock. 
■Prindpia  Vocal  Performers—Miss  RatalMth,  |dist  Dolby,  Mr.  Manvers,  and 

'Hckeu— Area,  Ss. ;  for  the  Series.  6s;JWestem  Gallery,  8s.  «d. ;  for  the  Series. 
10s.  6d.    Reserved  Seats,  7s. ;  for  the  {Ivies,  Jtl  Is.    May  be  procured  of  Mr. 
Parker,  PubUaher,  445,  West  Strand ;  of  the  principal  Music  Sell 
St.  Martin's  Lane, 


B  Sellers  s  and  at  101, 


ROMAN  STRINGS  FOR  VIOLINS  AND 
VIOLONCELLOS. 

J.  HART,  Mi,  Princes  Street,  SoliOy 

RcspcctftiUy  informs  the  ProlSession  and  Amateurs  of  Music,  that  he  has  just 
imported  a  CA8£  OF 

FINE    ROM/IN    STRINGS, 

And  made  arrangements  for  a  constant  supply  every  three  months .— J.  HART 
particularly  invitas  attention  to  his 

SntNDiO  60LUCTI0I  OF  VI01IN8  MO  ViOLOICELLOS, 

Comprising Sybadivabius,  Guabnbbius,  Amati,  and  other  celebrated  makers. 

ALSO, 

J.   STEWART'S 
CELEBEATBP 

REGISTERED  VIOLIN  AND  TENOR  SOLDER, 

So  hiffhly   recommended  by  MM.  Sainton,  ToLBBCouEt.  Blagbovb, 

H.  Fabmbb,  T.  Coobb,  Hopb,  Emiliami,  Nadauo,  &c.  &c. 

M  The  Trade  Supplied. 


DISTIN'S  MILITARY  QUADRILLE, 

.       .  (2nd  Edition)  ' 

Is  now  PabUabtd  Ito  the  PUnoforte^ 

BYDISTIN    AND    SONS, 
At  their  Mtuical  EstablishmesU^  dl»  Cranboum  Street,  Leicester 
.     Square,  Price  Ss,  ,  . 

Cornet  and  Flute  Accompanimentb,  Is.  extra. 
A  hurse  assortment  o(  Sax  Horns,  Sax  TVombas,  Sax  Comets,  &c.,  as  performed 
on  by  Messrs.  Dibtin,  on  Hve  occasions,  before  Her  Most  Gracioas  Majesty  the 
Queen :  and  lastly,  at  Anmdel  Castle,  oa  Tharsday.  December  Srd.  1846. 

Distin's  Comet  k  Pistons  (in  case)  je8  6s. ;  Distfn's  Bight-key'd  Cocoa  Plates, 
^n  2a— The  Comet  k  Piston  taught  by  Messrs.  Distin— Terms,  j^  8s.  perQr. 
A  Drawiag  of  the  Instrmnents  forwarded  on  receipt  of  two  postsge  stamps. 


Printed  and  rnbllshetl,  for  the  Proprietors,  at  the  *<  Nassau  Steam  Press,*' 
b"  WiLUAX  Spbncbb  Johnson,  66,  St.  Martin's  Lane,  in  the  parish  ol  St. 
Mfaitia's  in  the  Fields,  in  the  County  of  Middlesex ;  where  aU  communicaUons 
for  the  Editor  are  tobe  addressed  post  paid. ,  To  be  had  of  G.  Purkew,  Dean 
Street,  Sofao;  Strance,  Paternoster  Bows  Wisebeart,  Dublin:  and  all  Book- 
.eller.^Saturday,Anuary«h,1847.    ^.^^.^^^  by  ^^UU^ It: 


(PUSLltHEd    EVERY    SATURDA^Y    AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Tmnum  of  •oteerlptlim, p«r  Anntuu,  16s.  Stamped ;  Ifls.  VBst«mp«d|  to  b«  fMnNr»rdsd by  Hoasy  Or^^  or  PootMT*  ftte&ipo :   ' 
to  tkm  Poibliober,  W.  S.  JohMUum,  "HwMmwa,  Stem  Pross,"  60,  St.  Horlia'o  Xmm,  CThortng  G«ooo« 
^gjjflUMik.  Sabserlbor  to  ontitled  to  an  Admtootoa  to  an  Anmud  Oanc»yt>  oad  >  Piece  oif  BEmrte,  (royglor  Itnote  ol«o)  Monthly. 


Ko.  3— Vol.  XXIL 


SATUKDAY,  JANUARY  16,  1847. 


f  PRICE   THREEPENCE 
1  STAMPED,  fOUEPENCR 


SOetCTY  OF  BRITItH  MUSICtANS. 

At  the  Fifth  Concert,  which  we  have  hitherto  left  unnoticed, 
the  foITowing  programme  was  executed : — 

Part  I.— Quiotet.  in  E  Att,  Pianoforte,  Oboe,  Clarionet,  Horn,  and 
Baiftoon,  Messrs.  W.  Rae,  J^nnin^,  Key,  Callcott,  and  Keating.  Biotart. 
— Duet,  "  Remember  me,"  Miss  Men  Lyon  and  Miss  Cubitt,  T,  AT.  MtuHe, 
—Song,  "The  Biind  Boy/'  Mr.  Bodda,  Kate  locio-.— Serenade.  (MS.— 
first  time  of  performance).  Miss  EUen  Lyon,  M.  Ptfrry.— Trio,  (MS.) 
No.  2,  in  D,  Pianoforte.  Violin  and  Violoncello  (first  time  of  performance), 
Mr.  J.  B.  Calkin,  Master  Day,  and  Mr.  Lucas,  /.  B.  Ca/Jtm.— Quartet,  in 
G  minor,  (MS.),  two  Violins,  Tenor,  and  Violoncello,  Messrs.  Jot. 
BaaiaUr,  Gattie,  Thomas,  and  Quinton,  (his  first  appeamoce  at  these 
Conoerta),  H,  Qravei — Song;.  (MS)  "  I  never  can  forget  thee,  love,"  Mr. 
Bodda  (first  time  of  performance),  J.  R.  Tuf<on.~Song,  *'  The  Gipsy 
Maiden/'  Miss  Cubitt,  J.  F^ca.— Quintet,  in  D  minor.  No.  S.  Piano- 
forte, two  Violins,  Tenor,  and  Violoncello,  (first  time  of  performance  in 
this  country),  Messrs.  F.  B.  Jewson,  Gattie,  Jos.  Banister,  rbomas,  and 
Luraa,  SpoAr.— Teraetto,  **  Se  dirk."  (iignete.)  Paer,  Him  ipien  Lyon,. 
Hiss  Cubitt,  and  Mr.  Bodda.^The  Vocal  Music  accompanied  ou  the 
Pianoforte  by  Mr.  W.  Dorrell. 

It  is  loo  late  now  to  criticise  the  performance  of  this  pro- 
gramme^ or  the  materials  out  of  which  it  was  constituted.  The 
great  novelty  was  decidedly  Spohr's  quintet,  the  second  he 
has  produced.  With  all  the  characteristics  of  the  great 
nauaician's  style  this  qufutet  exhibits  many  features  that  are 
absolutely  new,  and  the  composition  as  a  whole  is  masterly, 
brilliant,  and  effective.  It  will,  doubtless,  wm  the  attention 
of  our  pianists  generally,  and  become  a  stock-piece  in  the 
approaching  concert  season.  Mr.  F.  B.  Jewson  sustained  the 
piahofbrte  part  with  great  ability.  His  execution  was  energetic 
and  finished,  and  his  general  reading  showed  how  entirely  the 
young  pianist  entered  into  the  feeling  and  intention  of  the 
.composer.  Mr.  Jewson  was  admirably  supported  by  Mr. 
Gattie  (first  violin),  Mr.  Joseph  Banister  (second  violin),  Mr. 
Thomas  (tenor),  and  Mr.  Lucas  (violoncello),  about  as 
capable  a  quartet  to  help  out  a  pianist  as  England  could  well 
muster— ail  accomplished  performers,  and  all  zealous  and 
right-'mjaded  artists.  The  quutet  was  well  received,  and  the 
.slow  movement  re-demanded,  though  the  executants  did  not 
respond  to  the  evident  desire  of  the  audience.  Mr.  Calkin's 
trio  and  Mr,  Graves'  quintet,  both  the  works  of  acknowledged 
favourites,  were  ably  executed  and  warmly  received.  Among 
the  vocal  pieces,  which  were  nearly  all  MS.,  we  must 
^qpecialise  Mr.  Mudie'a  charming  duet,  which  was  nicely 
sung  by  Misses  Ellen  Lyon  and  Cubitt.  It  is  worth  asking — 
why,  in  the  coarse  of  six  concerts,  we  have  only  been 
Favoured  with  one  composition  from  the  pen  of  this  excellent 
jnusician  ?  Mr.  Mudie's  absence  in  Edinburgh  is  certainly  no 
reason  for  overlooking  his  claims  upon  the  society  as  one  of 
the  best  composers  in  its  ranks.  A  word  must  record  our 
iavourable  opinion  of  Miss  Kate  Loder's  pleasing  song>  toe 
sevenxde  of,  Mr.  Ferry,  and  the)M»ng  of  Mr.  Tutton,  the 
■'j^otiiky  fiNnder  of  the  society,    Miab  Ellen  Lyon  to  one  and 


Mr.  Bodda  to  the  other  two  of  these  vocal  essays  rendered  th# 
fdlest  justice*  Fesca's  song  is  uninteresting,  and  Paer's  ttio 
somewhat  perruque ;  they  were  both  well  sung  however.  It 
is  unnecessary  to  praise  Mr.  Dorrell's  method  of  accoiiq[MLDying; 
it  has  been  long  and  honourably  proved. 

The  sixth  and  last  meeting  was  superior  in  all  raspects,  and 
perhaps,  indeed,  the  very  best  of  the  whole  aeries.  The 
following  programme,  rich  in  novalties,  instrumental  and 
vocal,  will  carry  out  our  verdict. 

Part  L—8onata  in  A,  Op.  69,  Pianoforte  and  VioldBeello,  MSMii 
S.  J.  Noble,  and  W.  F.  Reed,  (their  first  appearance  at  these  Concerts). 
Beethoven. — Duet,  "  Saper  vorrei,"  Miss  and  Mr.  Lockey,  Haydn.— Soof, 
**  A  Farewell,"  Miss  Duval,  Walter  C.  ilfac/arren.— Double  Quartet  in  B 
minor,  (MS.— ficat  time  of  performance)*  JV.  8.  UotkMtro;  Mcacrv. 
Thirlwall,  A.  Streather,  W.  Dawson,  T.  Westrq;),  WestlBke.R.  Bii^pove, 
W.  P.  Reed,  and  Gueat.-— Song,  with  pianoforte  duet  accompaniment 
*'  In  the  silver  beams  of  Luna,"  Misa-Lodcey,  Spohr  —Quintet  in  G  minor; 
Pianoforte,  Violin,  Tenor,  Violoncello,  and  Double  Bass,  Mr.  Lindsay 
Sloper  (his  first  appearance  at  these  Concerts),  Messrs.  ThiriwaH,  Westlake, 
W.  F.  Reed,  and  C.  Severn.  O.  A.  *#ar/flrran.^8cena,  (MS.)  "  Ument," 
Mr.  Lackey,  G.  Cpoptfr.— -Gran  d  Duet  in  F,  Pianoforte,  Mozart,  MesHS. 
Walter  C  Macfarren  and  W.  Dorrell. — ^The  Vocal  music  accompanied  on 
the  Pianoforte  by  Mr.  Walter  C.  Macfarren. 

Beethoven's  fine  sonata  found  able  interpreters  in  Messrs. 
S.  J.  Noble  and  W.  F.  Reed.  The  former,  one  of  th^ 
cleverest  pupils  of  the  best  of  .masters  (Mr.  W.  H.  Holmes), 
promises  to  rank  high  among  the  most  finished  pianista  in 
whose  education  the  Royal  Academy  has  had  a  hand.  Th^ 
latter,  a  brother  of  Mr.  T.  German  Reed,  the  director  ai 
the  Haymarket  musical  arrangements,  is  a  very  improving 
vicloncellist.  Mr.  and  Miss  Lockey  must  be  praised  for  intro- 
ducing a  gem  of  Haydn's  so  little  known  and  so  lovely 
withal.  This  is  not  the  first  mark  of  attention  whi^ 
Mr.  Lockey  has  paid  to  the  neglected  works  of  one  of  tht 
greatest  of  masters.  We  must  also  eulogise  the  excellent 
manner  in  which  the  duet  was  rendered  by  the  amiable 
brother  and  sister  artists.  Mr.  Walter  C.  Macfarren's  song 
must  be  admired  for  its  frank  and  pleasing  melody,  its  original 
and  musician-like  accompaniment,  and  its  faithful  adaptation 
to  the  sentiment  of  one  of  the  most  exquisite  of  Alfred 
Tennyson's  minor  poems.  Let  the  reader  judge  of  the 
beauty  of  the  verses  :— 

Flow  down,  cold  rivulet,  to  the  sea. 

Thy  tribute  wave  deliver ; 
No  more  by  thee  my  steps  shall  be 

For  ever  and  for  ever. 
Flow,  softly  flow  by  lawn  and  lea, 

A  rivulet,  then  a  river ; 
Ko  more  by  thee  my  steps  shall  be 

For  ever  and  for  ever. 
But  here  wiU  sigh  thine  alder  tree. 

And  here  thine  aspen  quiver. 
And  here  by  thee  will  hum  the  bee, 

For  ever  an 


f  mce  will  num  toe  uvr,  -w 


30 


THE  MUSICAL  WORLD. 


■  #i.  r   A  .     ..■. 

A  tliomariA  sua«  will  itrewn  o*er  thee, 

^  tbouQMul  moons  will  quiyer; 
But  not  by  the*  my  stepi  shtU  be 

For  ever  and  for  ever. 

Miss  Duval  sang  this  with  true  feeling,  and  merited  the 
encore  she  received.  Owing  to  the  non-arrival  of  some  pf 
the  violins,  the  instrumental  piece  that  was  to  follow  inras 
delayed,  and  Mr.  Cooper's  song— a  composition  aiming  at 
more  than  a  common  mark,  and  hitting  it  after  a  certain 
fashion,  followed  next.  Mr.  Lockey's  irreproachable  singing 
gained  an  eneere  whidi  the  gravity  of  Mr.  Cooper's  music 
eeuld  hardly  have  expected  to  attain.  The  double  quartet  of 
iir.  Rockstro  is  entitled  to  serious  attention  as  the  work  of  a 
very  young  and  a  very  promising  musician.  The  author  has 
studied  under  the  wing  of  the  greatest  living  composer — 
Felix  Mendelssohn ;  it  is  to  be  presumed,  therefore,  that  the 
gifts  of  nature  have  been  well  fostered.  TakiAg  him  as  we 
kt  present  find  him,  Mr.  Rockstro  has  dispositions  that  augur 
well  ^r  his  fature  career.  He  has  fancy,  earnestness,  strong 
musical  feeling,  and  a  taste  that  rejects  every  idea  that  is 
▼ttlgar.  With  these  qualities,  so  admirable  in  a  young 
ttusician,  he  combines  unusual  facility  in  the  mechanic^ 
resources  of  his  art.  His  double-quartet  is  a  very  favourable 
specimen  of  his  talents.  He  has  not  overlooked  the  examples 
of  this  grand  species  of  chamber  music  which  have  come  from 
Ae  pen  of  the  illustrious  Spohr ;  still  less  has  the  Ottetio  of  Men- 
delssohn escaped  his  observation.  His  love  for  these  authors 
has  led  him  occasionally  into  more  than  an  imitation  of  their 
beautiee.  Nor  has  Stemdale  Bennett  been  allowed  to  pass 
the  young  composer's  barrier  without  paying  the  toll.  But 
all  hns  augurs  favourably  of  his  discernment,  and  shows 
that  bis  ret^ng  has  been  in  the  right  direction.  The  first 
and  last  movements  of  the  double  quartet  are,  in  our  opinion, 
the  best.  They  are  well  constructed  and  developed  with 
clearness  and  decision,  while  the  subjects,  if  not  stiikingly 
original,  are  happy  and  well  contrasted.  We  would 
especially  call  attention  to  the  second  motivo  in  the  Allegro 
eon  Fuoco,  which  is  exceedingly  quaint,  and  is  doubled 
in  importance  by  the  ingenious  manner  in  which  it  is  handled 
further  on  in  the  movement.  The  Andante  has  some  points  of 
instrumentation  that  are  both  original  and  charming ;  but  in 
striving  after  constant  variety  of  colour  Mr.  Rockstro  has 
fidlen  into  the  sin  of  incoherency.  The  division  of  the  two 
quartets  becomes  meagre  and  monotonous  from  the  want  of 
contrast ;  and  this  gives  a  rambling  and  patchy  effect  to  the 
movement,  which  has  none  of  those  rich  and  grand  masses  of 
ftill  and  sustained  harmony  of  which  Spohr's  double-quartets 
present  such  fine  examples.  In  the  scherzo  there  is  not  much 
to  remark,  beyond  the  fact  of  its  being  rhythmical  and  pretty. 
The  reception  of  this  work  cannot  but  have  been  grateful  to 
Mr.  Rockstro,  and  the  appreciation  of  what  he  has  thus  far 
done  so  well  will,  doubtless,  stimulate  him  to  do  still  better. 
We  cannot  say  much  in  praise  of  the  execution  of  the  young 
eomposer's  work,  which  evidenced  a  want  of  rehearsal  that 
should  have  been  remedied  before  its  public  performance. 
The  composition  of  a  beginner  is  even  more  entitled  to  this 
careful  pre-examination  than  that  of  a  more  experienced  hand. 
The  first  step  is  the  great  step,  and  it  should  be  taken  with 
every  legitimate  support,  to  prevent  the  possibility  of  its 
being  a  false  one.  The  vocal  piece  which  followed,  **  In  the 
silver  beams  of  Luna,"  *  one  of  the  most  delicious  chamber- 
compositions  of  Spohr,  was  very  quietly  and  effectively  sung 
by  Miss  Lockey,  and  the  pianoforte  accompaniment  for  two 

•  Published  by  Wesad  and  Ca 


perfonaeri  w^s  capitally  played  by  Mr.  I^ndsay  Slopar  fnd 
Mr.  W.  C  M«ef9rreo. 

But  the  capital  morceau  of  t^e  whole  programme  was  the 
quintet  in  G  min  r,  by  G.  A.  Macfarren,  a  work  as  remark- 
able  for  its  musicianship  as  for  its  genius.  Mr.  Macfarren  put 
the  society  into  action  by  hb  symphony  in  F  minor,  the  first 
piece  peiformed  in  the  first  concert  ever  given  by  the 
members.  The  years  that  have  elapsed  have  gradually 
helped  to  the  full  development  of  that  genius  which  then 
promised  so  much.  It  is  now  in  its  full  meridian  and  the 
appearance  of  the  masterly  opera  of  Don  Quixote,  a  work  of 
profound  scholarship  and  the  highest  genius,  and  which  would 
confer  honour  upon  any  school  of  art,  at  once  established  its 
composer  in  the  estimation  of  musicians  among  the  first  of 
the  age.  Every  work  that  Mr.  Maclkrren  has  sioce  produced 
has  borne  the  stamp  of  matured  style  and  ripened  talent  which 
are  exemplified  to  such  rare  perfection  in  Don  Quixote.  The 
quintet  performed  on  Monday  night  is  one  of  the  completest 
and  most  masterly  of  these  works.  It  consists  of  an  alltgro 
in  6  minor,  a  grand  and  energetic  movement — a  barcarole  in 
the  major,  a  strain  of  soothing  melody — a  bolero  in  C  minor, 
full  of  character  and  elaborated  with  the  ingenuity  of  a 
thorough  musician — and  n  finale  in  the  original  key,  passionate 
and  elevatedj  and  sparkling  with  artistic  beauties  and  ideas 
at  once  new  and  striking.  From  beginning  to  end  this  quintet 
is  full  of  melody,  properly  so  called  ;  not  made  out  of  short 
impertinent  bits  of  tune,  but  of  phrases  long  drawn  out, 
developed  with  felicity,  colored  with  rhythmic  variety,  and 
satisfying  the  ear  and  the  understanding  with  cadences  well 
calculated  and  complete,  neither  weakened  nor  interrupted  by 
ante-climax  nor  ill-considered  and  extravagant  modulaUon.  To 
make  a  long  matter  short,  the  quintet  is  a  noble  work,  fill- 
filling  all  the  highest  conditions  of  art,  and  contenting  the 
judgment  while  it  delights  the  ear.  It  is  seldom  we  can  have 
the  gratification  of  speaking  thus  unreservedly  of  the  woric  of 
a  countryman,  and  we  are  too  happy  to  do  so,  when  occasion 
presents,  to  be  at  all  backward  in  uttering  what  we  think  to 
the  last  syllable.  It  gives  us  almost  equal  pleasure  to  speak 
of  the  execution  of  this  quintet.  Mr.  Lindsay  Sloper  made  his 
debut  in  the  principal  part,  and  proved  to  the  Society  the  value 
of  their  recent  acquisition  in  his  person.  He  played,  indeed,  so 
finely,  that  if  the  composer  were  not  thoroughly  satisfied  he 
must  be  very  hard  to  please.  The  other  executants  aided  him 
most  efficiently,  and  Mr.  C.  Severn  especially  must  be  praised 
for  the  admirable  style  in  which  he  rendered  the  very  elaborate 
obligate  bass  part  of  the  bolero^  a  feat  of  no  common  difficulty. 
The  applause  bestowed  by  the  audience  showed  clearly  their 
appreciation  of  the  quintet  and  its  performance.  Moaart's  fine 
pianoforte  duet  in  F  major,  was  executed  with  great  brilliancy 
and  power,  by  W.  C.  Macfarren  and  Mr.  Dorrell,  who  kindly 
consented  to  undertake  it  at  the  last  moment,  it  being  imprac- 
ticable to  make  up  another  quartet.  With  this  the  concert 
ended.  Mozart  was  the  climax — and  happily  so,  for  what 
could  come  after  him  with  effect  ?  Mr.  W.  C.  Macfarren  was 
the  accompanyist  of  the  evening,  and  performed  his  duty  most 
ably.  Thus  concluded  the  present  series  of  chamber  con- 
certs.    We  shall  shortly  refer  to  the  Society  in  general  terms. 

THE  RIVAL  ITAUAN  OPERAS. 

The  war  progresses  with  increasing  fury.  In  answer  to  a 
semi-official  statement  published  in  the  Moming  Poet  of 
Friday,  setting  forth  a  catalogue  of  the  attractions  which  Mr. 
Lamley  has  secured  for  the  coming  season,  the  Mormimg 
Ckroniole  pubUshea  a  rV^ader^jW[^|^  M  *^^  ^  "***•  C" 


THE  MUSICAL  WORLD. 


81 


markable  for  the  iaiih  it  repoaea  in  the  promises  of  the  rival 
mouthpiece.  As  the  extract  from  the  Times^  which  we  cited 
In  onr  last  week's  numher ,  contained  the  information  embodied 
in  the  Fotf  article,  stripped  of  its  garniture  of  irony  and 
recriinination,  it  is  unnecessary  for  us  to  do  more  than  refer 
our  readers  to  its  contents.  We  quote  the  answer  of  the 
ChnmicU  entire:—* 

^  Haa  Majistt's  Ta«ATa«,— A  lemi-otlcisl  ststement  m  to  the 
ensuiDg  camp^ign^  has  been  published  by  a  contemporary.  It  is  drawn 
up  with  that  flippancy  and  impertinence  which  paas  for  wit  and  humour 
amongst  waiting-maids  and  yellow  plu»hes,  but  aa  a  journal  of  more 
loljdity  contains  nearly  the  same  details,  the  article  Is  entitled  to  come 
notice,  although  it  cannot  be  accepted,  of  course,  aa  a  prospectua,  a 
document  now  of  paramount  importance  in  matters  operatical.  We 
learn,  then,  that  the  patriarch  Lablache  will  return  to  London  next 
season  we  presume  for  opera  hvffa  only,  in  which  he  will  be  right 
welcome.  Siaudigl,  as  we  stated  in  yesterday's  eolumns,  has  been  en- 
gaged \  his  singing  in  Italian  will  of  course  be  an  experiment,  but  it  is  one 
which  the  manager  has  done  quite  right  to  malce.  Superchi,  for  whom 
Verdi  did  fio<  composed  nam,  at  it  has  been  stated,  and  Coletti  are  amongst 
the  new  comers.  The  former  is  of  no  note,  the  latter  is  a  clever  artist, 
not  a  TamburiDi  or  a  Ronceni,  it  is  true,  but  at  all  events  s  welcome 
sabatitute  for  Fomasari.  Gardooi  and  Frasrhini  are  mentioned  as  the 
tenors.  The  former  will  be  uaeful  in  the  secondary  parts ;  the  latter  has 
a  fine  voice*  but  has  no  style.  We  have  given  the  names  of  all  the 
announced  vocalists,  for  the  lyrical  troupe  is  not  yet  completed  as  we  are 
aaored  a  very  unnecessary  declaration,  inasmuch  as  no  priiM  dmme 
nor  €9iUraUi  are  at  all  alluded  to.  For  the  ballet  there  ia  great  attraction 
and  strength.  Perrot  and  Paul  Taglioni  are  the  ballet  masters,  with 
Taglioai,  Cerito,  Carlotta  Grisi,  Lucile  Grahn,  and  a  new  Italian  ^- 
Miise  named  Rosati.  Three  new  ballets  "  by  three  poets  of  European 
lame,"  are  promised.  The  next  pledge  we  must  give  verbatim-^"  Three 
of  the  greatest  composers  of  Europe^  with  their  che/t  dfmuvre,  written 
expressly  for  hier  Majesty's  Theatre,  will  contribute  to  the  glories  of  the 
season."  This  is  incomprehensible.  If  three  new  operaa  are  to  be  written, 
they  cannot  be  ch^*  (Fceuoreu  yet— whatever  they  may  be— only,  the  puflF 
preliminary  even  is  rather  too  premature.  We  have  heard  of  Verdi's 
opera  founded  on  Lord  Byron's  "  Corsair" — of  Rossini's  pasticcio 
Mobert  Bruce,  that  has  just  failed  in  Paris,  and  of  Meyerbeer's  Cawip  of 
SUemi,  Verdi's  opera  was  promised  last  season,  but  it  was  never  heard 
of— a  fact  that  we  bear  in  miad  in  reading  aU  semi-official  promises 
that  vay  be  disavowed  at  the  end  of  a  season.  It  is  suted  that  a  chorus 
of  70  is  under  probation ;  and  the  singers,  ii  is  sdded,  sre  not  "  venerable 
mummies,''  but  "  young  snd  well  looicing."  This  may  be  gratifying  to 
roui  patrons,  but  the  muwcal  public  will  require  artists  who  understand 
their  o^rsl  duties.  The  orchestral  announcement  is  most  ominous. 
The  only  new  names  mentioned  are  L* Anglais,  a  good  ooutn- basso  fh>m 
Tufin^  Piatti.  the  violoocellist ;  Fizzi,  a  flautist  from  Milsn ;  and 
a  M.  Zeiss,  of  whom  we  know  nothing.  Of  the  old  artists 
specified  there  are  Tolbecque,  Nadaud,  Deloifre,  WaUa,  and  Wag- 
staff  (violins)  ;  and  Pilet  (violoncello).  If  these  players,  some 
of  whom  are  clever  artists,  snd  others  quite  incompetent,  are  the 
y  stsss^"  we  tremble  indeed  for  the  band.  No  conductor's  name 
is  mentioned  io  the  list.  On  the  whole,  there  is  nothing  striking  about 
the  introductory  Programme  but  the  ballet,  and  that  is  very  strong ;  but 
the  operatical  arrangements  look  at  present  weak  and  suspicious.  We 
are  glad  to  be  told  that  such  a  msss  of  talent  is  now  to  be  hsd  in  ^rope, 
as  the  MonHng  Chrcnioie  last  season  was  so  bitterly  reproached  for 
having  doubted  the  transcendentalism  of  the  "  triple  troupe."  If  we 
shall  have  contributed  to  the  importation  of  new  and  powerful  singers, 
and  to  the  production  of  operas,  expressly  composed  for  Her  Miyesty's 
Theatre,  we  shall  have  achieved  something  for  art  and  artisU,  and  we 
wiU  then  be  quite  wilhng  to  accept  the  welcome  signs  of  managerial 
penitmee  for  the  past.  The  public  wiU  be  the  gainers  by  honourable 
competition. 

There  is  more  sound  than  rea«M)n  in  this  answer.  As  Mr. 
Lumley  is  not  answerable  for  the  statements  of  the  Morning 
Posit  or  any  other  journal,  there  waa  no  necessity  for  making 
the  article  in  question  a  subject  of  serious  discussion.  But 
this  is  not  our  only  objection  to  the  Chnmkle  attack.  Among 
other  things  that  are  well  enough,  there  are  some  which  are 
ill  enough,  and  the  ensemble  is  a  gachis  of  impeachable  and 
unimpeachable  proposhioms.  £*.  gra ;— why  should  Lablache 
be  confined  to  comic  opera?  Is  he  not  as  great  in  Henry 
YIII,  aa  he  18  in  Dr.  Bartolo^in  Mose  as  in  Leporello-- 


and  80  on  ad  infinitum?  And  what  matters  it  whether 
Superchi  is  or  is  not  the  original  in  Yerdi^s  Ernani  ?  Does 
it  make  him  a  better  or  a  worse  singer,  to  have  had,  or  not 
to  have  had  the  first  experiment  in  an  opera  of  questionable 
merit  ?  Again  the  Chronicle  is  quite  abroad  about  Gardoni, 
who  is  beyond  controversy,  one  of  the  most  accomplished 
tenors  in  existence,  and  by  no  means  fitted  for  second  rate 
parts.  Lastly,  nobody  ever  hinted  that  Verdi  was  one  of  *'  the 
greatest  composers  in  Europe.*'  We  defy  the  Chronicle  to 
explain  that  assumption  on  its  part.  It  is  not  in  the  Post 
article,  and  if  not  there,  where  should  it  be  looked  for  ?  Why, 
too,  abuse  the  unoffending  members  of  Mr,  Lumley 's  orchestra  I 
and  why  omit  the  name  of  M.  Lavigne,  the  oboist,  certainly 
the  best  of  the  recent  acquisitions  ?  To  conclude,  why  omit 
the  names  of  MM.  St.  Leon  and  Louis  D*or  from  the  list  of 
danseurs  who  are  to  constitute  the  principals  of  the  ballet 
company  ?  (We  suppose  because  they  did  not  appear  in  the 
first  jrticle  which  the  Post  adventured.)  We  admire  inde- 
pendence, and  should  wish  this  opera-question  fairly  argued. 
But  let  praise  or  censure  be  the  result  of  refiection  and  con- 
viction, net  of  pique  and  prejudice.  The  Chronicle  will 
damage  its  own  cause  by  pursuing  any  other  course  than  a 
fedr  and  dispassionate  one. 


MRS.  BUTLER'S  RETURN  TO  THE  STAGE. 

The  following  correspondence  between  Mrs.  Butler  (Miss  * 
Fanny  Kemble)  and  Mr.  Bunn  has  been  published  in  the 
morning  papers : — 

"  London,  Jan.  9. 

**  Madam»— In  entertaining  the  question  tou  were  polite  enough  to 
submit  to  me -that  of  your  return  to  the  stage — I  was  actuated  by  a 
sincere  desire  to  resuscitate,  as  far  as  the  limited  talent  of  the  country 
would  admit,  the  precarious  poaition  of  the  drama— an  effort  only  to  be 
made  with  a  chauce  of  success,  through  the  moderate  expectations  of  its 
professors.  The  establishment  of  Drury  Lane,  being  exclusively  devoted 
to  opera  aad  ballet,  would  require  considerable  reinforcement  to  admit 
of  your  performances  being  sustained  in  a  manner  due  to  the  public, 
to  yourself,  and  to  the  character  of  the  theatre.  My  present  expenses 
are  nearly  £200  per  night,  and  I  could  not  calculate  on  a  less  nightly 
addition  than  £50,  in  the  engagement  of  extraneous  talent,  and  in  pre- 
paration. If,  then,  to  this  £250  per  night,  be  added  the  £100  demanded 
by  you,  there  would  be  a  certain  liability  of  £350.  on  each  of  your  per- 
formances. I  question  if  an  average  receipt  could  be  realised  to  that 
amount,  to  aay  nothing  of  the  detriment  caused  to  three  nights  in  the 
we.k  by  a  predominant  attraction  on  the  others.  If  it  would  suit  you 
to  lend  your  poweiful  co-operation  to  the  re-establishment  of  the  drama 
on  the  highest  terms  awarded  to  your  illustrious  relative,  Mrs.  Siddons, 
vis.  £50  per  night,  I  would  devote  all  my  means  to  the  Airtherance  of 
BO  Uudable  an  undertalciag,  and  immediately  engage  with  thoae  ariisies 
essential  to  the  upholding  of  it.— 1  have  the  honor  to  be.  Madam,  your 
obedient  servant,  A.  Bunn. 

"  Mrs.  Butler. 

"  P.  S.  If,  however,  your  performances  were  confined  to  readings  and 
to  dramatic  acenca,  I  think  the  nightly  sum  you  ask  might  be  realised." 

The  following  is  the  reply  of  Mrs.  Butler. 

**  Bannisters,  Southampton,  Jan.  10,  1847. 

"Sir— You  desired  I  would  state  my  lowest  terms  for  acting  at  Diury 
Lane,  and  I  did  so.  i  regret  that  they  did  not  suit  you.-*I  am.  Sir,  your 
obedient  aervant,  Faancss  Annx  Butlie. 

"  To  Alfred  Bunn,  Esq." 

This,  nevertheless  does  not  effect  the  question  of  Mrs. 
Butler'a  return  to  the  stage,  which  is  indeed  in  want  of  some 
renovatfig  stimulus. 

In  regard  to  this  correspondence  the  Morning  Post  remiirks 
as  follows  : — **  In  giving  publicity  to  the  above,  we  are 
enabled  to  throw  some  additional  light  on  the  matter.  About 
ten  days  since  the  Drury  Lane  management  received  a  com- 
munication from  Mrs.  Butler,  intimating  her  intention  of 
returning  to  the  stage,  and  suggesting  that,  as  Drury  Lane 


32 


THE  MUSICAL  WORLD. 


and  the  Haymarket  were  the  only  theatres  at  which  she  could 
appear  (CoveDt  Garden  heing  oat  of  the  question)  she  should 
be  glad  to  hear  the  views  of  the  former  management  on  the 
subject.  Mr.  Buna  wrote  to  Mrs.  Butler,  expressing  his 
perfect  readiness  to  enter  into  an  arrangement  with  her,  and 
requesting  to  be  informed  of  the  amount  of  remuneration  she 
would  expect.  Mrs.  Butler  in  reply  named  £100.  a  night, 
on  the  first  ten  nights  and  £75.  a  night  for  every  subsequent 
night,  with  an  additional  payment  to  be  agreed  upon  for  the 
production  of  one  or  two  of  her  own  new  plays.  (Here 
follows  the  correspondence  which  appeared  in  the  Standard,) 
In  justice  to  Mr.  Bonn  we  should  further  state,  that  in 
demanding  the  respective  sums  of  £100.  and  £75.  a  night, 
Mrs.  Butler  by  no  means  intended  those  terms  to  apply  to  an 
engagement  for  a  limited  number  of  performances.  The 
understanding  suggested  by  herself  was,  that  her  first  ap- 
pearance should  take  place  immediately,  and  that  her  per- 
formances should  follow  thrice  a  week  until  the  end  of  May." 
— Morning  Post. 


PERLET  AND   LEMAITRE. 

{From  the  Morning  Chronicle,) 

To  the  frequenters  of  this  theatre  the  transition  from  Perlet 
to  Lemaitre  could  not  but  offer  a  striking  contrast.  Perlet, 
so  studied  and  so  polished — Lemsiitre,  so  droll,  but  so  original. 
Both  admirable  and  entertaining  in  their  way,  their  object  is 
attained  through  a  very  different  source.  Perlet's  perform- 
ances are  the  result  of  sound  observation  and  patient  study 
of  human  nature  in  various  conditions  of  life,  and  as  affected 
by  various  circumstances.  The  endless  eccentricities  of 
character  are  not  overlooked  by  him,  but  in  embodying  them 
he  strives  (and  how  successfully  !)  to  subdue  rather  than 
exaggerate  them,  rendering  them  conformable,  within  limits, 
to  a  general  standard.  Even  in  the  accidental  extravagancies 
of  real  life,  he  observes  that  there  is  still  a  strong  prevailing 
tendency  to  a  moderation  and  uniformity ;  witness  his  admirable 
lesson  on  the  act  of  drunkenness  which  he  gives  us  in  Les  Trois 
Crispins,  wherein  he  shows  that  the  real  drunkard  is  not  half 
83  unsteady  as  his  imitator,  and  for  the  reason  that  the  real 
drunkard  is  constantly  striving  to  keep  his  perpendicular,  and 
the  assumed  drunkard  constantly  exerting  himself  to  lose  it. 
Perlet  is  a  splendid  artist.  His  school  is  of  the  highest  order,  and 
his  assumptions  are  always  marked  with  the  happiest  imitative 
powers,  regulated  by  the  soundest  judgment.  With  this 
preparation,  and  tliis  guiding  principle,  Perlet  always  plays 
up  to  himself,  and  within  himself — he  never  plays  to  an 
audience.  We  never  kn^w  an  actor  in  comedy  in  whom  the 
power  of  abstraction  was  more  remakably  exemplified.  In 
Lemaitre  we  find  the  yeif^  reverse  of  all  these  qualities. 
He  is  no  imitator ;  he  has  studied  nobody  but  himself,  and 
the  whims  and  humours  of  his  audience.  Yet  he  is.  natural — 
he  is  all  nature,  exuberant  nature.  But  it  is  his  own  nature, 
his  own  humour,  totally  unschooled  by  the  observation  of 
other  natures.  He  is  a  spoiled  child,  Perlet  an  industrious 
patient  scholar.  Where  Perlet  could  tame  down  a  natural 
propensity  to  extravagance,  or  subdue  an  eccentric  habit 
within  the  limits  assigned  by  his  judgment,  Lem&itie  hugs 
himself  in  his  extravangancies,  and  cultivates  eccentricity  as 
the  principle  and  not  the  accident.  Let  it  not  be  supposed 
that  we  would  detract  from  the  merit  of  M.  Lemftitre,  or 
grudge  our  tribute  of  applause  and  thanks  for  the  huge  mirth 
he  occasions  us  ;  far  from  it,  he  is  at  once  one  of  the  most 
original  and  entertaining  of  low  comedians  on  the  stage^  but 


his  advent  immediately  upon  the  heels  of  the  most  excellent 
existing  high  comedian  suggested  reflections  upon  the  diverse 
features  of  their  respective  schools  upon  which  it  was 
impossible  to  avoid  offering  a  passing  word.  [The .  above 
excellent  remarks  have  forestalled  some  observation  it  was 
our  intention  to  offer  on  the  same  subject.  As  we  agree 
entirely  with  the  clever  writer,  it  is  unnecessary  for  us  to 
repeat  what  he  has  so  well  and  forcibly  expressed. — £d;  M«W*] 

CHRIST  CHURCH,  COVENTRY. 

(Fr&m  a  CorraspondetU.) 
All  who  feel  an  interest  in  any  matter  connected  with  the 
progress  of  music,  and  especially  with  that  lofty  style  of  it, 
which  tends  to  dignify  and  enoble  the  service  of  our  sane* 
tuaries,  will  read  with  pleasure  the  subjoined  particulars  of  a 
new  organ  recently  erected  in  this  church.  The  musical 
portion  of  the  service  at  Christ  Church  had  long  been  a 
subject  of  universal  complaint,  having  been  conducted  witk 
an  instrument  originally  intended  for  a  private  apartment 
(the  gift  of  a  gentleman  late  of  this  city),  and  therefore 
truly  defective  and  inefficiei^t.  In  the  course  of  the  past 
year  a  subscription  was  commenced  and  liberally  responded 
to,  for  the  purpose  of  obtaining  an  instrument  worthy  of 
its  position  in  this  beautiful  church.  The  builder  chosen  was 
Mr.  John  Banfield  formerly  of  London,  but  now  resident  in 
Birmingham ;  who  has  accomplished  his  task  in  a  manner 
exceeding  the  most  sanguine  expectations  of  the  committee* 
The  organ  which  is  not  surpassed  by  any  for  the  fulness, 
grandeur,  and  sweetness  of  its  tones,  consists  of  the  fol- 
lowing stops : — 


Greftt  Organ,  or  Lower  Maaual, 
(compass,  from  6G  to  F  in   alt., 
with  G6  sharp.) 
Open  Diapason  metal  throughout. 

Stopt  ditto. 
Dble.  Diapason  (Stopt)  throughout 

Principal. 

Twelfth. 

Fifteenth. 

Sesquialtcra,  4  Ranks. 

Trumpet  through. 

Clarion  ditto. 

Cremona  to  E  below  middle. 
The    SweU   Organ,    or   Upper 
Manual,  compass   from  E  below 
middle  to  F  in  alt.,  contains— 

Stopt  Dinpason. 

Open  ditto. 

Principal. 

Hautboy. 

Horn. 
Harmonicon;  with  Double  and 
Stopt  Diapaaon  Bass  carried  down 
toGG. 


There  are  two  Octaves,  and  two 

notes  of  Pedal  Pipes  fVom  CCC  to 

£,  full  scale,  with  the  same  amount 

of  German  Pedals. 

The  mechanism  inchide»^ 

Coupler,    Swell,   and    Great 

M  anoals. 
Pedals  Great. 

Pedals  Choir,  or  Upper  Manual 
Pedal  Pipes;   and   six  Co«i- 
position  Pedals,  to  give  the 
following-  mixtures,  ^l».  :— 
Stopt  Diapason  and  Cremona. 
Double  Diapason. 
Stopt  Ditto. 
Diapasons  and  Principal. 
Diapasons,  Principal,  Twelfth, 

Fifteenth,  and  Clarion. 
Full  Organ. 
The  case,  designed  by  Mr.  Ak- 
royd,  of  Coventry,  is  extremely 
bandsoflM  and  elegant,  and  in 
perfect  Iceeping  with  the  archi- 
tecture of  the  church. 


By  the  interest  and  exertions  of  Mr.  Siuims,  tbe  organist 
of  St.  Michael's  and  Christ  Church,  (to  whom  the  order  for 
the  organ  was  entrusted,  and  who  liberally  presented  a 
donation  of  £90),  the  whole  has  been  completed  at  a  cost 
of  £330.  it  was  opened  on  Sunday,  the  27th  of  December 
last  by  Mr.  Simms,  who  presided  with  his  usual  taste  and 
ability — the  musical  service  was  ably  sustained  by  the  Co- 
ventry Choral  Society  under  his  direction. 


FEUX  CODEFROID. 

In  a  review  of  two  of  its  late  concerts,  dignified   by  the 
appellation  of  fetes^  tbe  France  Musieak  thus  apostrophises 


THE  MUSICAL  WORLD. 


88 


ike  toloit  of  oar  excellent  friend*  the  well-known  harpist 
mnd  mnsidan-^'  Felix  Godefroid  is  the  king  of  harpists  ! ' 
Is  this  artfst  a  giant,  who  at  his  first  appearance,  has  heen 
received  with  defeaning  applauses?  He  is  indeed  a  tmly 
musical  genius.  Fancy  in  your  own  mind,  a  little  man  with 
around  and  open  countenance,  with  a  high  forehead,  eyes 
dark  and  piercing,  large  hlack  hrows  and  black  hair,  of 
twenty-six  years  or  upwards,  and  you  will  have  the  portrait 
of  FdUx  Godefroid.  Behold  him  at  the  moment  when  he 
strikes  the  harp  under  his  powerful  grasp :  his  little  hands  and 
lower  limbs  seem  to  have  some  superhuman  power.  If 
Godefroid  is  not  of  the  family  of  giants  as  regards  size,  he  is 
80  at  least  as  far  as  regards  intellect,  and  that  is  infinitely 
better.  Hear  his  fantasia  on  Robert  le  Didble ;  what  an 
astonishing  composition — for  Godefroid  is  also  a  grand  com- 
poser !«~The  most  beautifol  songs  of  the  lyric  drama  are 
reproduced  in  every  manner  with  an  originality  of  execution, 
which  was  hitherto  considered  an  impossibility  on  the  harp. 
There  are  two  chefs  d*oeuvre  in  this  morceau,  the  chef  d*oeuvre 
of  Meyerbeer,  and  that  of  Godefroid.  Twenty  times  was  the 
artist  interrupted  in  the  performance  by  bravos,  and  at  the 
end  he  was  recalled  with  enthusiastic  acclamations. 

Hear  him  yet  a<]:ain:  Grodefroid  executed  one  of  those 
charming  fieintasias,  the  motive  of  which  Paganini  has  im- 
mortafised.  It  is  impossible  to  know  anything  more  poetical, 
more  seductive  than  this  bagatelle,  where  tenderness  and 
irony  are  intercommingled,  in  so  bizarre  a  fashion.  It  was 
the  Camaval  de  Venise  with  its  sports,  its  follies  and  its 
caprices.  This  brilliant  composition,  bristling  with  the  most 
arduous  difficulties,  fraught  with  the  most  marvellous  traits, 
replete  with  so  much  smiling,  so  much  passion,  so  many 
freaks  of  folly  and  intrepidity,  finishes  with  a  bold  pizzicato. 
The  saloon  was  electrified  by  prodigies  of  execution,  the 
audience  clap  their  hands,  they  recall  the  artist  they  make 
him  repeat  this  admirable  fantasia,  to  which  the  performer 
added  new  feats  of  difficulty,  new  and  splendid  improvisations ; 
the  triumph  was  complete.  At  the  second  concert,  in  place 
of  repeating  the  Camaval  de  Venise,  which  the  audience  also 
re-demanded,  he  performed  his  False  des  Sylphest  a  charming 
composition,  where  the  air  is  deliciously  blended  with  the 
fantasia,  whilst  one  hand  pursues  the  theme  with  a  constancy 
thai  nothing  can  disconcert,  the  other  hand  more  rapid  than 
the  empyrean  swallow,  fiings  round  a  thousand  notes  coquettish, 
rapid,  aeriel,  sparkling,  transparent  as  pearls.  This  morceau, 
like  the  two  others,  has  been  received  with  the  most  maddening 
applauMS.  One  word  for  the  harp  upon  which  Mons.  Code* 
froid  performed.  The  instrument,  manufactured  by  Erard,  of 
Ix>ndon  and  Paris,  is  a  veritable  master-piece  of  mechanism. 
Let  the  greatest  detractor  of  the  harp  hear  £rard*s  instru- 
ment, and  I -immediately  set  him  down  as  a  converted  man. 
[We  should  feel  sorry  had  the  amiable  and  accomplished  harpist 
no  better  eulogist  than  the  writer,  whose  article  we  have  just 
translated.  M.  Godefroid  is  a  highly  talented  musician  as  well 
as  a  very  superior  performer  on  the  harp,  and  is  deserving  of  a 
more  crediuble  criticism  than  the  one  we  have  selected,  which 
we  have  given,  partly  to  exhibit  the  French  mode  of  eulogizing 
a  favorite  performer.  In  oor  humble  estimation,  the  article  is 
a  curiosity.— £d.  M.  W.] 

On  dit. — It  is  reported  that  sundry  of  the  members  of  the 
press  have  subscribed  together,  to  present  a  piece  of  plate  to  the 
musical  editor  of  the  Morning  Chronicle,  as  an  acknowledge- 
ment of  their  sense  of  the  independent  course  he  has  pursued 
in  regard  to  the  rival  Italian  operas.  Tl)is  is  a  new  interpre- 
tation of  the  word  independent. 


VBS     AmHIVIBS. 

;f row  tie  flrerman  ef  Orotic. 

(Continued  flrom  pm§9  19.) 
PART     I . C  HAPTER     XV. 

At  last  the  morning,  so  anxiously  expected,  dawned  upon 
Edward,  and  many  quests  successively  arrived.  Invitations  had 
been  sent  to  a  considerable  distance,  and  several  persons  who  had 
missed  the  laying  of  the  foundation  stone,  which  had  been  de- 
scribed as  very  ioteresting,  felt  the  more  inclined  not  to  miss  this 
second  solemnity. 

Before  dinner,  the  carpenters  appeared  with  music  in  the  court- 
yard, hearing  their  splendid  wreath  which  was  composed  of  many 
waving  hoops  of  leaves  and  flowers,  placed  in  gradation,  one  over 
the  otner.  Thev  uttered  their  greetings,  and  requested  the  ladies 
to  grant  them  silk  ribands  and  handkerchiefs  for  the  usual  decora- 
tion. While  the  gentry  dined,  thev  continued  their  joyous  proces- 
sion ;  and  after  thev  had  remainecl  a  long  time  in  the  village,  and 
there,  also,  had  obtained  several  ribands  from  the  female  residents* 
thev,  at  last,  proceeded,  accompanied  and  expected  by  a  great 
multitude,  to  the  heights  upon  which  the  house  stood. 

When  dinner  was  over,  Charlotte,  in  some  measure,  kept  back 
the  company.  She  desired  no  solemn,  formal  procession*  and  thev 
therefore  assembled  on  the  spot,  in  distinct  parties,  without  rank 
or  order.  Charlotte  delated  with  Ottilia,  but  this  did  not  improve 
the  matter,  for  Otdliaheing  nearly  the  last  who  appeared,  it  seemed 
as  if  the  drums  and  trumpets  had  waited  for  her  alone,  as  if  the 
whole  solemnity  was  to  b^in  immediately  on  her  arrivd. 

To  take  off  the  rough  appearance  of  the  house,  it  had  been 
adorned  in  architectural  st^le,  with  green  twigs  and  flowers,  accord- 
ing  to  a  plan  of  the  Captain's,  but  without  his  knowledge.  Edward 
htul  caused  the  architect  to  mark  the  date  with  flowers  on  the  pedi- 
ment. This  was  all  very  well,  but  the  Captain  came  in  time  to 
prevent  the  name  of  Ottilia  from  being  likewise  introduced.  She 
managed,  with  a  great  deal  of  tact,  to  frustrate  this  scheme,  and  to 
remove  the  letters  which  were  already  formed  of  flowers. 

The  wreath  was  sot  out,  and  was  visible  at  a  great  distance 
round.  The  ribands  and  kerchiefs  fluttered  in  the  air,  and  a  short 
oration  was  rendered  almost  inaudible  by  the  wind.  The  solemnity 
was  now  at  an  end,  and  the  dance  in  front  of  the  edifice,  upon 
the  levelled  space,  which  had  been  surrounded  with  leafy  brancnes, 
was  now  to  begin.  A  spruce  young  carpenter  led  up  to  Edward  a 
smart  peasant  girl,  and  asked  Ottilia,  who  stood  by,  to  join  in  the 
dance.  The  two  couple  soon  found  others  to  follow  their  example, 
and  Edward  roanaffed  to  change  his  position,  by  taking  the  hand  of 
Ottilia  and  going  through  the  figure  with  her.  The  youn^r  mem- 
bers of  the  party  mixed  joyou«ly  in  the  dance  of  the  rustics,  while 
the  elder  folks  amused  themselves  by  looking  on. 

Before  they  dispersed  about  the  walks,  it  was  agreed  that  they 
should  meet  again  at  sunset  by  the  plane  trees.  Edward  was  first 
at  the  spot,  arranged  every  thing,  and  consulted  with  the  valet  who 
had  to  manage  the  fireworks  on  the  opposite  side. 

The  Captain  remarked  these  preparations  with  some  displeasure. 
He  wished  to  point  out  to  Edward  what  a  great  crowd  of  spectators 
would  be  occasioned,  but  his  friend  asked  him  somewhat  sharply, 
to  leave  to  him  alone  this  part  of  the  solemnity.  The  people  nad 
already  thronged  to  the  dikes  which  had  been  cut  on  the  upper  side 
and  despoiled  of  their  turf,  so  that  the  soil  was  uneven  and  insecure. 
The  sun  set ;  twilight  approached,  and  during  the  interval  before  a 
greater  darkness,  the  guests  under  the  plane-trees  were  served  with 
refreshments.  The  spot  was  found  incomparable,  and  pleasing  an- 
ticipations were  formed  as  to  the  future  view  of  the  lake,  so  wide, 
and  surrounded  with  such  various  objects. 

All  evening  so  calm  that  not  a  breath  of  air  was  stirrinp;  promised 
well  for  the  night's  entertainment,  when  suddenly  a  frightful  cry 
Great  masses  of  earth  had  detached  themselves  firom  the 


dikes,  and  many  persons  were  seen  to  fall  into  the  water.  The 
ground  had  given  way  under  the  pressure  of  the  ever  increasing 
multitude.  Every  one  wished  for  the  best  place,  and  now  none 
could  move  either  backwards  or  forwards. 

All  sprang  up,  and  hastened  towards  the  spot,  but  for  the  sake 
moie  of  looking  than  of  acting  ;  for  what  was  to  be  dona  when  no 
one's  exertions  would  avail?  The  Captain,  with  a  few  of  the 
more  resolute,  quickly  made  the  crowd  move  down  from  the  dike 


M 


THE  MUSICAL   WORLD. 


towards  the  bank^  that  sufficient  room  might  be  afforded  to  the 
useful  persons  who  were  endeavouring  to  pull  out  those  who  were 
sinking.  Partly  by  their  own  exertions,  partly  by  those  uf  others, 
the  whole  party  were  now  brought  upon  dry  ground,  with  the 
single  exception  of  a  boy,  who,  by  striving  too  anxiously,  bad  moved 
away  from  the  dike,  instead  of  approaching  it.  His  strength  ap- 
peared to  fail  him,  and  now  only  a  foot,  now  a  hand  was  seen  above 
tlie  surface.  Unfortunately,  the  boat  was  on  the  opposite  side, 
filled  with  fireworks ;  it  could  only  be  moved  slowly,  and  assistance 
was  delayed.  The  Captain  had  taken  his  resolution  ;  he  cast  aside 
his  upper  garments,  all  eyes  were  directed  towards  him,  and  his 
Able,  po^-erful  form  inspired  every  one  with  confidence ;  but  a 
fthriek  of  astonishment  arose  from  the  throng  when  he  plunged  into 
the  water.  Followed  hv  the  eyes  of  all,  he  soon,  as  an  experienced 
swimmer,  reached  the  boy,  and  brought  him,  apparently  lifeless,  to 
the  dike. 

In  the  meanwhile  the  boat  came  up,  the  Captain  entered  it,  and 
made  accurate  inquiries  of  those  present,  whether  all  were  really 
saved.  The  surgeon  took  charge  of  the  lifeless  boy ;  Charlotte 
eame  up  and  requested  the  Captain  to  take  care  only  of  himself,  to 
return  to.  the  castle,  and  to  change  his  clothes.  He  delayed  until 
some  cool,  intelligent  persons,  who  had  themselves  assisted  in 
saving  several  lives,  assured  him  in  the  most  solemn  manner,  that 
all  were  now  in  safety. 

Charlotte  sees  him  return  home,  remembers  that  the  wine  and 
te&i,  and  other  necessaries,  are  all  locked  up,  and  thinks  that  in  such 
eases  people  generally  make  mistakes,  she  hurries  through  the 
scattered  party,  which  is,  however,  still  under  the  plane-trees. 
Edward  is  occupied  in  tellinj^  everyone  to  remain,  informing  1  hem 
that  in  a  short  time  he  will  give  the  signal,  and  the  firework  will 
begin.  Charlotte  approaches,  and  rec[ucsts  him  to  ))ostpone  an 
entertainment,  which  would  now  be  misplaced,  and  which,  indeed, 
cbuld  not  be  enjoyed  at  the  present  moment.  She  reminds  him 
what  ts  due  to  the  person  recently  saved,  and  to  him  who  » aved 
him. 

"  The  surgeon  will  do  his  duty,"  replied  Edward,  "  he  Is  pro- 
-vlded  with  everything,  and  all  Interference  on  our  part  would  be  a 
mere  hindrance." 

Charlotte  adhered  to  her  purpose,  and  beckbned  to  Ottilia,  who 
at  once  prepared  to  depart,  when  Edward,  catching  her  hand, 
dxclaimed — "  We  will  not  finish  this  day  in  an  hospital !  She  is 
too  good  for  a  sister  of  charity.  Without  our  assistance  the  ap- 
parently dead  can  wake,  and' the  living  can  dry  themselves." 

Chsrlotte  was  silent,  and  departed.  Some  followed  her — others 
followed  these  ;  in  fine,  as  no  one  wished  to  be  the  last,  all  followed. 
Edward  and  Ottilia  found  themselves  alone  under  the  plane-trees. 
He  insisted  that  she  should  remain,  notwithstanding  her  urgent, 
anxious  entreaties  that  ho  would  return  with  her  to  the  castle. 

*•  No,  Ottilia,"  he  cried,  *•  the  extraordinary  does  not  happen 
on  the  smooth,  ordinary  path.  The  surprising  occurrence  of  this 
evening  brings  us  more  rapidly  together.  Yon  are  mine !  I  have 
often  said  it,  and  sworn  it  already.  We  will  no  more  say  it,  or 
swear  it— now  it  shall  be." 

The  boat  came  over  ftom  the  opposite  side,  rowed  by  the  valet, 
^ho  asked,  with  some  conf^ision,  when  the  firework  was  to  begin. 

*  Fire  it  off  now,"  exclaimed  Edward.  ••  It  was  ordered  for  you 
alone,  Ottilia,  and  now  you  alone  shall  se^  it.  Allow  me  to  sit  by 
you  and  look  at  it  also!"  Modestly  he  placed  himself  at  her  side, 
without  once  touching  hef. 

Bockets  ascended  whizzing;  maroons  thundered,  balls  of  fire 
went  up,  S<|uibs  turned  about  and  banged,  wheels  hissed,  first  singly, 
then  in  pairs,  then  all  together,  and  ever  with  increased  violence. 
Edward,  whose  bosom  ws'  on  fire,  pursued  these  fiery  apparitions 
with'a  lively  glance  of  satisfaction,  while  to  Ottilia's  gentle,  but 
excited  mind  this  noisy  flashing  appearance  and  disappearance 
was  rather  painful  than  pleasant.  She  timidly  leaned  against 
Edward,  to  whom  this  approach,  this  confidence  gave  a  perfect 
feeling  that  she  now  belonged  to  him  entirely. 

Night  had  scarcely  resumed  her  dominion  than  the  moon  arose, 
and  illumined  the  paths  of  the  returning  pair.  A  figure,  with  a 
hat  in  its  hand,  stopped  before  them,  and  asked  them  for  alms, 
saying  that  he  had  been  overlooked  on  the  occasion  of  this  fes- 
tivitv.  The  moon  shone  flill  on  his  face,  and  Edward  recognised 
the  featnfet  of  th6  beggar  who  mtA  to  hitmsive  on  a  former  occa- 


sion. Bat,  in  his  pf  :'sent  happy  state,  he  ooald  not  be  ailgr^,  ii6r 
could  it  once  occur  that  on  this  day  a  heavy  penalty  had  beeft 
imposed  upon  begging.  He  did  not  feel  long  m  his  pocket,  but 
flung  the  man  a  piece  of  gold.  He  would  willingly  have  made 
every  one  happy,  as  his  own  happiness  seemed  boundless. 

At  home  all  had  happened  as  had  been  wished,  llie  activity  of 
the  surgeon,  the  circumstance  that  all  necessafy  articles  were 
ready  at  hand,  the  assistance  of  Charlotte— all  woriced  together, 
and  the  boy  was  restored  to  life.  The  gu6sts  departed,  both  to 
see  something  of  the  fireworks  at  a  distance,  and  to  readi  their 
peaceful  homes  after  such  scenes  of  confusion. 

The  Captain,  who  bad  quickly  changed  his  clothes,  had  taken  an 
active  part  in  the  attendance  on  the  boy.  ^  All  was  quieted,  and 
he  found  himself  alone  with  Charlotte.  With  friendly  confidence 
he  now  explsined  to  her  that  the  time  of  his  departure  wtu  fiear. 
She  had  gone  through  so  much  that  evening  that  this  discovery 
made  little  impression  upon  her.  She  had  seen  how  her  (Hend 
sacrificed  himself— how  he  had  saved  another,  and  was  saved  like- 
wise. These  strange  events  seemed  to  predict  an  important  but 
not  unhappy  future. 

On  Edvtard's  entrance  with  Ottilia,  the  approaching  departure 
of  the  Captain  was  announced  to  him.  Ho  suspected  that  Charlotte 
knew  moro  of  the  matter  before,  but  he  was  too  much  occupied 
with  himself  and  his  own  designs  to  feel  any  annoyance  on  this 
account.  On  the  contrarv,  he  heard  with  attention  and  satisfaction 
the  good  and  honourable  situation  which  was  to  be  given  to  the 
Captain.  His  private  wishes,  breaking  through  all  restmntSy 
anticipated  the  progress  of  events.  He  could  already  see  the 
Captain  united  with  Charlotte,  himself  with  Ottilia.  No  greater 
boon  could  have  been  given  him  on  the  occasion  of  this  festival. 

But  how  astonished  was  Ottilia  when  she  entered  her  room  and 
found  the  precious  little  chest  on  her  table.  She  opened  It  without 
delay,  andT  found  all  so  beautifully  packed  and  arranged  that  she 
did  not  venture  to  unpack,  scarcely  to  lift  them.  Maslin,  cattbrie, 
silk,  shawls,  lace  vied  with  each  other  in  costliness,  fineness,  and 
elegance.  Nor  had  jewels  been  omitted.  She  perfectly  saw  that 
the  design  was  to  give  her  more  than  one  complete  suit  of  clothes 
from  head  to  foot ;  but  all  looked  so  valuable  and  so  strange  that 
she  did  not  venture  to  appropriate  it  to  herself,  even  in  thought. 

(  To  be  continued.) 

»S  To  pnvsat  misuiidentaiiding  it  may  be  stated  tbst  tks  c^pri^kt  ef  W» 
translation  belbngs  aolely  to  tbe  tranijator* 

SONNET. 


LovB  seiz'd  my  heart  in  an  unguarded  bour^ 
Invading  the  domain  hy  slow  degrees. 
And  coming  softly,  as  the  gentle  breeze 

That  scarcely  bends  the  lightly-trembling  flower. 

While  I,  forgetlul  of  his  mighty  pow'r. 
Thought  his  assaults  my  idle  aovl  would  pleaae^ 
That  1  uiifeht  watch  him,  smiling  at  my  eass^ 

As  men  watch  foes  from  some  unshaken  tow'r. 

At  first  I  smird  to  see  thee  smile  again. 
And  then  I  llk'd  to  see  thine  eye  grow  brli(ht. 
And  then  I  thought  thee  fairer  than  befove. 

Thus  cautiously  did  love  secure  his  reign. 
But  now  he  rises  in  his  awful  might. 
An  earnest  love — the  jegt  of  love  is  o'er. 

N.D. 


DRAMATIC  INTELLIGENCE. 

Haymarket. — His  Majesty  the  Conde  Montemolin  honored 
this  theatre  with  his  presence  on  Thursday  evening  and  was 
much  gratified  with  the  performance  of  She  stoops  to  Conquer^ 
The  Woman  Hater,  and  The  Invisible  Prince,  which  attracted 
a  crowded  auditoiy,  and  filled  the  theatre  in  every  part  oa 
the  opening  of  the  doors.  A  new  comedy,  in  five  acts,  by- 
Dion  Bourcicault,  is  in  rehearsal. 

French  PtAYS. — On  Monday  last  we  writnessed  the  firtt 
appearance  of  Mr.  Frederick  LemMtre  for  tlAs  season,  and» 


THE  MUSICAL  WORLD. 


85 


indeed,  the^e  two  yeard.  If  we  may  judge  from  the  early 
erowded  hoase,  the  good  humour  of  the  audience,  and  the 
excitement  and  curiosity  displayed  at  every  motion,  every 
gesture  of  the  actor,  he  is  no  ordinary  favourite,  and  will,  no 
doubt,  turn  up  a  good  card  for  the  management.  In  giving 
our  opinion  of  Mr.  F.  Lemliitre's  acting,  we  must  not  be  sup- 
posed to  judge  him  by  the  ordinary  standard,  either  of  tragedy, 
comedy,  or  melodrama ;  nor  indeed  by  any  standard  or  rule 
hitherto  observed  or  existing.  It  was  in  the  part  of  Robert 
Maeaire  that  he  struck  out  a  new  path  for  himself,  apart  from 
all  previous  stag^  conventionalities.  This  piece,  written  in  the 
most  serious  of  moods,  became  through  his  genius,  and  we 
maintain  that  it  was  genius,  a  vehicle  of  bitter  satire  and 
severe  castigation  on  the  manners  of  the  day ;  it  laughed  to 
seoro  the  weaknesses  and  hollowness  of  soinety ;  it  turned  into 
ridicule  the  uselessness  and  absurdity  of  mere  duty  and 
feeling,  unless  upheld  by  a  higher  and  more  moral  conviction ; 
it  taught  a  noble  lesson  in  the  punishment  of  vice  and  reck- 
lessness ;  for,  although  amused  at  the  excentricities  of  the 
hero,  we  felt  no  compunction  at  his  final  death.  Since  the 
Marriage  de  FigarOy  by  Beaumarchais,  no  piece  has  caused  so 
great  a  sensation.  Both  these  dramas  created  the  most  painful 
surprise  in  the  minds  of  many,  and  there  were  men  who  gravely 
fthook  their  heads,  and  wondered  what  Society  would  come  to 
next,  when  the  order  6f  things  was  thus  inverted,  and  the 
most  sacred  ties  turned  into  ridicule,  and,  wliat  was  more, 
loudly  applauded ;  they  predicted  ruin  to  society,  and  won- 
dered that  some  sudden  punishment  did  not  crush  the  infidels ; 
both  were  prescribed  by  the  censorship,  but  too  late,  the  blow 
had  been  dealt,  the  idea  had  gained  ground  and  spread 
•bread,  and  Figaro  and  Robert  Maeaire  became  the  vehicles 
of  a  long,  numerous,  and  spirited  suocesaion  of  caricatures, 
which,  by  turns,  attacked  every  tolly,  every  vice,  and  every 
ridicule  of  the  times.  Politics,  quackery,  letters,  education, 
speculations  of  every  sort  underwent  the  ordeal,  and  were  held 
up  to  the  public  gaze.  As  regards  the  change  effected  by  the 
actor  we  have  every  reaeon  to  be  pleased  with  it.  He  did 
away  with  those  tyrants,  the  delight  o(  the  gods  of  our  minor 
theatres ;  he  mingled  the  burlesque  with  the  terrible  in  such 
a  manner  as  to  amuse,  nay,  instruct  by  both ;  and  he  has 
detracted  nothing  from  the  interest  by  knocking  the  murderer 
and  assassin  off  his  stilts,  and  high  fiown  phraseology.  Don 
Cceear  de  Bazan  is  evidently  of  the  same  school,  modified  and 
improved  it  is  true,  but  still  bearing  the  impress  of  the  reform 
effected  in  this  department  of  dramatic  acting.  We  shall  not 
venture  into  any  detail  of  the  plot  of  a  play  produced  at  all 
the  theatres  of  London,  (we  remember  its  being  played  at  six 
houses  the  same  night) ;  neither  shall  we  make  any  comparison 
between  the  French  and  English  actors,  we  never  do ;  indeed, 
the  difference  of  language,  bearing  of  the  actors,  and  points  of 
the  dialogue  is  so  great,  that  any  analogy  is  out  of  the  question. 
The  reckless,  profligate,  thoughtless  spendthrift ;  the  ruined, 
houseless  outcast;  the  high* minded,  proud  nobleman,  were 
admirably  portrayed  in  turns — at  the  same  time,  the  chivalry 
and  elegance  of  the  Spanish  Don,  although  almost  entirely  laid 
aside  at  intervals,  were  never  entirely  abandoned,  and  sprung 
up  as  soon  as  an  opportunity  afforded.  His  first  scene  was 
admirable,  and  his  quarrel  with  the  Captain  on  his  refusal  to 
paruon  LazariUe,  both  affecting  and  exquisitely  ludicrous ;  so 
also  was  his  interview  with  Don  Jos^,  who  offers  to  grant  any 
£lvour  he  may  demand,  full  of  good  feeling  and  generosity. 
In  his  interview  with  the  King  he  appears  the  high-minded, 
chivalric  nobleman,  defends  his  wife,  and  reproaches  the 
monarch  with  his  perfidy.  This  was  nobly  and  well  acted, 
without  exaggeration,  or  bombast,  and  tttX  with  deserved 


applause.  M.  Langeval  played  the  part  of  the  King  exceed^ 
ingly  well,  and  Mile.  Clarissa  was  favourably  received— how- 
ever, we  must  see  this  lady  in  some  other  part  before  we 
pronounce  our  final  judgment  on  her.  Bhe  certainly  it 
superior  to  most  actresses  as  a  vaudeville  singer,  although 
unequal  to  the  music  injudiciously  introduced  into  this  pi^e^j 
and  which  had  much  better  have  been  cut  out  altogether,  6» 
altered  to  something  within  her  means.  We  certainly  de  not 
expect  to  find  a  finished  singer  at  the  Porte  St.  Martin;  on 
the  other  hand,  we  have  a  right  to  quarrel  with  any  attempt 
to  overstep  the  bounds  of  nature.  M.  Cartigny  did  th6 
small  part  allotted  him  in  his  usual  careful  and  judieiodt 
manner,  and  Mile.  Valle6  as  the  page,  looked  exceedingly 
pretty,  and  acted  with  infinite  grace,  earnestness,  aud  irivaciiy* 

On  Wednesday  Don  Ctesar  de  Bazan  was  repeated,  to^fitheT 
with  the  Dot  d'Auvergne. — J.  de  C     ■    e. 

Princess's  Theatre.— The  debut  of  Miss  fiassano,  mi 
Tuesday  evening,  at  this  house,  has  been  the  only  draittatie 
feature  of  the  week.  Considerable  excitement  bad,  for  somA 
period,  pervaded  the  musical  circles,  and  much  interest  Wa* 
created  to  witness  the  fair  vocalist's  first  appearance  on  thd 
English  stage.  Miss  Bassano  heretofore  had  been  recognited 
as  a  very  popular  singer  at  concerts,  oratorios,  and  festivaU. 
She  was  a  pupil  of  the  Royal  Academy  of  Music,  and  studied 
under  Signor  Crevelli.  She  proceeded  to  Italy  about  three 
years  since,  where  she  underwent  a  course  of  musical  and 
histrionic  tuition,  to  befit  her  for  the  stage,  to  which,  for  somt 
period  of  time  she  had  turned  her  attention  and  her  hopes. 
Miss  Bassano  appeared,  for  the  first  time  on  the  stagej  ilk 
Italy.  She  performed  the  leading  chatacters  of  several  fa- 
vorite operas,  and  obtained,  according  to  the  condnMltal 
journals,  considerable  success.  Miss  Bassano  returned  to  this 
country  last  season.  When  she  quitted  England,  her  voitfe 
was  a  very  fine  eontralto,  rich,  racy,  and  even.  Since  her 
continental  training,  her  voice  has  undergone  a  serious  altera** 
tion.  Miss  Bassano  no  longer  possesses  a  contralto  voi<te« 
It  has  now  become  a  true  mezzo-soprano,  combining  the  low 
notes  of  the  contralto  with  the  upper  notes  of  the  soprano,  but 
restricted  in  both.  Miss  Bassano  s  organ  is,  for  the  most  part, 
formed  by  education.  In  losing  much  of  the  mellowness  and 
evenness  of  her  natural  tones.  Miss  Bassano  has  sacrifieed 
what  formerly  were  the  chief  excellences  of  her  voice.  She  has 
supplied  these  defaults  with  power  and  brilliancy,  andhasren* 
dered  thereby  her  vocalizing  more  effective*  and  dramatic. 
If  she  have  lost  the  greatest  charms  of  her  vocal  powers 
she  has  substituted  those  which  will  befit  her  more  in  pro- 
ducing highresults  instage  performances.  Miss  Bassano  has,  by 
her  musical  education,  given  up  much ;  she  has  likewise  gained 
much  :  and  as  her  endeavours  were  directed  with  a  view  to  the 
stage,  we  cannot  blame  her  for  adapting  her  voice  to  render 
her  assumption  of  prima-donna  parts  practicable.  The  opera 
chosen  for  the  fair  vocalist's  first  appearance  was  Donisetti'a 
Anna  Bolena.  We  have  heard  and  read  many  criticisms, 
deprecating  the  selection  of  this  opera  for  Miss  Bassano's 
debdt.  It  is  alledged  that  Anna  Bolena  is  represented 
by  the  loftiest  lyric  artists  only,  such  as  Grisi  and  Pasta, 
while  secondary  vocalists  entirely  forego  its  assurrption; 
that  the  whole  performance  demands  the  highest  dramatic 
conception,  and  greatest  tragic  powers ;  that  there  is  little 
melody  to  display  the  fine  or  delicate  qualities  of  the  voice, 
so  necessary  for  a  debutante  to  exhibit;  that,  in  short,  no 
opera  could  have  been  fixed  upon  which  would  more  lament- 
ably expose  the  deficiencies  of  a  novice  and  that,  in  con- 
sequence. Miss  Bassano  made  an  unfortunate  selection  in 
Anna  Bolena.     We  grant  all  the  premises  of  the  above 


m 


THE  MUSICAL  WORLD. 


rationale  to  be  troe,  bat  we  deem  the  conclusion  false.  In 
the  first  place*  it  will  be  granted,  that  when  the  dramatic  or 
lyric  personation  of  a  debutante,  is  of  the  loftiest  kind,  the 
indulgence  of  the  public  will  be  in  proportion  to  the  di£&culty 
of  the  conception  and  performance:  in  the  next  place,  the 
audience  are  not  so  likely  to  draw  comparisons  in  a  repre- 
sentation seldom  seen  and  not  often >  when  seen,  rightly 
appreciated:  in  the  last  place,  passion  and  power,  are  more  easily 
assumed  on  the  stage  by  a  beginner,  than  ease,  grace,  and 
repose,  which  experience  and  study  can  alone  provide.  With 
this  view  before  us  we  think  Miss  Bassano  acted  wisely 
in  taking  a  character  like  that  of  Anna  Bolena  for  her 
first  appearance.  The  fair  debutante  was  received  with 
great  favour  throughout  the  evening,  and  if  applause  be  a 
criterion  of  success,  no  one  could  be  more  eminently  successful 
than  Miss  Bassano  on  Tuesday  night.  Her  performance  and 
her  singing  were  repeatedly  cheered  throughout  the  evening ; 
she  was  called  for  after  the  first  act,  and  received  the  same 
compliment  at  the  end  of  the  opera.  Miss  Bassano's  singing 
is  particularized  by  energy  and  judgment ;  she  has  evidently 
stiuiied  hard,  and  has  been  taught  well ;  her  voice  is  powerful 
and  managed  with  skill,  while  she  exhibits  considerable 
ability  in  her  histrionic  essays.  With  all  these  recom- 
mendationB,  Miss  Bassano  could  hardly  fail  from  proving 
SQOoessful  in  Anna  Bolena^  especially  when  we  remember  the 
previous  favoritism  she  had  obtained  with  the  public,  and 
consider  the  indulgence  that,  under  such  circumstances, 
was  necessarily  extended  to  her.  And  yet,  justice  compels 
US  to  say,  that  notwithstanding  all  these  favourable  combi- 
nations tending  to  make  a  great  lyric  artist,  Miss  Bassano  has 
seaaons  of  toil  and  study  to  undergo^  before  she  can  ever  hope 
to  be  a  great  dramatic  singer.  We  have  given  her  credit  for  all 
the  talent  she  possesses  ;  we  would  now  point  out,  but  with 
a  lenient  pen,  the  faults,  that  if  persisted  in,  must  for  ever 
militate  against  her  obtaining  a  high  position  in  her  art.  Miss 
Bassano  has  been  kindly  treated  by  fortune ;  she  is  gifted 
with  a  highly  capable,  if  not  a  charming  voice,  and  has  an 
expressive  face,  and  a  neatly-moulded  form.  She  possesses  in 
ber  acting  the  substratum  of  all  dramatic  power,  impulsiveness, 
and  seems  to  have  a  keen  sense  and  sensibility  of  the  character 
she  asanmes.  Miss  Bassano's  vocal  powers  are  unsuited  to 
such  parts  as  Anna  Bolena,  Her  voice  is  neither  sufficiently 
high  to  enable  her  to  fulfil  the  range  of  characters  given  to 
modem  prima  *donnas ;  nor  is  it  flexible  enough  to  adapt 
itself  to  the  general  tone  of  Italian  music.  In  her  acting,  her 
movements  are  evidently  those  of  a  practitioner,  being  wanting 
in  repose  and  dignity,  while  most  of  her  attitudes  are  devoid 
of  grace  and  purpose.  There  is,  however,  evident  talent  in 
her  performance ;  she  projects  herself  into  her  character  with 
roach  earnestness,  and  whether  the  impersonation  be  false  or 
exaggerated,  it  is  by  no  means  divested  of  vitality.  This 
shows  that  the  real  dramatic  talent  is  inherent  in  the  young 
artist,  and  requires  culture  only  to  bring  it  to  perfection. 
We  have  thus  spoken  openly  and  candidly  of  Miss  Bassano 
as  a  singer  and  an  actress  ;  in  the  fairest  spirit  of  criticism 
have  we  judged  of  her  faults  and  her  merits.  Let  not  this 
jfair  and  promising  artist  be  led  away  by  the  momentaneous 
acclamations  of  enthusiastic  audiences,  or  the  fatal  prejudices 
of  kindred  and  acquaintances.  Let  her  not  fancy  she  has 
nothing  to  learn  ;  let  her  studies  be  deep  and  untiring,  and 
she  may  then  obtain,  what  her  young  ambition  now  aims  at 
obtaining,  a  place  among  the  highest  lyric  names  of  this 
country.  We  can  only  offer  a  word  or  two  concerning  the 
other  artists  who  performed  in  the  opera,  Mr.  Leffler's  com- 
mon style  was  too  manifest  in  Henry  the  Eighth  ;  Miss  Sarah 


Flower  sang  the  music  of  Smeaton  very  prettily;  Miss 
Georgiana  Smithson  was  not  particularly  w  ell  suited  to 
the  character  of  Jane  Seymour ;  and  Mr.  Allen  was  all  that 
could  be  desired  as  Percy.  This  gentleman  decidedly 
proves  himself,  the  oftener  we  hear  him,  the  best  artist  on  the 
English  stage.  He  sang  exquisitely  on  Tuesday  night.  The 
female  chorus  was  excellent ;  the  male  chorus  indiff'erent ;  and 
the  orchestra,  under  the  admirable  direction  of  Mr.  Loder, 
adiieved  all  that  could  be  anticipated  from  its  slender  means. 
Would  that  the  deficiency  of  our  theatrical  bands  could  be 
amended. 

The  English  version  of  Anna  Bolena^  by  Mr.  Charles 
Jeffreys,  is  carefully  adapted  from  the  original  and  writte  n 
with  great  ease  and  harmony.  The  songs  are  all  excellent  1  y 
done,  and  exhibit  much  poetic  feeling  in  the  author.  When 
the  twofold  difficulty  of  translating  the  Italian  words  into 
English  so  as  to  fit  them  to  the  original  music,  and  at  the  same 
time  of  rendering  them  into  poetic  numbers,  be  taken  into 
account,  the  merit  of  Mr.  Charles  Jeffrey*s  version  will  be 
duly  appreciated.  Some  of  the  songs  are  likely  to  obtain 
considerable  popularity  in  their  English  form.  We  may 
instance  the  song  of  Smeaton,  '*  O  that  I  never  more  might 
see,"  (Deh  non  voler)  ;  the  cavatina,  charminscly  sung  by 
Miss  Bassano,  "  Speak  not  again  of  bygone  days,"  (Come 
innocente) ;  and  Percy's  two  aits,  so  deliciously  given  by 
Allen,  *•  Ah  \  how  bright  were  those  blest  days,"  (Ah  !  cosi), 
and  **  Cherish  life,  I  do  conjure  thee,"  (Vivi  Tu). 

A  new  farce  called  School-day  Frolics^  was  produced  on 
Wednesday  evening  with  success,  which  want  of  space  hinders 
us  from  noticing  till  next  week. 


MY  HOME  IN  THE  CITY; 
(From  the  "Illuminated  Mutieal Almanac  "J 

I. 
My  home  in  the  City,  dear  mother, 

I  know  is  uncommonly  dark ;  . 
But,  believe  me,  your  son  thinks  no  other 

Would  do  half  so  well  for  a  clerk  1 
Tia  true  the  sun's  ray  never  j^lides  there, 

Through  windovs  all  dusky  and  dun ; 
But  one  beautiful  vision  abides  there, 

A  great  deal  more  bright  than  the  sun. 

II. 
The  poor  artist  pining  above  me. 

Who's  toiling  from  morning  till  night, 
Hath  a  fair  giil  who's  learning  to  love  me. 

And  Mhe  is  my  an^el  of  light ! 
It  gives  roe  a  sort  of  heart-fulness 

To  leave  that  dear  home  :  when  I  do 
'Tis  not  on  account  of  its  dulness. 

But  only — ^to  come  and  see  you  ! 

III. 
Oh  !  soon  from  the  want-chains  that  bound  him 

Her  father  will  merge  in  his  pride. 
With  the  halo  of  Fame  shining  round  him, 

And  the  for  my  beautiful  bride ! 
You'll  never  shed  love  on  another 

When  /  bring  her  hither  to  dwell; 
For  she'll  teach  me  to  sing,  dearest  mother, 

"  My  home  in  the  City,  fareweU ! " 

F.  W.  N.  Bailiy. 


REVIEWS   ON 

No.  6. 


BOOKS. 

By    Albert  Smith.— 


"  Christopher    Tadpole 

Richard  Bektlky. 

The  namber  of  the  present  month  is  more  narrative  than 
any  of  the  preceding.     Mr.  Gudge  .j|^  ^  iguyncy^^^pij-^ 


THE  MUSICAL  WORLD. 


37 


pote  to  get  Christopher  into  his  power,  and  is  about  to  take 
him  into  his  domestic  establishment  as  a  x>age.  Dr.  Aston's 
curiosity-shop  is  described  with  much  point  and  humour. 
We  shall  extract  it/as  the  most  fayourable  specimen  which 
the  number  offers : — 

**Tht  doctor*!  curioiitiet,  when  they  were  removed  from  the  intti- 
tQtioB,.were  placed  here.  First  there  was  his  air* pump;  a  curioQa 
mach'ne  between  a  large  coffee-mill  and  a  small  fire-cngiDe,  which,  put 
Id  action,  made  grievous  moans  and  other  expressions  of  internal 
suffering,  and  performed  aerial  conjuring  tricks  to  any  extent.  Then 
there  was  the  electrifying  machlkie,  which  nobody  could  be  got  to  come 
within  ten  feet  of,  even  in  its  quiescent  state,  for  fear  it  might  go  off  and 
blow  them  into  bits.  There  were  things  in  bottles,  too,  of  wondrous 
form ;  dreadful  lissrds,  which  people  in  foreign'countries  were  reported 
to  find  in  their  beds  when  they  retired  to  rest,  and  boots  and  poclcets 
when  they  got  up ;  kittens  with  two  heads  of  melancholy  expression  ; 
scorpions  and  centipides  that  the  doctor  had  tried  to  domesticate  tod 
breed,  and  happily  failed.  All  the  old  brasses  were  hung  up  as  well — 
the  gentleman  in  armour  with  the  lankey  legs  and  impossible  shoes, 
making  footstoob  of  vividly-  conceived  dogs ;  the  ladies  in  the  powerful 
head-dresses,  with  hands  inconveniently  bent  back  in  prayers,  as  if  their 
wrists  were  binges ;  the  unintelligible  anecdotes  of  their  births,  marriages, 
and  deaths  underneath  them,  as  difficult  to  read  as  samplers,  out  of  which 
dever  people  made  anything  they  pleased  without  chance  of  con- 
tradiction ;  they  were  all  there." 

Mrs.  Grittles,  the  old  housekeeper  of  Dr.  Aston,  is  a 
clever  and  happy  sketch.  Sprouts's  sinr^e  is  well  recounted, 
and  exhibits  the  author  in  his  proper  sphere  of  relation.  The 
scene  is  very  amusing,  and  displays  Mr.  Albert  Smith's 
knowledge  of  character,  and  his  intimate  acquaintance  with 
the  manners  and  customs  of  the  humble  classes  of  society. 
This  is  no  faint  praise  to  a  writer  of  modern  romances.  We 
have  no  fault  whatever  te  find  with  the  present  number  of 
"  Christopher  Tadpole." 


"  Dambey  and  Son,"  No.  4.      By  Charles   Dickeks. — 

Bkadbukt  and  Etams. 

Ma.  Dickeks  has,  in  this  number  of  his  new  work,  directed 
his  powerful  pen  against  the  system  of  precocious  education. 
Impressed  with  the  beneficial  results  following  his  exposure  of 
the  Yorkshire  cheap  schools,  the  author  has  flown  his  wit  at 
higher  quarry,  and  has  laid  bare  theflagrancies  and  absurdities 
of  certain  Academies  of  pretence,  who  undertake  to  train  up 
youths  in  the  way  they  ^ould  go.  Our  readers  shall  have 
Mr.  Dickens'  own  description  of  the  Academy  he  has  selected 
to  satirize. 

**  In  fMt,  Doctor  Blimber*s  establishment  was  a  great  hot  house,  in 
which  there  vras  a  forcing  apparatus  incessantly  at  work.  All  the  boys 
blew  before  their  time.  Mental  green  peas  were  produced  at  Christmas, 
and  inteUcctual  asparagus  all  the  year  round.  Mathematical  gooseberries 
(very  soar  ones  too)  were  common  at  untimely  seasons,  and  from  mere 
spouts  of  bushes,  under  Doctor  Blimber's  cultivation,  every  description 
of  Greek  and  Latin  vegeUble  was  got  off  the  driest  twigs  of  boys,  under 
the  firostiest  drcomstanoes.  Nature  was  of  no  consequence  at  all. 
N  laattcr  what  a  young  gentleman  was  intended  to  bear,  Doctor 
Blimber  made  him  bear  to  pattern,  somehow  or  other. 

The  picture  of  Doctor  Blimber,  the  head  of  this  choice 
institution,  is  vividly  and  gmphically  drawn,  and  realises 
the  very  impersonation  of  pomposity  and  self-conceit. 

"  The  Doctor  was  a  portly  gentleman  in  a  suit  of  black,  with  strings 
at  his  knees,  and  stockings  below  them.  He  had  a  bald  head,  highly 
polished ;  a  deep  voice ;  and  a  chin  so  very  double,  that  it  was  a  wonder 
how  he  ever  managed  to  shave  into  the  creases.  He  bad  likewise  a 
pair  of  little  eyes  that  were  always  half  shot  up,  and  a  DKWth  that  was 
always  half  expanded  into  a  grin,  as  if  he  had,  that  moment,  posed  a 
boy,  aad  were  waiting  to  convict  him  from  his  own  lips.  Insomuch,  that 
when  the  Doctor  put  his  right  hand  into  the  breast  of  his  coat,  and  with 
hia- other  hand  behind  him,  and  a  scarcely  perceptible  wag  of  his  head, 
nadethe  oomBDonest  observation  to.  a  nervous  stranger,  it  was  Ijke  a 
ssDtlment  from  the  sphynz,  and  settled  his  busineaa.'* 


The  stupid  and  pernicious  custom  of  forcing  a  quantity  of 
learning  upon  >oung  minds  at  once,  is  very  happily  exposed 
in  a  scene  where  Paul  is  given  a  number  of  books  to  study, 
whereby  nothing  but  confusion  Is  produced  in  his  brain.  The 
author  handles  it  in  his  own  peculiar  view  of  humour. 

"They  comprised  a  Utile  English,  a  deal  ol  Latin — ^names  of  things, 
declensions  of  articles  and  substantives,  exerrisea  thereon,  and  prelimi- 
nary rules— a  trifle  of  orthography,  a  glance  of  ancient  history,  a  wink 
or  two  at  modern  ditto,  a  few  tables,  two  or  three  weights  and 
measures,  a  little  general  information.  When  poor  Paul  had  spelt 
out  two,  he  found  be  had  no  idea  of  number  one;  fragments  whereof 
aflcrwards  obtruded  themseWes  into  number  three,  which  slided  into 
number  four,  which  grafted  itself  on  to  number  two.  So  that  whether 
twenty  Romuluses  made  a  Remus,  or  hie  hasc  hoc  waa  troy  weight,  or 
a  verb  always  agreed  with  an  ancient  Briton,  or  three  times  four  wu 
Taurus  a  bull,  were  open  questions  with  him. 

Our  friend,  Walter  Gray,  is  about  to  depart  for  the  West 
Indies,  whither  Mr.  Dombey  dispatches  him.  having  procured 
him  some  official  employment.  We  hardly  sympathize  with 
the  early  dawning  love  of  Walter  for  Florence.  Florence  is  a 
mere  child,  and  can  hardly  be  supposed  to  awaken  any  feeling 
whatsoever  akin  to  the*  tender  passion  in  a  youth.  Besides, 
boys  seldom  or  never»  in  their  first  love,  devote  their  sighs  to 
such  of  the  fair  sex  as  are  younger  than  themselves.  But 
again  the  author  has  described,  or  rather  betokened  Walter's 
afection  with  so  much  purity,  and  has  sketched  the  character 
of  Florence,  with  such  exquisite  delicacy,  that  we  can  hardly 
blame  himself,  much  less  Walter,  for  being  in  love  with  her, 
since  we  are  assuredly  in  love  with  her  ourselves. 


<'  January  Eve^  a  Tale  of  the  Times"    By  Gsorgx  Soaks, 

B«A. — £.  Chdrtok,  Holles  SraEXT. 

A  MOST  admirable  little  Christmas  story  has^lJMr.  Soane 
provided  for  his  readers,  neatly  constructed  and  elegantly 
written.  '*  January  £ve  "  is  a  tale  founded  entirely  on  hu- 
man interest ;  and  though  we  are  led  until  the  last  page  to 
believe  that  the  author  has  dealt  in  the  immaterial  world,  we 
find  no  instruments  used,  save  snch  as  are  open  to  mortal 
apprehension.  Mr.  Soane  has  exhibited  great  art  and  tact  in 
the  development  of  his  story,  and  the  denouement  is  striking 
and  satisfactory.  The  author  of  *'  January  Eve"  is  tlie  writer 
of  the  very  pleasing  version  of  Giselte  to  which  Mr.  I^oder's 
music  is  wedded.  Mr.  Soane  is  also  well  known  as  an 
elegant  and  accomplisbsd.  prose  writer.  A  work  of  his,  en- 
titled ''  Robin  Goodfellow,  or  the  Frolics  of  Puck,"  was  most 
ftivourably  received  by  the.  pubiic  and  the  press  some  years 
since. 


ORIGINAL  CORRESPONDENCE. 

To  th$  Editor  of  the  "  Mutical  World." 

THS  CRITIC  or  TBS  MORNING  POST. 

Dear  Sir,— If  you  will  allow  me,  I  will  now  answer  other  attscln 
made  upon  me  by  the  Poai,  and  with  the  nddition  of  this  letter,  1 
shall  have  defeated  the  critic  at  every  point. 

But  the  critic  majr  ssy,  "  1  have  the  advmntiae  of  a  paper,  whote 
drcalation  is  more  than  donble  Mr.  Flower's."  This  is  false  consolation, 
beosuse  1  can  circulate  truth  amongst  those  who  are  able  to  appreciate 
it,  and  forward  amongst  them  my  views  of  science*  Six  wise  men  who 
read  the  truth,  are  more  powerful  than  nine  foolish  ones,  who  can  he 
deluded  by  unsound  arguments— "the  still  small  voice"  of  truth,  will 
find  its  way  in  time. 

Had  the  critic  Icnownthat  Rossini  had  employed  a  simiter  harmony  to 
the  one  which  he  calls  "too  ugly,  and  unmusical  to  be  mimiclced,  in 
ordinary  phraseology, "  he  would  have  reserved  his  severity  for  a  more 
becoming  opportunity.  The  passage  referred  to,  is  the  too  last  bars  in 
my  "Pasaacsglia."  This  atucic  is  as  unhappy  as  the  one  wherein 
Moaart  waf  aocused,  (not  JJ  of  malciog  *'  the  mott  uneMpkomieug  pro- 


s« 


TflE  MIJSICAL  WORLD. 


iaini,"  I  never  could  have  supposed  that  cHtidsm  would  have  come  to 
such  a  low  ebb,  as  to  have  used  the  abote  language,  to  describe  one  of 
tht  most  ttriking  and  prominent  fpatures  of  the  beautiful  aria/'  Wenn* 
der  Freude  Tr&nen  fliesaen,"  from  the  ^ebrated  opera  "  Die  EotfQrung 
aus  dem  seratl,"  wherein  Moxart  has  employed  these  ''  uneuphonious 
progressions !"  no  less  than  twelve  times  during  this  short  songt  Not 
only  doea  Mosart  make  use  of  these  progressions,  but  all  the  great 
mutera  too.    The  Pott  critic,  therefore,  seems  veil  read  in  music  f 

I  come  now  to  an  important  part  of  my  system,  and  one  which  the 
Put  objects  to,  vit.,  my  having  introduced  nine  new  terms  to  express  such 
movements  of  a  disonanceas  have  hitherto  been  considered  unworthy  of 
especial  notification.    We  are  taoeht  to  consider  that  the  dlstonanee  £, 
for  instance,  may  be  thus  treated ;  B,  O. 
f,  if  resolved,  moves  to  fi,  or  E  flat 
F,  if  suspended,  remains  on  F. 
F,  if  retarded,  leaves  F. 

F,  If  enharmonically  chauKcd,  becomes  E  sharp,  (which,  in  my  essay  {t 
designated  "  trammutatum,"  becwase  this  term  corresponds  with  the 

others,  and  is  more  decided  in  its  meaning.) 

But  in  classical  music,  we  find  that  composers  employ  oth^r  ihdve. 
ments  besides  these,  and  that  they  also  form  a  legitimate  solution,  or 
veatment  of  a  dissonance :  how  is  it,  then,  that  no  terms  have  been  given 
to  them  r  This  is  readily  explained.  Early  writers  on  the  theory  of 
music  had  neitbera  Sebastian  Bach,  Haydn.  Moz<trt,  Beethoven,  Cheru- 
bini,  Spohr  or  Mendelssohn,  consequently  their  laws  were  as  limited  as 
they  were  often  defective.  When  any  distinguished  composer  before 
Bath's  time  intended  to  employ  a  dissonance,  otherwise  than  in  the 
above  methods,  theorists  immediately  set  that  down  as  a  matter  of 
"licence,"  instead  of  which  they  should  have  examined  the  effect,  and 
if  found  good,  passed  it  Into  a  law ;  but  this  they  did  not  do.  Bach 
gave  the  death-blow  to  old  fashion,  and  trite  notions  of  harmony,  and 
it  ought  to  have  been  the  study  of  theorists  long  ago  to  have  built  upon 
safe  and  copious  systems  of  treating  harmony  upon  the  immortal  works  he 
has  left  behind  Old  theories  should  have  long  been  disregarded  that 
proved  the  comparatively  rude  state  of  music  before  his  time. 

Now  that  the  writings  of  the  great  masters  are  not  wholly  accounted 
for  fexcep'  by  the  shuflEiing  word  licence,)  by  the  andent  law-given,  it 
ia  high  time  that  a  new  code  of  laws  should  be  made ;  and  aa  ibe  titat- 
nient  of  disssonance  forms  an  important  branch  of  the  theory  of  music, 
i  have,  I  believe,  omitted  no  movement  of  a  dissonant  note,  (as  employed 
by  the  great  masters;)  giving  to  each  of  them  auch  terms  as  1  thought, 
best  described  each  particular  species  of  movement. 

I  will,  again,  take  r,  as  the  dissonant  note,  and  treat  it  in  four  ways» 
naite  different  from  the  foregoing  £,  G. 
r,  if  it  ascend  to  F  sharp,  is  called  trantvertion, 
F,  if  it  be  transplanted  to  another  voice  of  the  harmdny,  is  ciUdd  ttont- 

loeotim. 
F,  if  It  be  altogether  retained,  is  called  refaMediKtMrf/oii. 
F,  if  it  ascend  to  a  minor,  and  a  mi^or  second,  is  called  cot^nei dhertUm* 

There  are  nothing  like  Ucfncei  in  music :  why  then  should  the  above 
ways  have  no  nomenclature  ? 

1  showed  in  my  last  letter  that  my  '*ftxed  rulet  of  ihtonaneei," 
toplained  2288  harmonic  varieties,  and  that  without  these,  only  19S 
could  be  produced.  This  would  not  be  the  case,  however,  if  any  of  the 
chords  mrntioned  in  my  Essay  had  been  omitted,  and  as  the  Pott  objected 
to  some  of  them,  I  will  now  enter  upon  this  subject. 

A  system  of  harmony  that  gives  as  many  chorda  as  are  employed  by  the 
great  mastera,  cannot  fail  of  embodying  ail  the  combinations  of  which 
their  muiiic  is  composed ;  to  omit  one  of  them,  then,  cannot  be  aatii- 
Cictory  or  methodical. 

The  theory  of  acoustics  is  sufficiently  understood  to  guide  the  in- 
quirer to  all  the  different  vibrations  of  a  generator ;  but  what  assisunce 
has  this  been  to  the  musical  theorist  T  Do  we  not  call  d.  for  instance,  the 
loot  of  the  minor  triad  of  n.  F,  a  7  then  why  seek  the  aid  of  one  theory 
which  does  not  bear  upon  the  commonest  la^  of  a;)Other  t  I  never  aub- 
•cribe  to  musical  theories  which  are  fragile  from  the  very  foundation.  Is 
not  a  minor  triad  almost  as  natural  to  the  ear  as  a  major  triad  f  Being, 
then,  bereft  rf  the  theory  of  acoustic*,  the  safest  and  aimplest  prindple 
for  ascertaining  the  roots  of  the  chords  is  this — ^traee  out  what  scales 
procure  all  the  combinations  of  notes  that  are  used  by  the  great  masters) 
then  call  harmonious  intervals,  or  duads,  all  those  that  when  heard 
together,  contain  one  of  these  combinations. 

A  sound  prindple  of  chords,  then,  depends  upon  a  sound  prindple  of 
duada;  because  duads  are  the  very  foundation  of  chords. 

The  number  of  chords  founded  on  the  fiindamental  intervals,  I.  III. 
V.  VII.,  amount  to  sixteen  and  there  are  neither  more  nor  less  than  this 
number,  ail  thttse  chords  are  noeemtrf  to  the  Mudents*  improvement: 
and  thai  aystem  whieh  gives  fewer,  takes  away  the  mfcteriftis,  u  it  were, 
ikiA  developM  «nA  eiplaiui  ciafesleia  harmofiy. 


t  will  conclude  by  thanking  you  Mr.  Editbt,  tor  hHUni  ikf  I 
against  the  Potf,  in  your  enlightened  mualeal  PeriodfeaL 

Dear  Sir,  youfa  tMy 

Jan.  14th,  1847.  FaiMca  Fvovrsig. 

Errata,  to  my  fast  letter.  "  Nor  is  resolution  identical  with  susMi|. 
aion,  nor  is  suspension  identical  with  retardation,  (not, ''  reiolutidfl'^ 

False  r^Hone,  (not,  **  relatives.")  I  pcr«eive  thd  cfMe  km  llttk 
penetration  for  be  cannot  see  how  the  figutes  I,  III,  V*  VII,  iie^  tan  fee 
by  adding  ftp*,  (not  "one.") 


POKmS  UPON  UTTLE  BDITH. 

BT  COTENTRT  PATMORt. 
I. 

think  6f  cloudleu,  light  afid  t«Bd^, 

tJnderneath  the  moving  moon, 
full  of  loVe  to  that  bright  lender 

Of  their  beauty  in  the  noon  j 
Think  of  ripples,  smooth,  unriven* 

Trav'lUrg  regularly  on. 
Swiftly,  delicately,  driven 

By  the  white  bresst  of  tht  iwan  i 
think  of  lambs,  just  shorn,  at  lelsuf4 

Filing  past  a  narrow  lane, 
\Vith  repeated  bleaU  of  pleasure. 

To  their  green  abodes  again ; 
think  of  whatsnever  feedeth 

Tranquil  moods;  and  I  will  find 
Gentler  chaims  in  little  Edith, 

Edith  of  the  thoogtful  mind. 

II. 
A  song  to  Uttle  Edith,  for  she  is  very  fair  I 
Her  eye-lids  are  the  snow-flakes,  amidst  the  black  night-aIr, 
Whtfn,  dropping  large  ind  leisurely,  they  show  the  cdmidg  tlyt#; 
And  her  eye*,  beneath,  the  softest  are  that  ev^  daylight  law* 
A  song  to  little  Edith  for  she  is  full  of  graee  I 
In  her  motion  flows  the  fairness  which  broods  upon  her  face ; 
Urgent  sometimes,  never  hurried,  her  spirits  hold  free  sway. 
And  royally  neglect  the  time,  as  thinp  immortal  nay. 
A  song  to  little  Edith,  thrice  graceful,  and  thrice  fair  1 
Her  outward  grace  and  beauty  are  true  tokens  to  dedt^ 
Hef  boiom's  holy  beauty,  her  spirit's  bigiier  greoe* 
Which  make  the  aacred  missal  to  the  gold  and  jeweU'd  cast. 

III. 
I  say  ,"  I  must  amend  me, 

And  be  like  little  Edith  I" 
She  do^s  not  comprehend  mi ; 

Some  riddle  she  infers : 
And  while,  with  sweet  dematfiAM^ 

My  countenanoe  she  readttft» 
I  quail  before  the  pureness 

Of  that  child's  smile  of  hers. 
I  sigh, "  She  is  unto  me 

As  April  to  December  I*' 
With  marvel  does  she  vi6w  tee. 

My  n  eaning  to  divine. 
Thank  Ood  1  my  heart'ft  Cdm]^fiMf6h 

Subsides,  when  I  remembte 
Our  everlatiting  junction. 

Through  Christ,  her  Lord  and  nlilft. 


PROVINCIAL 

CANTBant7HT.»0n  Wednesday  the  room  wai  thronged  at  the  e«bdert 
of  the  "Original  Catch  Club."  In  addition  to  the  cuttomary  ilHer^ 
tainments,  Mr.  Farouharson  Smith  sang  two  sotip,  and  Meiers.  Ashbf 
and  Harding,  a  duet,  each  of  which  were  well  received.  The  dutt  fr6n 
I/SUiir  ff  Amort  was  one  of  the  most  attractlte  pieces  of  the  evMlog. 
Amongst  the  viaitors  were  Colonel  Pense.  and  several  others  of  tM 
gallant  heroes  of  Aliwal  and  Sobiaon,  belonging  to  the  16tli  Leneeni 
tiow  quartered  at  Canterbury. 

Between  the  first  and  aecond  parts  of  Mr.  W.  H.  Palmer's  AMioettb  tfet 
Messrs.  Ashby  and  Harding,  from  the  Theatre,  of  whom  we  have  btf«in 
spoken  In  favourable  t^rms,  introduced  the  duet  flrom  "The  PuHtant»'* 
•*  II  rival  salvar  tu  del."  We  understand  this  piece  to  one  of  the  email 
number  thkt  the  Messrs.  Ashby  and  Harding  intend  putting  befoit  «!» 
with  tfa«  iid  of  costume  ind  soenie  eftet,  bfttwetn  the  ptivi  nt  th* . 
Theatre.— lCcm«#*  Qamm,  Digitized  by  Vr» VJ\jy  lA^ 


THE  MUSICAL  WOULD. 


Cakts^burt.— Mr-  liOtigfaunt  gtve  his  letenth  Soir^  Muciratei  «t 
tb^  Attembly  Rooms*  Borgate-street,  on  Monday  )tst»  and  we'bAve  the 
pleasure  of  according  our  approbation  of  the  performances  ^enerallyt  but 
would  wish  more  especially  to  notice  the  brilUant  execution  of  Mr.  Long- 
burst  on  the  piano,  and  Mr.  Marsh  on  the  harp,  in  a  grand  fantasia,  which 
eDcited  much  applause.  We  would  also  name  Master  Nicholson,  whose 
youth  renders  his  performance  on  the  flute  truly  astonishing;  his  solo  of 
"  Di  Tanci  Palpiti."  gave  universal  pleasure.  Mr.  Wbltnall,  on  the  violin 
and  Master  Saunders,  in  the  song  of  'Let  me  Wander,"  were  loudly 
applauded.  The  attainments  of  Master  White  on  the  piano  reflected 
the  Mchest  credit  on  Mr.  Ix>nghur%t,  his  preceptor,  and  the  whole  per- 
fDnnance  was  well  calculated  to  advance  Mr.  Longhurst  in  his  profes-» 
iional  cartcrd^r^oai  a  CctretgHmdmt.J 

Na w ca STLB-ON-T YMi.-«-f From  a  Correspondent). — Theatricals,  under 
the  management  of  the  new  Lessee,  Mr.  Davis,  seem  to  increase  in  popu- 
larity, the  pantomime  is  a  production  which  reflects  the  highest  credit 
on  the  scene  painter,  machinist,  and  coatumer,  and  the  graceful  dancing 
of  Mr.  Shaw  and  Mias  Lonsdale,  as  Harlequin  and  Columbine,  haa  eli- 
cited bursts  of  approbation  Irom  a  succession  of  crowded  houses.  On 
Friday  evening  the  boxes  were  ^uite  full  at  flrst  price,  to  witness  the 
performance  of  Mr.  Davis  in  '-  Richelieu;"  he  made  quite  a  hit  on  its 
first  representation,  and  judleionsly  gave  it  as  the  first  piece,  on  the  crack 
boK*nigfat  of  the  week.  The  Cardinal  was  most  ably  represented  by  him, 
and  the  enthusiasm  wKh  which  be  was  called  before  the  curtain,  shewed 
the  high  estimation  in  which  he  was  held  by  the  discriminating  audience 
by  whirh  he  was  surrounded.  De  Mau|)rat  was  beautifully  played  by 
Everett*^— this  gentletnan,  in  juvenile  tragedy,  is  equal  to  any  one  on  the 
atagt.  But  where  was  pretty  Mrs.  Qurner  that  she  did  not  play  Julief 
Miaa  Winstanley  was  pleaaing  and  ladylike  In  the  part,  but  she  lacked 
the  accompiishmenta  of  such  an  artist  as  Mrs.  Gurner,  besides  which  the 
name  of  the  latter,  combined  with  that  of  Mr.  Davis,  is  always  an 
•ttttetion. 

BBiOHT0li.<^s-(1FVMn  our  aton  Carr«ipen<fafi(^.— Madame  Mortier  de 
Fontsine  gave  a  concert  on  the  4th  inst.  jShe  is  a  very  clever  and 
pleaaing  vocalist,  and  the  stamp  of  intelligence  and  feeling  ia  impressed 
QpOQ  all  she  does.  Her  efforts  were  received  most  warmly  by  the 
audience,  we  trust  that  Mad.  Morlier  de  Fooiaine  will  be  frequently 
heard  at  the  London  concerts  next  season.  The  oftener  she  appears 
before  the  public  the  more  she  will  be  liked  by  audiencea,  her  style  being 
at  once  agreeable  and  unaffected;  moreover,  she  is  a  very  excellent 
vocalist,  educated  in  a  good  school.  The  other  singer  was  Signor 
Bottura,  a  basso  of  repute.  The  programme  was  diversified  by  solos  on 
the  harp  and  piano-forte  by  Mad.  D'Eichtbal  and  M.  Lindsay  Sloper,  both 
of  which  were  loudly  applauded.  The  room  was  not  so  well  filled  as  we 
could  have  desired,  and  as  Mad.  Mortier*s  talents  deserved. 

Bath. — Mr.  and  Mrs.  Millar  gave  a  Soir^  Musicale  on  the  30th  ult., 
at  their  residence,  IS,  Old  Sydney-place.  The  following  programme  was 
performed : — 

Pam  I^Roond,  <^  The  Indian  Dram,"  Shr  H.  R.  BiShot>  \  Air,  Mr.  Millar,  <*  O, 
Fortune  ^ton  caprice,'*  Meyerbeer ;  ^oIo  (violin),  Mr.  Cooper,  "  Lt  Canaval  de 
Veni8e,"Paganini;  Air,  Mr.  Pyoe,  "  Then  you'll  remember  me/'  Balfe;  Aria, 
Mia.  MfflarT '•  Stommo  Qei"  (violin  oMinto),  Mr.  Cooper,  Pacini.  ' 

Part  IL*  Duett  (violin  and  piano- forte).  Mr.  Oinnrr  and  Mr.  W.  Browne  (GvU- 
UutU  Tdt),  Osborne  and  De  Beriot;  Air,  MS.,  Mr.  Milhu-  (fir&t  time),  "  I  fly 
with  tbee,  Adina,  dear,"  written  expressly  for  him  l»y  Sir  H.  B.  Bisbop ;  Duett 
Mr.  Pyne  and  Mr.  Millar.  •*  Piow  gently  Deva,"  Parry ;  Trio,  "  Vanue  a  colei," 
Mrs.  Millar,  Mr.  Pyae.  and  Mr.  MiDar,  COsta;  Pantusia  (piano-forte),  Mr.  Wtn 
Browne,  Hnnunel)  Duett,  Mia.  and  Mr.  Millar,  "  Doux  aveu"  {GuUtmumo  THt), 
Boaaini ;  Terzetto,  "  Vadasi  via  di  qua,*'  Martini. 

The  attendance  was  fashionable,  and  the  performances  gave  entire 
satisfaction.  In  our  account  of  the  recent  concert  at  Clifton,  our  cor- 
rsf  pondent  omitted  to  say,  that  Mr.  Miliar  undertook  the  whole  of  the 
tenor  part  with  the  greateat  ability. 

DsTizvs.— A  concert  was  given  in  this  town  on  Thursday  evening, 
Jan.  7,  by  Mlaa  Kate  Ward,  of  the  Royal  Academy  of  Music.  The 
tocaliats  engaged  on  this  occasion  were  Miss  Ransfoid,  (whose  pleasing 
voice  is  well  known  to  the  habituh  of  the  Royal  Academy  Concerts,) 
and  Mr.  Ransford,  her  father.  Mr.  Undsay  Sloper  presided  at  the  piano- 
fortp,  and  performed  two  fantasias  in  the  course  of  the  evening,  and 
Misa  Ward,  also  secured  the  services  of  the  Messrs.  Pitman,  from  Bath. 
This  young  lady  possesses  a  soprano  voice  of  charming  quality,  and  her 
Myla  is  pure  and  expressive ;  she  was  mneh  applauded  throuKhout  the 
cfvcDing,  and  was  encored  in  Mosart's,  "  Non  mi  dir,"  and  in  Linley*s 
Ballad,  "  Spirit  of  Air."  The  programme  gave  general  satisfaction, 
several  other  pieces  being  encored ;  all  Mr.  Ranaford's  characteristic  Gipsy 
Songs  obtained  that  distinction.  Miss  Ransford  sang  an  aria  from 
Lmda  aud  ''The  Fairy  Bride,"  balhid,  so  efiectively,  that,  at  the  eon 
elusion  of  the  latter,  she  was  unanimously  called  upon  to  repeat 
pooiaetti*s  air.  Mr.  Pitman  Is  a  clever  performer  on  the  violin,  and  his 
fiintasia  was  received  with  great  favour.  Mr.  Lindsay  Sloper  joined  the 
Meaara.  Pitman  in  a  trio  of  Mayseder,  which  was  a  brilliant  and  effective 
performance.    Herz'a  Lucia,  and  Weber *a  InvUaium  pour  la  Valse  ^ve 


our  admltf«ble  young  pianist  an  opportunity  of  displaying  his  finlibed 
execution,  animated  style,  and  unaffected  expression  to  the  greateat  ad« 
vantage.  The  last  piece  was  the  favourite  i  but  Mr.  Lindaay  Sloper  waa 
received  with  great  enthusiasm  in  everything  he  played.  The  concert 
was  numerously  and  fa8hional)ly  attended. — (Froth  a  Correspondent) 

M ANCUKSTKR. — At  the  usual  weekly  rehearasi  of  the  Hargreaves  choir, 
on  Tuesday  last,  the  members  presented  to  them  zealous  and  aceom* 
plished  conductor,  a  mark  of  respect,  which  was  highly  honoursble  to 
^K>th  givers  and  redptent.  It  consisted  of  an  elegant  conductor's  baton, 
made  of  grern  ebony,  with  silver  handle,  and  surmounted  by  a  figure  of 
Apollo  and  a  decorative  device,  also  in  silver, — enclosed  in  a  morocco 
case  lined  with  silk  The  handle  of  the  baton  had  the  foltowing  infterii^. 
tion  engraved  thereon :— "  Presented  to  John  Waddlngton,  Junr.»  £aq.| 
by  the  choir  of  the  Hargreaves  Choral  Society.  Christroaa,  1846."  Tht 
baton  was  presented  by  Mr  Charles  Anthony,  (professor  of  music  ,  )>ianio 
of  the  Chorlton-upon-Medlock  Gentlemen's  Cilee  Club,  and  also  a  mem- 
ber of  the  Hargreaves  choir,)  in  a  neat  speech,  expressive  of  the  high 
esteem  in  which  Mr.  Waddtngton  is  held,  in  both  a  penonal  and  4 
professional  aens**,  by  the  whole  choir.  Mr.  Waddington  who  waa 
taken  quite  on  surprise,  replied  with  much  feeling,  declaring  that  he  waa 
totally  unprepared  for  snch  a  splendid  mark  of  respect,  but  this  from  no 
other  source  could  it  have  come  with  so  much  satisfaciion  to  his  own 
feelings,  as,  with  the  members  of  the  Hargreavea  choir,  he  had  eapetlally 
laboured  to  advance  the  prosperity  of  the  society,  and  the  choral  music 
in  the  town  generally.  We  belie  e  that  the  baton,  which  was  made  bj 
Mr.  Simmons,  St.  Anns-Square,  is  valued  at  upwards  of  six  guineas,  and 
is  the  result  of  a  subscription  confined  entirely  to  the  meicbers  of  the 
ehoir,  (many  other  sui)acriptlons  having  been  refused  J  and  limited  to  oa4 
shillling  each.— MoRc^di/er  CoiiHer. 


FOREIGN    INTELLIGCNGE. 

Phtladelphia. — {Emiract  from  a  Letter.) — My  dear 
Friend, — In  the  greatest  possible  haste  (half-past  eleven 
o'clock  at  night),  I  write  these  few  lines,  having  jast  heard 
that  the  steamer  leaves  New  York  to-morrow,  at  one  o'clock. 
Your  letter  and  printed  copy  of  the  Cracovienne  have  come 
safely  to  hand.  1  will  publish  it  with  pleasure  ;  and  it  is  now 
engraved,  waiting  your  orders.  Please  let  me  know  exdctlp 
the  day  and  hour  when  you  wish  it  to  appear,  and  if  in  the 
power  of  man,  it  shall.  By  the  steamer  from  Boston,  you 
will  receive  letters  and  papers,  informing  you  of  many  events* 
&c.,  &c.  By  the  next  steamer,  you  will  receive  some  paperd 
which  will  please  you  much.  I  send  you  a  few  now.  Ond 
thing  I  tell  you— your  fame  is  growing  hourly.  Mr.  Water- 
man, president  of  the  Philharmonic,  told  M.  De  Meyer  the 
other  evening  at  Herz's  concert, — **  I  tell  you  what  it  is, 
there's  none  of  them  like  Wallace  ;  he  has  soul,  feeling,  taste, 
and  skill ;  his  genius  I  adore :  and  tell  him  from  me,  the  first 
time  you  write  to  him,  that  come  when  he  may— and  the 
sooner  the  better — he  is  sure  of  a  whole-souled  welcome  ;  and 
J  only  keep  the  chair  of  our  society  till  he  comes  to  join  with 
heart  and  hand,  in  giving  him  a  glorious  bumper."  The 
pleasure  your  first  signature,  since  your  departure  from  this 
country,  gave  me  it  is  impossible  to  describe.  Do  writd 
soon  ;  I  am  anxious  to  have  the   Cracovienne  published.-— 

No.  52,  South  4th  Street,  Philadeiphta,  Dec.  27, 1846.  C.  M. 

Vienna. — The  first  English  concert  (assisted  entirely  by 
Englishmen),  was  given  at  Vienna,  on  Dec.  13,  1846,  by  our 
young  countryman,  William  Strcdther,  harpist,  pupil  of  Parish 
Alvars.  The  concert  commenced  with  Mendelssohn's  over- 
ture to  Fingal^  performed  by  the  opera  band,  under  the  direc- 
tion of  Professor  Helmesberger.  Mr.  Streather  performed  a 
concerto  in  E  fiat,  composed  by  his  master,  and  a  fantasia  on 
melodies  from  Rienzi ;  the  audience  testifying  their  approba- 
tion by  calling  the  young  performer  before  them  at  the  con- 
clusion, and  greeting  him  warmly.  Mr.  Pratten  played  a 
fantasia  on  the  fiute,  and  was  much  applauded.  Mr.  Gregg, 
a  pupil  of  Staudigl,  sang  Benedict's  ••  Jtage  thou  angry 
stoma,"  and  gave  great  satisfaction.  The  concert  was  tety 
well  attended— Meyerbeer,  Staudigl,  and  nearly  160profeft«6r4 

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THE  MUSICAL  WORLD 


«nd  ewnpeaeffi  being  present;  the  English  Ambassador,  Lord 
Ponsonby  and  his  lady,  Prince  Esterhazy,  and  many  fashion- 
ables honoured  the  concert  with  their  presence.  Mr.  Streather 
will  shortly  return  to  London  from  Vienna,  where  he  has  been 
some  time  studying  under  Parish  Alvars. — {From  a  Svh- 
scriber,) 

Paris. — Lablaehe  has  made  his  first  appearance  for  the 
season  at  the  Italiens,  in  Don  Pasqimle.  Mario  has  recovered 
from  his  illness,  and  played  in  the  opera.  Grisi  of  course 
enacted  the  heroine.  The  Gazza  Ladra  is  in  rehearsal  for 
Grisi,  Gardoni,  Colletti,  and  Lablaehe.  Persiani's  singing  in 
the  Elisir  d'Amare  is  more  charming  than  ever.  Carlotta 
Grisi  has  left  for  Rome,  where  she  has  an  engagement  of  one 
month.  Liszt's  marriage  was  a  report  without  foundation. 
Robert  Bruee  is  proceeding  slowly ;  nothing  averse  to  its 
success,  however,  has  occurred  since  the  first  performance. 
Adolphe  Adam  has  purchased  the  Cirque  Oli/mpique,  which 
which  will  be  converted  into  a  third  lyric  theatre. 

Milan. — The  Carnival  season  has  commenced  here.  The 
So  ALA  opened  on  the  27th  ult.  with  Verdi's  Attila^  without 
any  great  effect.  Marini,  however,  was  very  fine  in  the  prin- 
cipal character.  Moriani  and  La  Tadolini  were  the  other  chief 
executants.  Two  ballets,  a  grand  and  a  petit,  both  failed. 
Perrot  and  Fanny  Elssler  are  waited  for  with  impatience,  the 
former  has  been  ill  and  the  public  is  furious. 


MISCELLANEOUS. 

Madams  Bishop  commenced  her  three  weeks  engagement 
with  Mr.  Simpson,  Lessee  of  the  theatres  of  Burmingham, 
Liverpool,  &c.,  on  Monday  last.  The  Maid  of  Artois  was 
announced  at  Birmingham  for  that  evening,  but  could  not  be 
produced  for  want  of  rehearsals,  and  Mr.  Simpson  in  conse- 
quence, took  Madame  Bishop  to  Leamington  to  sing  at  a 
morning  concert.  On  the  same  evening  she  sang  at  Coventry; 
on  Tuesday  at  Worcester;  on  Wednesday  at  the  Town  Hall, 
B'rmingham ;  on  Thursday  at  Wolverhampton ;  and  last 
night  she  appeared  at  the  Birmingham  Theatre  in  the  Maid  of 
Artois.  Madame  Bishop  is  creating  an  immense  sensation 
every  where.  We  have  received  letiers  from  correspondents 
at  Leamington,  Coventry,  and  Birmingham,  all  extolling  her 
to  the  skies.  If  we  were  to  print  all  the  letters  they  would 
fill  our  journal.  We  see  by  the  bills  and  papers  that  Madame 
Bishop  has  followed  our  suggestion,  and  invariably  sings 
Meyerbeer's  Cavatina,  '*  Come  rapida,''  at  the  concerts,  and 
invariably  receives  an  encore.  She  is  also  encored  every  where 
in  *•  John  Anderson  my  Jo,"  and  '*  Je  suis  la  Bayadere." 
Madame  Bishop  was  assisted  at  the  Birmingham  concerts 
by  Mr.  Arthurson,  the  tenor,  and  Mr.  Corri,  the  bass.  M. 
Bochsa  was  also  engaged,  and  played  a  fantasia  of  his  own 
composition  with  very  great  effect.  We  shall  have  more  to 
say  anent  Madame  Bishop's  provincial  tour  next  week. 

The  Rival  Italian  Operas.— The  directors  of  Her 
Majesty's  Theatre,  and  of  the  New  Italian  Opera  in  Covent 
Garden,  it  appears,  are  making  strenuous  efforts  to  open  the 
approaching  campaign  with  iclat.  It  is  announced  officially 
that  Covent-Garden  Theatre  will  open  the  first  week  in  April ; 
Her  Majesty's  Theatre,  we  believe,  will  open  some  weeks 
earlier.  From  the  preparations  of  both  parties,  there  can  be 
no  doubt  that  the  entertainments  at  both  houses  will  be  of 
unprecedented  magnificence.  While  the  Covent-Garden  com- 
pany will  include  Grisi,  Persiani,  Mario,  Tamburini,  Sajvi, 
Ronconi,  and  Marietta  Brambilla,  the  company  in  the 
Haymarket  will  comprise  Jenny  Lind,  Castellan,  Lablaehe, 
F.  Lablaehe,  Gardoni,  and  Staudigl.     Of  the  engagement  of 


Jenny  Lind  and  of  Staudigl  we  have  information  which  we 
are  assured  is  correct.  The  Covent-Garden  orchestra,  under 
the  direction  of  Costa,  will  be  of  unprecedented  strength, 
besides  including  the  elite  of  the  old  Opera  band ;  while  on 
the  other  hand,  Mr.  Lumley  has  been  busily  recruiting  in 
Germany  and  France,  and  has  engaged  M.  Panofka,  a  Parisian 
composer  and  violinist  of  high  talent  and  reputation,  as 
principal  director  of  the  choruses.  The  approaching  competition 
will  necessarily  stimulate  the  efforts  of  both  houses  to  form  a 
rich  and  varied  repertoire.  At  both,  it  is  said,  seme  of  the 
greatest  works  of  the  German  school — including  operas  of 
Gluck,  Mozart,  and  Meyerbeer — and  likewise  works  of  the 
older  Italian  masters — will  be  brought  forward.  Covent- 
Garden  is  to  have  a  ballet  as  well  as  Her  Majesty's  Theatre. 
This  was  not  at  first  expected ;  but  since  it  is  to  be  so,  there 
will  of  course  be  the  same  rivalry  in  the  ballet  as  in  the  opera 
department.  The  labours  in  the  rebuilding  (as  it  may  almost 
be  called)  of  Covent-Garden  Theatre  go  on  without  inter- 
mission, and  we  are  told  that  it  will  be  next  in  magnituda 
and  splendonr  to  the  Scala  and  the  San  Carlo.  We  heartily 
wish  success  to  both  houses,  and  trust  that  a  fair  and  honorable 
competition  between  them  may  be  good  for  themselves  as 
well  as  for  the  public.  At  all  events,  if  the  preponderance  of 
public  patronage  shall  incline  to  either,  we  shall  only  say, 
detwr  digniori! — Daily  News. 

Mrs.  Butler. — ^We  have  it  from  the  best  authority  to  state, 
that  the  celebrated  actress,  Mrs.  Butler  (Fanny  Kemble),  will 
re-appear  on  the  stage.  This  will  indeed  be  a  real  boon  to  the 
modem  stage. — Times. 

The  New  Christmas  Pantomime  of  St.  George  and  the 
Dragon  increases  each  night  in  attracting  fashionable  and 
crowded  audiences  to  Drury  Lane.  The  private  boxes  have 
been  filled  with  the  most  distiguished  families  of  the  aristo- 
cracy. The  theatre,  on  Saturday  will,  doubtless,  present 
a  scene  of  intense  excitement,  it  being  "  the  juvenile  night," 
upon  which  occasion  the  pantomime  will  precede  the  other 
attractions,  thus  affording  the  younger  members  of  fiimilies 
the  opportunity  of  witnessing  the  splendours  and  drolleries  of 
the  Christmas  annual,  and  of  retiring  sufiiciently  early  to 
allay  any  parental  apprehension  of  the  result  of  late  hours. — 
Morning  Post. 

A  False  Report.^"  It  is  stated  in  a  Sunday  paper,"  says 
the  Morning  Post,  **  that  some  alarm  was  occasioned  last  week 
within  Covent  Garden  Theatre,  owing  to  a  portion  of  the 
building  giving  way ;  but  that  the  architect  was  bent  for,  and 
prompt  measures  taken  to  prevent  any  serious  damage.*  Peo- 
ple ought  to  be  careful  how  they  pull  old  houses  about  their 
ears.  [There  is  not  a  word  of  truth  in  the  report,  which  may 
be  accounted  for  by  the  paper  in  question  being  a  known 
enemy  to  the  establishment.  In  its  swagger  about  indepen- 
dence, the  Sunday  Times  is  too  apt  to  overlook  the  truth. 
We  have  a  score  to  cast  up  with  this  magniloquent  print  which 
we  shall  take  an  early  opportunity  of  effecting.] 

Ancient  Britons. — Lord  Robert  Grosvenor  will  preside 
at  the  133d  festival  of  the  Honorable  Society  of  Ancient 
Britons,  on  St.  David's  Day,  which  will  be  celebrated,  as 
usual.  The  society  has  experienced  a  loss  in  the  death  of 
Sir  Charles  Morgan,  one  of  its  vice-presidents,  who  contri- 
buted 501,  annually  towards  the  Welsh  charity  school.  The 
present  Baronet,  however,  follows  his  example. 

Paris. — The .  theatres,  balls,  concerts,  exhibitions,  and 
other  places  of  public  entertainment,  are  made  to  contribute 
a  certain  proportion  of  their  receipts  towards  the  relief  of  the 
city.  The  amount  of  the  fund  obtained  from  this  source  in 
1845  was  l,046,526f.  ^^T^ 

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41 


Madaicb  Anna  Bishop  has  been  delighting  crowded  audi- 
ences at  the  Brighton  Theatre  during  the  past  week.  Her 
BiJigmg  and  acting  in  the  third  act  of  The  Maid  of  ArioiSf  and 
her  fine  dramatic  and  vocal  exertions  in  La  Sontuimbula^  have 
been  greeted  with  the  greatest  enthusiasm.  The  style  io 
which  this  charming  cantatrioe  rendered  the  plaintive  Scottish 
ballad,  "  John  Anderson,  my  Jo,"  and  Rossini's  "  Tu  che  ac- 
cendi,"  the  celebrated  cavatina  from  Tanortdi^  stamped  her  as 
the  roost  finished  artiste  on  the  British  stage.  Her  benefit 
took  place  on  Friday  night,  upon  which  occasion  every  box 
was  taken,  and  the  theatre  attended  by  a  fiill  and  fashionable 
audience.— AforntR^  Post, 

Mr.  J.  L.  Hatton's  second  entertainment  at  the  Maryle- 
bone  Literary  Institution,  Edward  Street,  took  place  on 
Thursday  evening.  Mr.  Hatton  still  continues  his  speci- 
mens of  classical  pianoforte  music,  which»  in  our  estimation, 
constitute  the  best  portions  of  the  concert.  The  selections 
were  taken  from  the  works  of  Corelli,  Bach,  Handel,  Mozart, 
and  Beethoven.  Mr.  Hatton  interpreted  the  music  of  these 
great  masters  with  a  true  sensibility  of  their  meaning  and 
power.  "  O  Ruddier  than  the  cherry  "  was  given  with  fine 
effect  by  Mr.  Hatton,  who  also  introduced  songs  by  Cursch 
mann,  Hunnemann,  and  others^  A  most  excellent  enter- 
tainment, concluded  with  **  The  adventures  of  Robinson 
Crusoe,"  a  comic  song  capitally  written,  and  sung  with 
spirit  and  humour  by  Mr.  Hatton.  No  lover  of  true  dassical 
music  should  absent  himself  from  these  concerts. 

Illness  of  Miss  Faucit. — We  regret  to  say  that  the 
sudden  illness  of  Miss  Faucit  disappointed  a  large  audience 
last  evening.  The  house  was  full,  including  the  boxes, 
when  it  was  announced  that  Miss  Faucit,  who  was  to  play 
Mrs,  Haller^  was  too  ill  to  appear.  Of  course,  the  audience 
immediately  rose  and  departed.  We  understand,  that  Miss 
Faucit  would  have  played  at  any  risk,  but  her  physician  told 
her  that  if  she  did  she  would  certainly  rupture  a  blood-vessel, 
and  that  the  consequence  might  be  fatal ;  and,  with  judicious 
imperativeness,  he  would  not  allow  her  to  quit  her  chamber, 
— Cork  Examiner. 

Dbath  of  Mr.  Hawkins,  thb  Vocalist. — This  gentleman, 
wen  known  in  the  musical  world  as  an  accomplished  vocalist 
and  a  good  musician,  expired  on  Saturday  last,  universally 
regretted.  Mr.  Hawkins  was  for  many  years  first  alto  singer 
of  Westminster  Abbey  and  the  Royal  Chapel. 

Dbatm  of  Mr.  W.  K.^arns.— This  accomplished  musi- 
cian, justly  celebrated  for  his  intimate  knowledge  of  the 
properties  of  instruments  in  the  orchestra,  and  distinguished 
also  as  a  teacher  of  singing,  expired  on  Monday  week,  at  his 
residence,  Princes  Place,  Xennington.  Mr.  Hearns  was  an 
Irishinan  by  birth,  but  has  been  a  resident  in  the  metropolis 
for  thirty  years.  He  was  a  member  of  the  Philharmonic 
Society,  the  Ancient  Concerts,  and  the  band  of  Her  Majesty's 
Theatre.  He  was  a  very  superior  violinist.  Mr.  Keams' 
decease  is  universally  regretted.  He  has  left  a  large  family 
to  deplore  his  loss.. 

Death^of  Mr.  Joseph  Calkin. — Death  has  been  busy 
of  late  among  musicians.  We  have  to  add  to  the  list  the 
demise  of  the  above  gentleman,  which  took  place  about  a 
fortnight  since,  at  his  residence  in  Pall-mall.  Mr.  Calkin 
was  one  of  the  tenor  players  of  the  Philarmonic  band  for 
many  years.  The  Royal  Society  of  Musicians,  of  which  he 
was  a  member,  are  deeply  indebted  to  him  for  his  active 
exertions  in  its  cause.     Mr.  Calkin  died  in  his  67th  year. 

A  Stage  Ybtkran — Our  old  favourite,  Deshayes, 
died  lately  in  Paris.  With  Deshayes  depart  the  last  glories  of 
ancient  choregmphic  art,  which  began   when  Louis  XIV, 


danced,  and  was  handed  down,  through  Gardel  and  Noverret 
to  Deshayes.  He  was  himself  the  very  prototype  and  living 
compendium  of  this  art  at  the  time  when  conventional  grace 
and  dreamy  poetry  were  preferred  to  energy  of  thought  and 
execution.  A  more  amiable  and  more  courteous  personage 
never  existed  in  the  realms  of  the  fantastic  toe,  nor  was  he 
devoid  of  inventive  talent.  Her  Majesty's  Theatre  having 
been  indebted  to  him  for  Bochsa's  celebrated  Benyowsky^  and 
several  other  excellent  ballets.  Last  season  he  came  to  visit 
the  beloved  precincts  again,  and  being  invited  to  a  dinner 
with  Taglioni,  Cerito,  and  many  of  the  first  of  the  light-heeled 
fraternity,  all  the  memories  of  his  glories  were  revived,  and  he 
had  so  many  toasts  on  the  subject  to  drink  in  champagne, 
that  he  grew  glorious  himself  afterwards  ;  floated  in  clouds  of 
dreamy  remmiscences,  like  the  heroes  of  Ossian  ;  and  instead 
of  going  to  bed,  strolled  into  the  fields,  and  nearly  broke  his 
neck  in  a  pit.  However,  he  recovered  with  broken  shins,. and 
lived  to  die  amongst  his  household  gods  in  Paris,  loved  and 
esteemed  by  all  who  knew  him. — Stin. 

Royal  Italian  Opera. — Mademoiselle  Steffaooni,  the 
celebrated  prima  donna  of  the  Scala  at  Milan,  the  San  Carlo 
at  Naples,  and  the  Felice  at  Genoa,  has  been  engaged  for  thia 
theatre.  Report  speaks  in  the  highest  terms  of  &e  arUste*s 
personal  attractions  and  vocal  talent. 

Crosby  Hall.— Mr.  Dando  has  announced  his  series  of 
quartet  concerts  for  the  present  year,  for  Mondays,  Jan.  25, 
Feb.  8  and  22nd,  and  March  8 ;  Tuesday,  March  2S ;  and 
Monday,  April  5.  The  quartet  will  be  represented  by  Messrs. 
Dando»  Gattie,  W.  Thomas,  and  Lucas. 

'<  Maoamb  Bishop  sang  in  three  concerts  last  week  at 
Cheltenham,  and  on  each  occasion  obtained  the  most 
triumpBant  success  I  ever  witnessed  in  a  concert  room.  The 
applause  consequent  upon  each  of  her  efforts  was  deafening. 
She  was  called  on  to  repeat  every  song  but  one.  She  was 
encored  three  times  in  the  French  ballad, ''  La  Bayadere."  This 
was  at  once  the  most  graceful  and  most  striking  specimen  of 
sunple  vocalization  I  ever  heard.  You  can  Lave  no  notion 
of  the  efiect  it  produced.  We  poor  Cheltenham  folks  con* 
sidered  Madame  Bishop,  before  we  had  heard  her,  as  merely  a 
bravura  singer,  the  biilliancy  of  whose  voice  was  not  suited  to 
the  interpretation  of  cantabile  singing,  ncr  to  the  rendering  of 
simple  melody.  We  were  never  more  mistaken  in  our  livea. 
Madame  Bishop  is  the  exquisite  vocalistt  whether  she  singa 
the  most  florid  music  of  the  Italian  school,  or  the  roost 
unpretending  melody.  She  is,  indeed,  one  of  the  very  greatest 
singers  I  ever  listened  to.  Mrs.  Alban  Croft  sang  thrise 
charming  songs  very  nicely.  These  songs  are  from  the  pen 
of  our  talented  townswoman,  Mrs.  Francis  Herrick,  and  speak 
highly  for  the  musical  acquirements  of  that  lady.  The  poetry 
is  by  L.  E.  L.,  taken  from  her  *'  Songs  of  the  heart."  Thie 
ballads  given  on  this  oocasion  by  Mrs.  Alban  Crolt  are  called, 
'*  The  Blighted  heart,"  *'The  wasted  heart,"  and  ''When  the 
violet  bloometh."  The  concert  gave  infinite  satisfaction. 
Madame  Bishop's  singing  created  an  immense  sensation  in 
Cheltenham." — (From  a  Csrre^ondefU.) 

Miss  Inverarity,  the  vocalist,  died  on  the  27th  December, 
at  Newcastle-on-Tyne,  of  disease  of  the  lungs.  Miss  Inver- 
arity was  a  native  of  Edinburgh,  and  was  born  in  March,  1813. 
She  was  niece  of  the  Scotch  poet,  Ferguson.  She  made  bar 
first  appearance  in  London,  at  Coven t- Garden,  1830,  in 
Cinderella.  She  afterwards  appeared  in  Asor  and  Zemira 
and  The  Maid  of  Judah  with  great  success.  She  was  an 
immense  favorite  at  Edinburgh.  In  1836,  she  married  Mr. 
Martyn,  the  bass^singer,  with  whom  she  went  to  America, 
where  her  talents  were  greatly  appreciated^  ^y  y^ 


4^ 


THE  MUSICAL  WORLD. 


Madamb  D*£ichthal,  harpist  to  the  Emperor  of  Austria 
^md  Her  Migesty  the  Queen  of  the  Belgians,  has  anrived  in 
town  for  the  season. 

Mb.  W.  Vincent  Wallace's  new  opera  for  IXniry-Lane 
is  nearly  completed,  and  will  be  put  into  rehearsal  forthwith. 
Runiour  already  speaks  in  very  high  terms  of  the  new  com- 
position, by  the  author  of  Maritana. 

ExBTBB  Hall. — ^The  Messiah  was  performed,  fbr  the  third 
BBd  last  time,  by  the  Sacred  Harmonic  Society  on  Friday 
last ;  the  performance  calls  for  no  partieular  notice,  ofiering 
the  same  peculiarities  of  style  which  had  been  observable  in 
the  Society's  exposition  of  Handel's  master-pieces  for  the  last 
twelve  years — the  same  faults  and  the  same  excellences. 
The  principal  singers  were  Madame  Caradori  Allan,  Miss 
Hawes,  Mr.  Manvers,  and  Mr.  Phillips.  Haydn's  Creation 
is  to  be  played  on  the  19th  and  26th  inst.,  with  Miss  Birch, 
Mr.  Lockey,  and  Mr.  Phillips  for  principals.  In  addition  to 
the  engagement  of  Mendelssohn  to  conduct  the  performance 
of  his  oratorio,  Elijah^  in  April,  the  second  part  of  which  he 
has  been  busily  engaged  in  re-scoring,  we  understand  tbat 
arrangements  have  been  entered  into  with  Spohr  to  conduct 
three  of  the  Society's  performances  during  the  season,  on 
whieb  occasions  the  works  of  this  great  master  will  be  pro- 
duced under  his  own  immediate  superintendance.  We  cannot 
hvLt  kail  with  the  liveliest  pleasure  this  new  feature  in  the 
Society's  proceedings,  and  look  upon  these  spirited  move- 
Bsants  as  harbingers  of  that  progress  which  has  for  so  long  a 
time  been  desirable  in  the  proceedings  of  a  Society  which  has 
already  done  so  much  for  music,  but  is  yet  capable  of  doing  a 
great  deal  more. — From  a  Correspondent. 

Madame  Bishop  appeared  on  Thursday  and  Friday 
evenings  at  the  Brighton  Theatre,  in  her  favorite  *  part  of 
Isoline  in  the  Maid  of  Artoie,  and  met  with  the  greatest 
possible  success.  She  introduced  in  costome,  the  grand 
seena,  *•  Tu  che  accendi,"  from  Tancredi,  during  the  even- 
ing, and  sung  in  addition  several  popular  ballads.  Madame 
Bishop's  reception  proved  the  Brighton  audiences  to  be  true 
appreeiators  of  the  best  style  of  singing.  The  Brighton 
Herald  speaks  in  the  most  lavish  terms  of  praise  of  the  fair 
Toealist's  talents. — Morning  Herald, 

Thb  Newly-found  Pobtrait  of  Shakspbeb. — The 
supposed  portrait  of  Shakspere,  which  we  anoounoed  some 
weeks  since  on  the  credit  of  the  editor  of  The  Builder^  to 
have  come  into  the  possession  of  the  Bishop  of  Ely,  has  now 
been  seen  by  our  contemporary,  as  he  states,  and  he  is  inclined 
to  favour  the  opinion  of  its  genuineness.  It  is,  he  states 
without  the  beard,  closely  resembling  the  engraving  in  the 
folio  edition  to  which  were  appended  Ben  Johnson's  well' 
known  lines.  The  painting  is  on  a  panel,  1  foot  8  inches  by 
1  foot  8f  inches — and  when  found  was  in  an  old  ebony  frame, 
covered  with  dirt  and  disregarded.  It  was  bought  for  a  few 
ahillings,  solely  on  the  ground  of  its  likeness  to  Shakspere. 
The  date  and  age  (1603,  setat.  39)  serving  to  confirm  this 
impression,  were  not  discovered  till  afterwards ;  these  are  in 
the  left-hand  corner  of  the  picture,  at  the  top — in  the  same 
position  as  they  are  in  the  portrait  of  Cornelius  Janson,  dated 
1610.  — Jthenasum. 

The  Widow  of  the  late  Frederick  Cooke,  the  celebrated 
tragedian,  now  resident  at  St.  Louis,  U.S.,  has  presented  the 
gold  watch  of  her  husiband  to  Mr.  Charles  Kean. 

.Itjlliek's  Album  for  1847. — Studded  with  delight 
for  country  cousins,  crowded  with  the  newest  polkas,  walt2es, 
and  songs,  embellished  with  views  of  the  bal  masque  and 
promenade  concerts,  with  the  celebrated  conductor  himself  in 
full  fig,  white  waiatcoatedy  accurately  tiowseredi  and  neaitly 


bewhiskered,  with  Flora  Fabbri,  moreover,  rising  on  tiptoe 
— in  short,  as  a  perfect  mirror  of  all  the  notabilitiea  of  a 
London  season,  this  book  takes  precedence  of  all  albums,  as 
M.  JulHen  himself  does  of  all  cooductora,  botk  in  eostume 
and  gesticulation.  Young  ladies  residing  in  old  country 
houses  and  in  out  of  the  way  places,  may  be  expected  to 
scream  with  ecstacy .  as  they  turn  over  its  pages.  They  will 
be  enabled  to  dance,  to  sing,  to  chat,  to  criticise^  and  laugh 
out  of  it  extempore ;  wherever  it  goes  it  will  dissipate  gloom, 
and  the  dullest  pariah  in  England  may  acquire  somewhat  of 
the  air  of  the  beau  monde  from  its  pages.  Need  we  aay 
more  ?  Jullien's  Album  must,  and  will  be,  included  in  all 
country  commissions.—  Atlas. 

HuLLAR  Testimonial  FunD.^-Four  eoncerts,  illustmtive 
of  English  Vocal  Music,  under  the  superintendance  of  Mr. 
HulUh,  are  announced  to  take  place,  in  aid  of  the  erectiom  of 
a  new  music  hall.  This  is  directing  musical  energies  m  the 
right  way.  Mr.  Hullah,  the  projector  and  conductor,  is  en- 
titled to  the  praise  of  all  musicians.  Tlie  first  concert  takes 
place  on  Monday  evening  next.  The  programme  alreacly 
issued  is  on  a  grand  scale.  The  ehorus  will  oonsist  of  Mr. 
Hullah's  upper  singing  schools. 

Madrigal  Society. — The  106th  anniversary  festival  will 
be  celebrated  on  the  21st  inst.  Lord  Saltoun,  permaaent 
president  of  the  society,  will  come  from  Scotland  expressly  fbr 
the  occasion. 

Thb  Favouritb  Violin  of  Beethoven  is,  it  is  said,  to  be 
sold  at  Hubteldorf,  near  Vienna ;  it  is  an  Amati  of  ld67. 

Casb  of  Copyright. — ^An  interesting  case  of  copyright, 
came  before  the  Jury  Court,  of  the  first  division  of  the  Court 
of  Session,  on  Wednesday  and  Thursday,  the  2dd  and  24th 
instant,  and  was  as  follows : — ^The  late  Archibald  Conatable, 
publisher,  applied  to  the  lata  Dugald  Stewart  to  furnish  pre- 
liminary dissertations  on  mental  philosophy^  for  the  supple- 
ment to  the  4th,  5thr  and  6th  editions  of  the  *'  Encyclopsedia 
Britannica,"  and  at  completion  paid  him  the  sum  of  £1600, 
being  a  sum  equivalent  to  double  the  rate  at  which  Sir 
Walter  Scott,  and  other  distinguished  contributors,  were 
remunerated.  On  the  failure  of  Constable,  Adam  and  Charles 
Black  purchased  the  property  of  the  '*  Encyclopsedia,"  and 
after  some  years  issued  a  7th  edition,  in  which  the  dissertations 
of  Stewart  were  included,  besides  being  published  in  a  se- 
parate form,  in  common  with  other  treatises  furnished  to  the 
work— but  were  in  the  latter  edition  withdrawn  from  sale 
when  the  complainant  objected.  The  action  was  brought  by 
Professor  Stewart's  son,  on  the  ground  that  his  father  had 
disposed  of  the  dissertation  for  insertion  in  the  supplement 
alone,  and  he  craved  damages  from  Messrs.  Black,  for  the 
copies  '*  piratically"  sold  by  them  in  the  subsequent  edition, 
as  well  as  in  a  detached  shape.  The  Jury  unanimously  found 
for  the  defendants. 

Leopold  Db  Mbyer. — A  curious  case  came  before  the  Fourth 
Ward  Court  lately,  in  relation  to  ihe  lion  pianist.  It  appeared 
from  the  testimony  that  De  Meyer  employed  a  literary 
gentleman,  named  Burkhardt,  to  translate  a  puff  from  the 
German  to  the  English  language  for  the  purpose  of  publishing 
it  in  a  morning  print  as  an  editorial  commendation  of  his 
performances.  Burkhardt  charged  25  dollars  for  his  work, 
but  the  lion  pianist  was  unwilling  to  pay  more  tlian  10,  and 
hence  this  suit.  It  was  testified  by  one  individual  that  the 
effect  of  the  puff  could  not  be  calculated,  and  that  he  would 
be  willing  to  give  50  dollars  for  such  a  one  previous  to  giving 
a  concert.  The  jury  sided  with  the  phiutiff,  and  as  it  was 
proved  that  he  had  already  received  10  dollars,  they  returned  a 
verdiet  in  his  lavor  of  15  doUara.— iVeif  York  ^twiMMr^iW.  ^ 

Digitized  byVnUOyiC 


THE  MUSICAt.  WORLD. 


4B 


Tbb  DitTiK  Family .r— The  (jtfctare  Hall,  Greenwich, 
waB  crowded  to  excess  qh  Monday  tvening,  on  the  occasion 
of  ^i^  }/LQpaiX  0*ConQor*s  concert,  at  which  the  iiboye 
talei|t^  ftpUy  assisted*  and  noainly  coiitribated  to  the  i^trae- 
tion  of  the  evening.  The  Messrs.  Distin  were  encored  in 
several  mSKCUux  performed  on  the  Sax-horns  and  Sax-tubas. 
A  tmmpet  solo  by  Mr.  Distio  was  greatly  applauded,  and 
was  repeated.  Three  glees  were  excellently  rendered  by 
Mf'ssra.  Henry,  William,  and  Theodore  Distin.  Miss  Moriatt 
O'Connor  aang  two  songs  with  much  effect,  obtaining  a  hearty 
encore  in  one  instance.  Miss  Snynes  accompanied  all  the 
vocal  pieces  widi  effieieacy.  We  scarcely  remember  on  any 
foirmer  oeenioos  to  have  seen  the  Lecture  HiU  so  densely 
crowded. 


TO  COIUlUPOMDeMTI. 

A  Ladt  Svnnc^iMKu.^  fBridgnpaterJ.^fVe  wcmU  d*  enftMif  la  s«r 
power  to  moet  tie  wishes  (/  our  correspondent — but  what  can  uedof 
BhaU  wo  jmblish  nor  letter,  or  another  one  that  she  may  be  pleased  to 
wrU$f  iohmulyt  we  thimk  ow/air  subscriber  takes  too  m%ieh  to  heart 
mi  ^  eiUy  exproitiem  made  tm  efin  disreopoct  to  keroolf  in  a  skUjf 
eomtrjf  paper,  which  we  afain  aseure  her  nobody  reads  but  some  silly 
M  nfomgn  who  reiU  cottages  in  the  outskirts  <if  the  town  where  it  is 
gmtUslied.  l4ao$  "  Orpheut  to  his  Burydkes^ske  will  scratch  his 
eyes  out  if  he  continues  to  misbehave  himself,  we  warrant*  Du  sasrs, 
^Boareat  the  oervUe  nf  em  Bridgowater  jaibr  tmibioiDii— (^  her  hut 
indicate  what  course  we  should  pursue,  and  us  the  arrow  th$  in^ulse  qf 
the  besidei  kem,  shaU  we  follow  the  bent  ^  her  direction. 


ADVKRTI|EllieiiT9. 

WARREN^S 

20  GUINEA  COTTAGE  PIANO-FORTES 


ARE  NOW  SELLING  AT  THE 

Bbaufaetory,  71,  Xieadenluill  Street, 

IBfowoeiJrom  I  and  2,  Liverpool  Street,  BUhopegeU  Street.) 
Ttae  Inttramentt  are  well  nmnoftgtured  of  the  best  MMoned  wood.  FINE 
FULL  TONS  AND  GOOD  TOUCH.  A  two jnmtb  wsmntf  jcifMi  wHh  Mch  UMtni. 
miat,  BSTTAnLISHED  TWENTY.ONE  TBAllS.  Tbe  onlT  hooM  in  London 
wtere  a  rood  aonnd  inKtrmnent  n«n  he  obtained  at  the  above  low  price*  (for  cash 
OBiy).  SMALL  PEOnT  AND  QUICK  RBTURIW I 
JOHN  WARRBiif,  71,  X.s«4Uiih«U  St.,  opposits  Aldgmte  Pwap 

m  COMIt,  COLDS,  lUmTIM  OF  THE  THROJIT,  HOUSEIESSi 
PECTORAL  ^EMULSION, 

AnnAaCiictbr  accordinff  to  the  IbrmuU  of  a  diidniraitbcd  Phjraicisn  hi  Parts. 
This  prepantfen  havlnir  si^oyed  gnot  celebrity  ft>r  many  years  on  theContinent, 
as  wdl  ss  undergoinp^  a  trial  for  some  time  in  private  practice  in  this  country,  it 
anr  introdaocd  to  the  public  as  the  most  screeable.  efficacious,  and  needy  cure 
Ibr  tbe  above  afflections,  relievinir  the  most  obstinate  Courhs  in  a  few  hours.  To 
Bi«tn,  Protfnsora,  awi  PuhUc  Speakers  it  wiU  be  found  ^valuable. 

PRBPARSD  ONLY  BY 

TURNER   AND   SPRATT, 
_  ti^llMi  SDd  Pwsiffn  ChiBiati.  1,  TICHBOENB  8TEBST,  Hsjmarlcft 


Wfr.  ud  BCiidame  O.  A.  MACFARREN 

Bsf  to  iiAna  their  frtends  and  the  Public,  that  thsy  haw 

EBMOVED  TO 

•9,  Y9BK  TBEBAOBi  ESOSHT'S  PABK. 

JULUEITS 

NEW  DANCE  MUSIC  FOR  THE  NEW  TEAR. 

The  British  Army  Quadrille,  the  American  and  Cam^Ha  Polluw-Jullien.  The 
Garland  Walts  and  Cfftino  Polka- KGsnig.  Adrieone  Vslse  and  La  fin  dn  Bal 
Galop— Banret.  Tbe  above  composltloni.  in  addition  to  beinr  the  newest  and 
most  fashionable  of  the  day,  will  be  found  sni«rior  to  all  others  in  their 

Splicability  to  Dandnfr,  the  time  throuf  bout  all  of  them  beioff  carefblly  maricsd 
r  that  especial  purpose. 

ROYAL  MUSICAL  CONSERVATORY, 
A14,    REOBNT    STBBBT,    and    45,    KTMO    STBBBT. 

JUIsLXEN'S 

VOCAL  MUSIC  FOR  THE  NEW  YEAR. 

4USr    PUSLISNKD:* 

"The  Preferance,"  and  "The  Castle  and  the  Cottace,"  BalfSe;  Venetiaa 
Serenade,  Boch  Albert;  "O  how  can  I  smile,"  Baker;  **iio  not  to  the 
Rhine/*  Glover;  **  O  meet  me  in  the  Flow'ry  Dell,**  Hatton ;  and  *'Ilov*dthee 
in  tbofs  early  years,**  0.  Unley.  The  shove  new  and  «uhioiiai*ls  composittoni, 
which  are  admirably  adapted  for  the  fsstive  circle,  are  mom  beinsr  snnf  with 
unprecedentad  success  by  the  most  eminent  vOcalistt  at  tbe  principal  concert*  in 
town  and  country. 

BOTAXi   MUSICAL   OONSBBVATOBT, 

214,  REGENT  STREET,  AND  45,  RING  STREET. 

THE    ^^  BEAUFORT   POIsKA/» 

(UTTfr  BLBGANT  TITLB  P40B,) 

Compoied  and  respectftilly  dedicated  0>y  permission)  to  the  LADT  BLANCH 
SOMEBSBT,  by  a  MIL80M,  Jon,,  is  Jnst  published,  at 

ifILf#|I  AMB   SON'S  Pi«Miovt«  and  MnaA 

2,  ARGYLE  STREET,  BATH  ; 
And  to  be  had  of  every  Music  Seller  in  London  andtheUnitad 
Solo,  Ss. }  colored  Ss. ;  Duet,  ts; 

NEW  MUSIC,   BY  CLEtdEliT  WHITE. 

JUST    PUBLISHED.    BY    P.    E.    ROWE, 
Mnsie  Bnllar,  19,  Omi««  Street,  Pljinimth, 

And  to  be  had  aft  all  the  Music  Seilers  in  London. 

•«Eonald»»-Ballad       -         -         -                    ... 
*«  He  never  can  be  mine  >'— Ballad           .... 
•*  Waiting  ibr  thee  "-Serenade 


«.  tf. 

S  0 

S  0 

S  0 


MBDICAI.  OAI.VANISM. 

HORNE,  THORNTHWAITK,  Ac  WOOD,  Successors  to  E.  Palmbb,  ISS,  New- 
rste-ftreet,  in  submitting  their  improved  KLEClSO-GAtVANlC  MACHINES, 
beg  to  state,  that  they  have  availed  themselves  of  the  discoveries  of  De  la  Rive. 
Fkraday,  Smee,  and  others,  by  which  they  are  enabled  to  construct  a  coil  with  all 
the  required  intensity  snd  quantity  of  electricity  tor  medical  use,  therebv  effect- 
thg  both  a  saving  of  expense  and  trouble  to  the  invalid,  snd  placing  in  his  hands 
an  rfTectlve,  powerful,  and  simple  instrunjent,  that  may  be  excited  at  a  minute's 
notice,  and  withont  tronble.- Price,  ^S.  U. ;  ^Z.  IQs.;  and  jgf.  it. 

FHILOSOPUICAL  APPARATUS.— Every  descnption  of  Apparatus  connected 
with  Chemistry,  Hydraulics,  Hydrottatics,  Pnramatics,  Prictiooal  and  VoHaie 
Bteotriciiy,  Electro-Masnetism,  Bleoiro^eCallurry,  Optics,  (indnding  tha  Dia» 
solving  Views,  Photorrapby^  &c  )  manufsctnred  and  sold  by  lioma,  i  homthwaite 

""eet,  London. 

payment  ia  London, 


solving  Views,  Photorrapby.  &c.)  manufsctnred  and  sold  by  li< 
and  Wood,  snccessors  to  Edward  Falmer,  138,  Newgate  Street, 
Foreign  orders,  endoaing  a  remittance  or  ordier  for  pa] 


prtmp  Jy  attended  to, 


DR.   STOLBCRO'S   VOIOE   I.0ZBNOB 

Is  acknowledged  as  the  best  specific  aAer  three  years'  trial,  fbr  improving 
the  voice  and  removing  all  al^tions  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  ac^urs,  public  speakers,  and  all  persons  subject  to  relaztd 
thioata. 

The  Proprietors  have  Just  received  the  following  Testimonial,  amongst 
many  others,  from  Madamb  Anna  Bishop:— 

*'  DBAS  Sir,— I  am  happy  to  say  that  all  I  have  hesrd  respecting  the 
etBcaer  of  Da.  Stolbbrg^s  celebrated  Lozenob  is  perfeetiy  tnie.  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Losengfs,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  relaxatiosi.    I  am,  Dear  Sir,  Yours  truly, 

ANNA  BISHOP." 

"  IFth  November  1816.— Jerroyn  Street" 

Bardav  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard; 
W.  Edwirds  and  Newbury  and  Sons,  St  Psul's  Chuichyard :  Sanger,  and 
Dietrichsen   and   Hannay,  Oxford-street;  and  retail    by  all  respectahU 

Chy«i*  ••'*•«-«*--         Digitized  by  ^UUyit: 


44 


TkE  MttSlCAL  WOKLD. 


JULLIEN'S      ALBUM 

'FOR  184^7, 

A  moat  baMitim  ehitetmns  Preaant,   Naw  Yakr'a  4ut, 
and  Btraaaaa. 


M.    JULLIEN 

Ht8,  the  honor  to  announce  that  his 

M0SI€Aii    AKHITAI.    FOR    1647 

Is  now  Published,  and  is  by  far  the  best  work  of  the  kind  that  has  ever 
appeared ;  coauins  no  less  than 

THIRTY    PIECES    OF    VOCAL 

,      .  AND 

FOURTEEN    OF   INSTRUMENTAL 

•"      ■      •    '       M  Hy  ^  2  (S  3 

The  greater  part  of  which  have  never  before  been  published,  the  cop^ 
having  been  purchased  expressly  fotr  this  work,  at  an  immense  cost,  with'the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons;  to  include  them  in  this  Selection. 

Tho  lUttstrattons,  in  addition  to  the  elaborately  executed  Covtn,  Title,  and 
Dedication  pages,  indude 

TWO   MA^OBVIFZCBNT  VIEWS 

OP    THK 

Xntertor  of  Cotetit-iSatlien  tsri^wtte, 

The  one  ti|ken  diving  the  brilliant  scene  exhibited  in  that  splendid  arena  of 
the  occasion  of  M.  JULUEN.'S  GRAND  BAL  MASaUE;  the  other  a 
VI£W  OF  THE  THEATRE  TAKEN  DURING  THE  CONCERTS, 
the  grouping,  of  the  Figures  in  both  Views  exhibtting^  the  audience  in  a 
manner  at  once'  l\fe-'lUce  and  elegant.'  To  those  who  have  visited  the 
Theatre  on  either  occasion;  the  Album  will  fomr  a  delightful  Souvsnir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A    flPLENDIDLY-COLOVRBD 

.PORTRAIT 

Of  the  celebrated  Danseuse, 

In  the  admired  Pas,  LA  CASTIGLIANA. 

AK    ORIGIKAL   SUBJECT,  > 

**.THE     FORTUNE     T  E  L  L  E  B," 

Illustrating  Baker's  beauilful  Ballad  of  that  tiame. 

The  whole  of.  this  deparuuent  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  prodociion. 

Nothing  more  need  be  said  in  favour  of  this  ALBUM,  and  in  proof  of  .its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributors^  where  will   be   tound  the  principal  talent  in  Europe:  vix. 

R0<;8INI,  VERDT,  DONIZETTI,  RU^INI, 

ROCll-ALBERT,  HCELZKLL,      GOLDBRRG,  SCHIRA,    . 

SCHULZ,  ST(EPEU         DUPREZ,  JOSE  GOMIS, 

MASARNAU,  MARATZEK,   BALFE,  JULLIEN, 

HATTON,  BARRET,         ALEXANDER  LEE,  KOENIG, 

KNIGHT,  BAKER,  FARMER,  .  LINLET, 

LAKE,  FITZBALL,       MOULD,  HURREY, 

FOREST,  ALBERT  SMITH,      DESMOND  RYAN,      &c. 

-  It  will  thus  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  will  contahi  some  of  the  newest  .and 
most  poptdar  productions  of  Italy,  Germany,  France,  Spain,  &c,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
thb  attention  of  thtf  Continental  diletantL 

.Prici  18s.  and  £l.  Is. 

ROYAL   CONSERVATORY    0¥    MUSIC 

214^  Regent-Street,  and  46,  KiN<»*Sl[»EfiT. 


LIFE  ASSURANCE  eOMPANY. 

No.  5,   St.  JAMES'S    STREET, 

LONDON. 


Sir  A*  Brydgea  Heimiktf.  Bart. 
B.  Bond  CilSbell,  Eaq7)i.P. 


CtiAiRiCAN,  LleatenaBt  CoIODd  Lord 

Arthur  Lennox. 
Dbpott-Chairmak,  T.  C  Granger, 

Esq.,  M.P. 
John  Ashbumer,  Esq.,  M.D. 
T.  M.  B.  Batard,  Kaq. 
Pbilip  P.  Blyth,  Eaq!^ 


3Wtff««f. 

(Hei —    , ._ 
Claude  SdWH] 
XHracfers. 

Henry  Braadwood,  1 

Sir  James  Carmichael,  1      . 

Charies  Farebrother,  Esq  ,  Alderman. 

William  Tulloh  Fraser,  £sq. . 

John  Gardiner,  Esq. 

Aaron  Aiher  Goldsmid,  Biq. 

Henry  WiUiam  Pownall,  Esq. 


M.P. 


Assonmcea  granted  on  ihvourable  terms. . 
1  he  Rates  of  Premium,  of  which  the  ftHowing  are  iptomena,  are  on  the  kmaat 
scale  consistent  with  security :— 


Amtuai  Pr evOMmt  Jar  Assuring  £\W.                            ,   | 

Age. 

Air  Whole  LM^ 

20 

£     '.s.     d.        \         ^      «.       d. 
1        1        0         {           118 

if    a.,    4. 

1      is'     7 

A  new  plan  of  Accumulative  Assurance,  by  depositing  faistead  of  paying 


Premiumal  thus  :— 
By  the  p€po«U  Plmh  commencing  at  the  age  90,  ^40  par  Annam 


assured  at  the  age  of 

90  a  Policy  fDr.. 
80  „  »• 


SO 
69 


.  940  16 
.J779  1 
.2495  0 
.Sill  19 


the 


.3650    9    0 


Deferred  Annuities,  to  ebmnetce  at  any  apecilM -age.  granted  either  wftt 
without  return  ot  the  Premiams,'in  case  the  age  at  which  the  annuity  is  to 


mence  is  not  attained. 


.  H.  IK  Datbitport,  Aserefsvy. 


EXETER    HAI.B, 

ENGLISH    VOCAL    MUSIC. 

The  Committee  of  the  Hulhih  Testimonial  Fund,  beg  leare  to  announce  a  acriea  of 

POUR   CONCERTS 

Illustrative  of  the  History  of  English  Vocal  Music. 

A    NEW    ORCAN 

Will  be  erected  by  Mr.  Robson,  ex|nnessly  for  these  Concerts.    An  Orcheatra  will 

be  provided  for  the  second,  third,  and  fourth  Concerts. 

THE  FIRST  CONCERT 

Will  be  held  on 

MONDAY     NEXT.    JANUARY   l^i 

At  eight  o*ck)ck. 

Principal  Vocal  Performers— Miss  Rainpouth,  Misa  Dolby, 

Mr.  MAMVBas»  and  Mn  LBFPi.Bn. 

Ticketa— Aica,  9a. ;  for  tbe  ;:ieriefi,  66.    Western  Gallery,  aa.  6d. :  for  the  Series, 

lOa.  6d.    Rescrvett  Seats,  7s. ;  for  the  Series,  j^I  is.    May  be  procured  of  Mr. 

Parker,  Publisher,  445,  West  Surand ;  of  the  principal  Music  :9eUcn ;  and  at  101, 

St.  Martin's  Lane. 


ROYAL    ITALIAN    OPERA,    COVENT    CARDEN. 

The  nobility,  gentry,  and  public  are  respectfully  informed,  that  the 
XKW  THEATRE 

Will  Open  the  fint  Week  in  Aprils 

For  the  performance  of  the       *  '* 

.  .  L.YRICAL.   DRAMA,   ,        ,,  ^  , 

On  a  scale  of  efficiency  in  every  department  never  before  attemptffi  faihia* 
country. 

THE    BALLET        'i'"I-'. 

Will  hiclude  tbe  names  of  the  most  celebrated  artHtta.    TtaeprospMti*for1iifr. 
arrangement  of  the  season  xtiU  be  issued  in  due  course.    Mr.  Beale,IHt«ctor. 
January  »th,  1847. 

Printed  and  Pnbllshe«l,  lor  the  Proprietors,  at  the  "Nassau  Steam  Preas»'* 
by  William  Spbncbr  Johnson,  60,  St.  Martin's  Lane,  in  the  parish  of  St. 
Martin's  in  the  Fielda,'  in  the  Co^mty  ot  Middteaex ;  wheilp  ail  commumcations 
tor  the  Kditor  axh  to  be  addressed  ppst  paid.  To  be  had  (A  G.  Purkeas,  l)ean 
Street,  Soho;  Strange,  PatemoslMr  Rovr;  Wia^sart,  DubUn;  slid  an  Book* 
•«eUenK--«atunkiy,  January  16th,  1647. -r  .  •     #  «;  «.  «  ./>i 


To  be  had  dk  G.  Purkeas,  Dean 
iB^eart,  Dublin;  stod  an  Book* 

'•Digitized  by  VlnOUyie 


'.     /      •'  (POBLIiHtD    tVERY   SATURDAY   AT    NOON.)  ;/'.    .  ,. -f"    r! 

-     a  « i  fr    A  BBCOBD  OE  THE  THEATRES,  MUSIC,  LriBRATUBE,  PINE  ARTS,  '  •'  r  ' 

■^  .,  ;;•  .y  "  '  FOREIGN  INTELLIGENCE,  &c  '  '    "J 

f^!|l»1iMi  of  SntaettptlMi»  p«r  Amran,  10*.  Staaiped;  Ids.  Unstomptd j  lo  be fovw»nl«d liy  Moa^  Ov4«r  mr  M«tp4^ 
to  the  PobUsher,  Wii  S.  JToluisoii^  ^'NaasMi  Stem  Preee/'  00,  St«  MavUn's  Lane,  Charlav  Oroe«« 
^SafcXMrlber  U  e»mied  to  an  Artiel— Ion  to  ma  Apnurf  Ooneert,  end  a  Pteee  of  Mnrte^(gfy>leg  Mmrte  olpo) 


r  ^' 


:Na.4*^Vau  XXH. 


SATURDAY,  JANUARY  23,  1847. 


J  PRICE   THRSEPENCB. 
I  STAMPED,  FOURPENC» 


NOTICE  I 
^^Oar  flabserlbers  wlU  be.  pretexted  witb  Ko.   A,  A 
.    QKANB  TRIUMPHAL  MAROH^  ooB^^aed  espresaljr 
iW  thia  joturnal,  br  M.  MOftCBELSfl. 


HER  MAJ£tTV>t  THEATRE. 

The  manager. of  this  establishmeiit  has  iKiIitely  furnished 
tto  with  a  written  copy  of  the  prospectns  he  intends  to  isstie 
of  the  arrangements  for  the  coming  season.  It  is  with  unoon- 
eedled  pleasure  that  we  select  the  principal  points  in  this  docu* 
teent  for  the-  information  of  our  readers.  Viewing  it  as  a 
whole;  thei«  has  ne^er  been  in  our  memorjr  ef  the  Opera  a 
pHl|paitiiiiie  to  thoroughlj  interestmg  in  a  mwkal  point  of 
'Hew.  Hiiherto  directors  have  imagined  that,  provided  there 
wto  a  brinient  bitbj  of  executive  talent  in  their  prospectuses, 
it  mattered  not  one  straw  what  was  the  quality  of  the  music 
to  he  executed.  In  the  written  programme  before  us  we  find 
that  Mr.  Lnmley  has  considered  it  expedient  to  adopt  quite 
another  view,  and  so  fully  are  we  persuaded  of  its  soundness, 
that  we  at  once  tender  him  our  congratulations  and  our 
heartiest  wishes  for  his  success.  But  we  must  not,  in  our 
zeal  lor  Mr.  Lumley's  new  politics,  endeavour  to  blink  the 
fact  that  opposition  bias  had  a  beneficial  interest  in  promoting 
them.  Mr.  Lumleyi  it  is  true,  has  been  the  resuscitator  of 
the  Italian  Opera  in  this  country.  He  found  it  tottering  and 
decayed ;  he  renovated  and  made  it  weatherproof.  He  found 
it  out  of  credit  and  in  ill  odor ;  he  restored  it  to  integrity  and 
reputation.  He  found  ill-paid  and  unpaid  artists,  an  interior 
in  disorder,  a  band  and  chorus  in  revolt,  shabbiness  and  poverty 
rampant  within  the  walls,  and  as  with  the  wand  of  an  enchanter, 
he  turned  all  this  topsy-turvy,  made  that  which  was  bad  good,  that 
which  was  shabby  decent,  that  which  was  poor  wealthy.  The 
ill-paid  artists  he  turned  to  miUionaires,  the  unpaid  he  made 
couifbrtable  citizens.  The  disorder  of  the  interior  he  marshalled 
into  symmetry  and  regularity,  the  band  and  chorus  he  re- 
duced to  discipline  and  raised  to  perfection  and  magnificence, 
and  the  whole  establishment  he  as  completely  changed,  as 
when  in  a  pantomime  orEaster  spectacle,  the  scene,  which  was 
a  dark  cavern,  vanishes  away  and  gives  place  to  a  gorgeous 
palace  in  &iry  land.  Mr.  Lumley,  it  must  not  be  denied, 
ejected  all  this,  and  at  the  same  time  benefited  himself, 
carved  out  a  position  among  the  great  ones  of  the  earth, 
nourished  himself  with  rich  wines  and  juicy  viands,  and  dad 
in  ermine,  walked  per  alta.  And  who  shall  blame  him? 
•The  labourer  is  worthy  of  his  hire,  and  Mr.  Lumley  has 
nobly  earned  his  position.  Yet  in  all  that  he  did  we  had 
reason  to  remark  no  change  in  the  muHeal  politics  of  his 
predecessors.  He  differed  from  them  inasmuch  as  that  he 
gave  sumptuous  entertainments  and  paid  the  cost  to  a  fraction : 


whereas  they  gave  but  meagre  fare^  and  left  even  that  un- 
liquidated, hungry  creditors  in  vain  crying,  "  give,  give !  "  at 
the  porch.  Herein  he  merits  all  the  eulogy  that  has  been 
bestowed  upon  him.  Nor  can  we  overlook  the  spleridid  con- 
dition to  which  Mr.Lumley  has  raised  ihehallet  at  his  establish- 
ment, and  the  rare  diplomacy  by  means  of  which  he  has  ejected 
what,  until  his  advent,  was  the  utter  despair  of  managers  :-— 
viz.,  the  simultaneous  co-operation,  in  one  entertainment,  on 
the  same  night  (the  importance  of  the  subject  will  excuse  the 
tautology)  of  the  great  luminaries  of  Terpsichore.  At  first, 
Mr.  Lumley  contrived  to  bring  Fanny  Elssler  and  Cerito— 
the  one  in  the  prime  of  her  reputation,  the  other  in  the  daw4 
of  h«r  celebrity — together,  in  a  pas  de  deux.  This  naturally 
created  a  furwe^  and  utterly  bewildered  the  stalls  and  the 
Omnibus.  But  the  consummation  of  this  policy  in  the  Pas  de 
Quaire^  when  Marie  Taglioni,  Lucile  Grahn,  Fanny  Cerito, 
and  Carlotta  Grisi  consented  to  abandon  then:  solitary  sphered 
of  despotism,  and  unite  in  one  republic  for  the  administration 
of  delight  to  the  habitues  of  Her  Majesty's  Theatre — and 
moreover,  the  persistence  in  this  policy,  exemplified  in  the 
brilliant  Pas  de  Dresses,  were  triumphs  of  managerial  tactics, 
of  which  Mr.  Lumley  had  every  reason  to  be  proud,  little 
Perrot's  share  in  the  transaction  being  equally  considered.  In 
this  also  Mr.  Lumley  rose  above  all  the  managers  that  had 
gone  before  him. 

But,  in  the  written  prospectus  which  lies  upon  our  table, 
the  Ultima  Thule  of  a  musical  manager's  aspirations  (or  at 
least  what  should  be  so)  is  shadowed  forth  in  portentous 
prophecy.  The  greatest  composer  in  the  world  has  consented 
to  write  an  opera,  on  the  subject  of  one  of  Shakspere's  undying 
plays,  and  thi>  will  be  interpreted  by  singers,  and  an  orchestra 
and  chorus  worthy  of  the  task,  under  the  immediate  direction 
of  the  author.  Here  then  we  are  forced  to  congratulate  our- 
selves and  without  risk  of  being  dubbed  egotists.  At  the 
trying  moment,  when  a  vast  and  organized  opposition  threatens 
the  perdition  of  Her  Majesty's  Theatre,  to  whom  does  the 
manager  fly  fdr  aid,  to  whom  does  he  address  himself  to 
rescue  him  from  danger  ?  Reader,  we  tell  you  a  truth — for 
it  is  written  on  the  forehead  of  the  manuscript  prospectus  that 
has  been  placed  in  our  hands— the  weapon<^hich  Mr.  Lumley 
will  use  in  his  defence,  the  sword  that  he  will  brandish  in  the 
visage  of  his  enemies,  assumes  the  shape  of  Felix  Mendel- 
ssohn Bartholdy,  the  king  of  modem  Grerman  musicians. 
This  is  our  answer  to  the  scoflfers  who  have  laughed  at  us  for 
advocating  the  necessity  of  resorting  to  some  such  ■  measure 
to  serve  as  a  staff  for  the  Italian  Opera,  which  of  late  years  has 
been  gradually  dying  of  its  own  dullness.  CimarosaandPaiesiello 
could  sustain  the  Opera  on  its  legs — Rossini  could  do  it  also,  and 
without  assistance — Mercadante,  Donizetti,  and  Bellini,  could 
effect  it  after  a  manner — but  Verdi,  and  the  like  of  him, 
cannot.    The  disease  of  the  Italiah  Opera  has  grown  into  a 


46 


THE  MUSICAL  WORLD. 


l|ead«  and  Verdi  it  the  Aingas  to  which  idl  the  bad  humoim 
iMive  flowed  from  the  Tarious  parts.  To  re-establish  heolA, 
this  fcmgufl  most  be  lopped  off,  and  a  wholesome  plaster  be 
applied.  The  plaster  will  be  Mendelssohn — ^but  beware  of 
applying  it  befim  At  cancerous  tumor,  in  which  all  the  most 
virulent  poisons  of  the  disease  are  concentrated,  be  removed. 
It  will  not  do  for  Mendelssohn  to  patch  up  Verdi — ^he  must 
sit  upini  hk  vacant  throne.  Verdi  must  abdicate  and 
Mendelssohn  reign  in  his  stead.  But  let  us  proceed  to  speak 
of  the  written  prospectus  in  detail. 

We  shall  follow  the  written  prospectus  in  the  order  of  its 
arrangement  It  commences  with  a  list  of  the  engagements 
for  the  operatic  department.  The  first  of  these  is  the  cele- 
brated Jenny  Lind»  who,  apparently  disregardful  of  the 
menaced  law-suit  of  a  rival  manager,  has  made  up  her  mind 
to  place  her  reputation  at  the  tribunal  of  an  English  public. 
Keport  has  been  busy  on  this  matter.  Some  have  it,  that  the 
dedU  specified  in  Mr.  Bunn*s  engagement  vvith  Jenny  Lind 
is  so  large  as  to  render  it  incompatible  with  the  interests  of 
Her  Migesty*s  Theatre  for  Mr*  Lumley  to  pay  it.  Others 
affirm  that  the  engagement  has  been  assigned  by  purchase 
from  Mr.  Bunn  to  Uie  (Movent  Garden  speculators.  But  the 
majority  assume  that  there  is  no  stipulated  fine  in  the  original 
engagement  with  the  Drury  Lane  manager,  and  that,  in  con- 
sequence, when  Jenny  Lind  has  appeared  at  Her  Majesty's 
Theatre,  an  action  for  damages  will  be  laid  by  Mr.  Bunn,  or 
the  holders  of  the  engagement,  whoever  they  may  happen  to 
be  at  the  time.  Be  Uiis  as  it  may,  we  have  had  ocular  evi«- 
dence,  in  the  Swedish  nightingale's  own  handwriting,  that  she 
considers  herself  engaged  to  Mr.  Lumley,  and  the  inference  to 
be  drawn  can  only  be  that  she  intends  to  risk  the  conse- 
quences, whatever  may  come  of  it.  In  which  case  the  public 
will  be  the  gainers,  and  Mr*  Lumley  entitled  to  an 
acknowledgment  of  his  bold  and  enterprising  speculativeness* 
The  other  cantatrice  of  note  is  the  modest  and  talented  Made. 
Castellan,  who  will  always  find  admirers,  while  the  combina* 
tioB  of  unassuming  manners  and  artistic  power,  in  the  person 
of  a  young  and  charming  female,  shall  be  found  worUiy  of 
attention.  Made.  Del  Carmen  Montenegro,  a  Spanish  artist, 
not  unknown  to  this  country  —  MdUe.  Sanchioli,  who 
during  the  whole  of  last  season  supported  the  abuse  of  the 
Chronicle  and  the  flattery  of  the  Past  with  perfect  equanimity — 
Signora  VietU,  a  new  con^ro^o— Mad.  Daria  Nascis,  and 
MdUe  Tagioni,  also  unknown  here,  complete  the  catalogue  of 
female  vocalists.  The  list  of  the  male  singers  is  unusually 
strong : — Signer  Fraschini,  the  tenor  from  the  San  Carlo  at 
Naples^  in  whose  favour  fame  has  blown  loud  flourishes,  with 
a  trumpet  of  many  valves — Signer  Gardoni,  from  the  Aea^ 
demie  Royale  in  Paris,  whom  we  have  both  heard  and  seen, 
and  to  whose  fine  talent  and  prepossessing  appearance  we 
can  bear  testimony — ^Signer  Superchi,  a  baritone,  for  whom 
it  is  said  (as  though  it  were  a  matter  of  some  importance) 
that  Verdi  wrote  the  opera  of  J^mont— Signer  Coletti,  a  bass, 
who  since  the  season  he  passed  in  London  five  years  ago,  has 
earned  a  large  meed  of  fame  in  Italy  and  France— Herr 
Staudigl,  whose  venture  on  the  Italian  stage  cannot  but  be  a 
matter  of  lively  interest  to  his  London  friends — ^Frederic 
Lablache,  whose  improvement  lately  has  induced  us  to  enter- 
tain hopes  that  eventually  he  may  supply  the  place  of  his 
great  progenitor*- Signor  Corelli,  a  useful  second  tenor,  well 
known  to  the  hahituh  of  Her  Majesty's  Theatre — and  kstly  the 
great  Lablache  himself,  the  hero  of  a  thousand  triumphs,  incon^- 
testably  the  most  eonsumnsote  artist  of  the  day.  Nothing  could 
well  be  stronger  than  this,  and  we  do  not  expect  that  even 
the  il/ormn^CAronfc/e  will  be  disposed  to  direct  its  artillery 


against  so  compact  and  well-appointed  a  phalanx*  So  mvch 
for  the  vocalists. 

But  we  have  yet  more  particulars  to  record  about  the 
opera  department  One  promise  we  shall  dismiss  without 
comment  :-—Signor  Verdi*  having  recovered  from  his  indis- 
position, has  been  for  some  time  engaged  on  the  composition 
of  an  opera,  the  subject  of  which  is  founded  upon  the  Robben 
of  Schnier.  Better  than  this,  the  Robert  Bruce,  which  has 
been  unhandsomely  fathered  upon  Rossbi,  but  which  is 
interesting  on  its  own  account,  will  be  presented  early  in  the 
season.  Better  still,  Meyerbeer  is  coming  to  preside  at  the 
rehearsals  of  his  Camp  of  Silesia,  in  which  Jenny  Lind  and 
FVaschini  will  sustain  principal  characters.  Report  dilates  in 
glowing  terms  upon  an  air  ii^  this  opera  in  which  the  celebrated 
vocalist  and  the /auto /mmo  contend  in  a  skirmish  of  florid 
incredibilities  of  execution ;  a  Meyerbeerian  version  of  the 
famous  scene  in  Le  Brun's  Rossignol.  Hie  presence  of 
Meyerbeer  will  be  an  immense  stimulus  to  the  perfinst  execu- 
tion of  his  work.  He  is'  known  to  be  a  most  particular  and 
exacting  director,  and  one  not  likely  to  let  a  single  error  pass 
without  correction.  No  fears  need  be  entertained  of  the  hurried 
production  of  the  Camp  of  Silesia,  while  Meyerbeer  is  at  hand 
to  watch  its  progress  in  rehearsal  This  must  be  regarded  as 
one  of  the  grand  points  of  the  season.  But  a  still  grander 
remains  to  be  recorded—- that  which  was  shadowed  forth  in  our 
preamble.  Mr.  Lumley  has  prevailed  upon  Dr.  Mendelssohn 
to  compose  music  to  a  libretto  of  Scribe,  founded  on  the 
Tempest  of  Shakspere.  The  opera  is  to  be  produced  at  Her 
M^esty's  Theatre,  with  Jenny  Lind  as  Miranda,  Staudigl  as 
Caliban,  Gardoni  as  Ferdinand,  and  Lablache  as  Prospero. 
To  dilate  upon  this  would  be  superfluous.  The  appearance  of 
an  opera  from  the  pen  of  Mendelssohn,  as  the  Morning  Herald 
justiy  remarks,  will  form  an  epoch  in  the  history  of  music* 
Since  the  composition  of  Fid^io  no  event  of  such  importance 
to  the  art  has  occurred.  It  will  be  hailed  with  acdaroations 
by  the  musical  world,  as  the  appearance  of  a  new  planet 
in  the  system  of  which  Mendelssohn  is  the  bright  and 
burning  sun.  Mr.  Lumley  deserves  the  thanks,  not  only 
of  the  immediate  followers  of  the  musical  profession,  but  of 
the  civilised  world  at  large.  He  has  been  the  means  of  gifting 
the  art  with  a  new  truth — another  stone  in  the  great  spiritual 
edifice  which  the  master-minds  of  music  have  been  rearing 
since  its  infancy.  The  opera  of  Mendelssohn  will  be  all  this, 
for  the  composer  of  Elijah  cannot  aflbrd  to  retrogade.  'Add 
to  these  a  repertoire  of  the  popular  works  of  Mozart,  Cima^ 
rosa«  Rossini,  Mereadante,  Donisetti,  and  Bellini,  and  a  richer 
feast  of  anticipation  never  welcomed  the  gaze  of  an  undecided 
subscriber  reading  his  prospectus. 

The  orchestra  is  next  to  be  considered.  On  this  point  we 
have  reason  to  believe  that  Mr.  Lumley  has  vanquished  one 
of  his  chiefest  difficulties.  He  has,  by  a  laige  amount  of 
exotic  assistance,  added  to  three  and  twenty  staunch  veterans 
who  would  not,  or  as  the  Chronicle  insists  (which  we^  do  not 
insist),  could  not  go  to  the  new  establishment,  contrived  to 
bring  together  an  orchestra  of  magnificent  pretensions. 
Besides  Tolbecque,  the  leader  of  the  opera,  Nadaud,  leader  of 
the  ballet,  and  other  scions  of  the  ancient  stock,  the  following 
foreign  stars  (among  numerous  others)  have  been  secured  :-* 
first  oboe,  Lavigne,  from  Brussels,  (excellent)  ;  first  clarinet, 
Dell  'Uomo,  (from  Milan) ;  ^nieonira-basso,  Anglois,  (Turin); 
first  violoncello,  Piatti;  first  bassoon,  Eoesel  and  Templini; 
(both  are  put  down  as  first)  ;  first  flute,  Elie,  (Paris)  ;  first 
trumpet,  Zeiss ;  (Brussels,  admirable)  :-^and  many  others  too 
numerous  to  mention.  That  this  large  influx  of  foreigners, 
who  may  be  regarded  as  perpetually  fixed  in  the  country  is 
much  to  be  regretted,  no  one  whb  considers  the  subject  can 


THE  MUSICAL  WORLD. 


47 


doubt.  It  will  help  to  impoTerish  sfeSl  farther  a  very  im- 
poverished class,  by  dividiog  thak  already  slender  resources. 
But  what  was  Mr.  Lumley  to  do  ?  The  Opera  cannot  exist 
without  a  band,  mod  baiid-eoiiipilert  for  UaliaR  opsias  have  no 
&ilh  in  En^ttah  protesivs.  We  up  sure  that  neither  Slgnor 
CD8ta»  nor  the  seceders  (or  **  the  rebels/'  aa  the  Past  facetioiwly 
terma  tiiem)  foffesaw  this  iue^t^le  reauH  of  the  seeasaion 
from  the  domiaioa  of  Mr,  Lunsley.  Alaa !  te  think  of  what 
ebangea  OMy  be  made  i«  a  few  yeaca  in  the  physiognomioal 
tuiboe  presented  1^  our  oicheatras  at  the  PhiUiannonio,  the 
Anoienta,  EjEOter  Hall,  and  the  Prorineial  Festivals  1  Mow 
Hanj  ▼etcsana  will  be  set  aside  for  new  eovMrs  and  whtskeied 
par9mm§t  wbo  shall  aay?  But  thia  ia  now  nnayoidable  and 
our  eatists  roust  be  on  the  look  oat;  Mr.  Willy  moat  hoist  a 
standard  and  all  the  "  natiTes  "  will  floek  to  hioa  aa  to  a 
eapCain.    He,  perhapi^  may  lead  them  on  to  victory. 

The  chorns  engaged  by  Mi.  Lumley  amounU  to  about 
eighty  in  number,  and  to  the  fresh  voices  and  effleienoy  of 
Hme  we  had  an  opf^uniiy  of  testifying  the  other  night, 
when  we  heard  them  execute  several  compoaitiona  under  the 
direction  of  oar  excellent  friend,  Balfe, 

That  BaMb  Qpntin«esto  occupy  the  post  of  oonductor  of 
the  orcheatra  is  a  laAt  on  which  we  congratulate  the  Opeia 
frequentem,  in  the  teeth  of  the  Ckrankh.  We  connder  him 
eminently  qualified  for  the  poaiiion,  and  nothing  we  have 
Issaid  ei  seen  has  had  any  influence  in  persuading  ua  to  the 
eentnry.  Moreover,  Balfe  is  a  jealous  and  conacientioua  aitist 
and  labours  bard  in  his  vocation.  And»  to  eondude,  BaUh's 
name  ia  European  and  would  confier  honour  upon  any  lycieal 
establishment  whatever. 

The  BtdUi  must  be  shortly  djamissed^  Here,  indeed,  Mr. 
Lumley  is  fortified  on  all  sides,  and  ia  aa  unassailable  as  the 
Castle  of  Ehrenbreitateiny  an  the  Rhine.  The  queens  of  th.e 
baUei  are  to  be  Lucile  Qraha,  Ceiito,  and  Carlotta  Grisi. 
Thia  laal  engagemes^  is  ai\Dther  source  of  congratulation  to 
ennelves*-*for  have  we  not  often  said  that  the  opera  without 
Gadoftta  waa  aa  the  heavens  at  night  withcmt  the  moon  ?  But 
now  we  have  the  moon  and  all  the  atara,  and  strong  hopes 
even  of  the  auur-^  Taglioni,  who  will  once  more,  it  is 
anticipated,  (would  that  wet  could  say  it  was  certain)  dance  in 
the  Pea  de  Quuire^  and  the  Pa$  de  DiH»9»t  Vkd,  in  another 
Pitf,  which  is  to  mU-pas  all  Pat  that  have  preceded  it^tbe 
Pas  de  la  ComtelkUiotif  another  child  of  Penrotfs  brilliaat 
£ukey..  Then,  moreover^  we  are  to  have  a  new  planet  in  the 
system-^Carolina  Rosati  from  Milan,  of  \vhoniL  report  speaker 
as  the  Pest  would  say,  egregiously.  Besides  these,  a  Madlle. 
Maorthier,  (from  Milan)  whom' we  are  i^isnred  is  a  full  moon  of 
beanty,  and  whom  the  Pgsi  deolares  to  resemble  one  of 
Comggio's  soft»ey*d,  rosy^'shouldered  nymphs;  and  to 
eendude;  Madame  Petit  Stephen,  Mdlle.  Gasoline  Banooart^ 
Mdlle.  Honors,  Mdlle.  Elise  Montfbrt,  Meedamee  Th^venot, 
Julian,  L'Amoreux,  Emilie,  Fanny  Pascal,  Bertin,  and  a  host 
of  minor  satellites.  The  male  dancers  will  indode  the 
inimitable  Perrot,  St.  L^n,  a  certain  M.  LiSuis  D'Oc  (who, 
by  cightB)  ahould  be  wedded  to  Mdlle.  L'Amoureux),  MM. 
(^selin,  Venafra,  Goariet,  Bertrand,  and  who  not?  The 
baliet^maatera  will  be  M.  Paul  Ti^Honi,  and  M.  Pecrot.  The 
ballet  cDBoposer,  aa  usuaU  Signor  Pugni 

Among  the  noveltiea  of  the  season  is  to  be  a  6a2/ei,  watten 
expressly  for  Her  M^esty's  Theatre  by  Henreich  Heine,  the 
poet,  the  object  of  which,  according  to  the  Post^  is  by 
seeking  for  a  subject  among  the  German  black-letter  folios, 
'^  to  unite  the  mysticism  of  Goethe  with  the  peouliaritieaof  the 
modem  ballet" — ^a  siaguhir  menna  to  produce  a  angular  end, 
neitheB  of  which  do  we  piesnme  to  undemtand* 


The  theatre  irill  open  in  Ike  middk  of  tmtt  mowthr  mib. 
Dottisetfti's  La  Fwvsrite^  in  which  GardoQt  will  make  hta  first 
appearance<-^nd  a  new  ballet  by  Paul  Taglioniy  whkAi  wHl 
be  illustratsd  by  dm  dsh4t  of  Gaaelina  BoaatL 

All  thiaia  plainlyaet  down  in  the  woMen  proapectna  iMA 
has  been  supplied  to  UBu  We  faa»o  not  intecpdoted  one  wo  d, 
exaggemled  one  proosiaa.  If  allbofnlfilkdaaiahereslsetohed 
out,  who  cw  doubt  theft  Her  MiQostv'a  Theatrn  will  have  a 
brilliant  aeaaon,  and  Me.  Lmnley  &  new  triumph  t 


MIHOIR  OF  PALUTRHU. 
GtovAHWi  PttEitviot,  anmamed  Di  Paleatrina,  from  Hhe 
small  town  of  that  name  in  the  prinoipalitf  of  Rome,  where 
he  waa  born,  was  one  of  Hhe  meet  iilnstrious  muileians  of  his 
time.  Spilie  of  his  daims  to  the  reveienee  at  posterity,,  the 
nasne  of  his  flwiily,  the  eircnmatanees  of  biepsveats^  the  date 
of  hia  birth  and  deaKh,  ara  aubjeets  of  dqubt  and  dtseusrion. 
M.  L'Abb^  Bainit  divsetov  of  the  pontifical  chapel,  expended 
his  tine  in  laborious  researches  respecting  the  life  and  works 
of  Paleatrina.  Thirty  years,  however,  employed  in  the  task 
did  not  always  condooe  to  the  discovery  of  incontestable 
tmth ;  and  the  Abb4  himself  is  frequently  reduced  to  relate 
contmdictory  traditions,  and  to  diacass  and  leave  undeeided 
questions  so  long  agitated.  The  utmost  resuk  of  M.  Baini's 
effiMTta  seems  to  be  that  the  parents  of  Pleiiuigi  were  indigent, 
that  he  died  early  in  February,  1594,  at  the  age  of  70v  and 
eonaequently  that  he  waa  bom  in  1524.  There  is  reason  to 
suppose  that  he  prosecuted  his  first  literary  and  muriod  studies 
in  quality  of  a  ^oir-boy.  According  to  Petrini,  he  arrived 
at  Borne  in  1540,  in  order  to-  apply  himself  to  the  study  of 
muab.  At  this  period  the  best  murieians  of  Italy  were 
French,  Belgians^  or  Spaniards.  The  first  regular  school  of 
music  inatitated  at  Rome  by  Gondlmel,  had  finr  contemporary 
disciples  Gietvanni  Annimueoia,  Stephano  Bettini,  Alessandro 
Merb,  and  Giovanni  Pierloigi  dl  Palestrina,  the  most  cele- 
brated among  the  composers.  In  September,  1551,  under 
the  pontificate  of  Jules  die  Third,  he  was  chosen  master  of 
the  choir«children  of  the  Oiulia  chapel  at  17  yeara  of  age. 
By  a  special  decree  of  the  chapter,  the  tit^  of  chapel-Hnaster 
was  conferred  upon  Palestrina,  the  first  time  it  was  bestowed 
upon  any  one  holding  the  situation  of  director  of  dm  chokr- 
children.  In  1554  he  publiriied  the  first  selection*  of  his 
compositions,  in  which  were  fbund  four  maMes  for  four 
voices,  and  one  for  five.  Submitting  himself  to  the  tnflneiice 
of  the  school  in  which  he  was  educated,  Palestrina  wrote  these 
masaea  in  the  style  of  hia  predecessors,  but  exhibited  ht  the 
comporition  a  superior  mode  of  hasmonic  treatment.  In  this 
respect,  the  first  mass,  which  is  written  entirely  upon  the 
ancient  chant,  Bceo  Saowdos  Maymts,  may  be  conridered  a 
work  of  great  excellence  for  the  period,  although  this  mass, 
as  well  as  the  last,  is  disfigured  by  that  extreme  endeavour 
after  the  minute  propoteions  of  notatton>  of  which  the  ancient 
masters  of  the  French  and  Flemish  schools  made  a  monstrous 
abuse,  about  the  end  of  the  fonrteenth  and  eommenoement  of 
the  fifteenth  century.  Pope  Jules  the  Third,  to  whom  Pales« 
trina  dedicated  his  first  book  of  masses,  recompensed  him  by 
entering  him  among  the  choristers  of  the  pontifical  chapel 
without  examination^  and  contrarv  to  the  rules  of  the  chapel, 
the  strictness  of  which  he  himself  enforced  by  a  former  decree. 
The  superior  talent  which  was  apparent  in  this  first  work, 
seemed  to  the  sovereign  pontiff  motive  sufficient  for  an  ex- 
ception. His  suit  was  signified  to  the  college  of  the  chapel 
aingera  on  the  13th  of  January,  ti565 ;  hut,  uafettnnately, 
Paleatrina  had  mora  geniva  tfaa^  mse,  andthia  circmnslanoe 


48 


THE  MUSICAL  WORLD. 


exposed  him  to  the  jests  of  the  other  singers,  who  admired 
him  oa  compulsion,  and  conferred  on  him  with  bad  grace  the 
usages  of  politeness.     Jules  the  Third  expired  on  the  23rd  of 
March,  1555  ;  Palestrina  was  then  deprived  of  the  high  pro- 
tection which  defended  him  against  the  malevolence  of  the 
college*  about  five  weeks  after  his  admission  into  the  chapel. 
The  sncoeeding  pope,  Marcellus  the  Second,  was  well  inclined 
towards  Palestrina,  and  would  have  proved  a  prop  of  support 
to  him  had  he  lived*    The  death  of  Marcellus,  which  took 
place  twenty-three  days  after  his  succession  to  the  apostolio 
chair,  was  but  the  precursor  of  more  lively  grie£i  than  had 
heretofore  troubled  the  existence  of  the  composer.     Pales- 
trina was  mamed  early.     He  had  four  sons,  three  of  whom 
died  in  then:  youth.     Hygin,  the  surviving  son,  was  editor  of 
the  two  last  books  of  his  Other's  masses.    After  the  death  of 
Pope  Marcellus,  his  successor,  Giovanni  Caraffa,  who  ruled 
the  church  under  the  title  of  Paul  the  Fourth,  summoned 
resolution  to  attempt  effecting  a  reformation  in  the  clergy  of 
the  court  of  Rome,     His  attention  was  first  directed  to  the 
pontifical  chapel,  among  whose  singers  were  found  many 
married  men,  contrary  to  the    existing  ecclesiastical  law. 
These  singers  were,  Leonardo  Banr^  Domenico  Ferabosco, 
and  Palestrina.     From  the  moment  of  his  admissbn  the  latter 
found  little  sympathy  among  his  colleagues ;  nevertheless,  as 
soon  as  the  Pope  ordered  hu  expulsion  from  the  chapel  with 
the  other  two»  the  college  took  up  his  defence^  in  conjunction 
with  that  of  Barr6  and  Ferabosco,  and  strongly  represented 
that  they  had  given  up  advantageous  posts  for  their  situations, 
and  that  their  appointments  at  the  chapel  had  been  stipulated 
as  lasting  for  life.    Spite  of  all  argument  and  remonstrance, 
the  inflexible  Paul  did  not  the  less  persist  in  his  determination 
to  expel  married  singers  from  his  chapel,  and  issued  an  express 
decree  on  the  subject  in  stem  and  humiliating  terms.    Hie 
only  compensation  offered  to  the  expelled  musicians  for  their 
loss  was  a  pension  of  three  ciowns  each  per  month    Over- 
powered by  this  calamity,  Palestrina  fell  ill.     In  this  situation 
his  ancient  colleagues  came  to  see  him,  abjured  the  hate  they 
had  formerly  shown  to  him,  and  became  his  most  zealous 
friends.      So  celebrated  a  musician  could  not  remain  long 
without    employment    in    a    city    containing     so    many 
splendid  churches,  in  which  music   flourished  triumphantly. 
He  was  offered  the  place  of  chapel-master  of  the  Santo  Giovanni 
di  Lateran,  to  replace  Luppachino,  and  he  entered  on  his 
ofiice  in  this  cathedral  on  the  first  day  of  October,  1555,  two 
months  after  his  expulsion  from  the  pontifical  diapeL    On 
this  occasion  a  difficulty  presented  itself  regarding  the  pension 
ne  had  received  irom  the  Pope,  which,  according  to  precedent, 
would  cease  from  the  moment  the  pensioner  entered  upon  any 
new  employment.     The  chapter,  nevertheless,  decided  that 
the  pension  should  be  continued,  and  the  Pope  himself  con- 
firmed the  decision.    Palestrina  remabed  chapel-master  in 
the  church  for  five  years,  and  during  that  period  composed 
some  of  his  best  works, — among  which  we  may  mention  his 
admirable  Improperii  for  the  office  of  Holy  Week.      The 
salary  of  his  situation  was  so  trifling  that  he  was  induced  to 
accept  the  post  of  chapel-master  of  the  Santa-Maria  Maggiore, 
of  which  he  took  possession  on  the  1st  of  March,  1564,  and 
which  he  held  until  the  31st  of  March,   1571.     These  ten 
years  constituted  the  most  brilliant  epodi  in  the  life  of  the 
master; 

{To  be  continued.) 


MADAME  BISHOP  IN   THE  PROVINCES. 


MoHs.  JuLBS  DB  GlikBs,  the  fitfhionable  conductor  andTocal 
pro&fiiort  ftirived  in  London,  from  Brussels,  on  Wednesday. 


(From  the  Birmingham  Journal.) 

Janmary  \Uk 

Tax  deb^  of  this  famed  cantatrice,  who  has  reaped  the 
richest  laurels  even  in  the  land  of  song,  has  been    most 
successful.     On  Wednesday  evening  she  appeared  at  the 
Town  Hall,  and  at  once  established  herself  in  the  good 
opinion    of   the  audience,   and  taught  even  the    initiated 
amongst  her  hearers  of  what  music    is  capable,  and  that 
though  the  means  of  enjoyment  have  been  well  ransadLed, 
there  may  be  another  new  pleasure  left*    The  audience  was 
not  so  numerous  as  we  expected,  but  the  enthusiasm  was 
unbounded.     An  overture  and  a  tenor  an:  protzaeted  the 
appearance  of  the  lady, '  and  whetted  curiosity.    When  she 
appeared,    the    applause  was  tremendous,  and  must  have 
been  gratifying  to  the  interesting  debutante.    A  brief  sketdi 
of  hex  persondle  may  not  be  unacceptable.     She  is  rather 
below  the  middle  height,  and  approaches  that  standard  whldb, 
as  loyal  subjects,  we  are  bound  to  consider  a  good  one,  which 
the  altitude  of  our  Queen  has  famished.     Her  figure  is 
compact  and    elegant;  her    face    intellectual    rather    than 
beautiful,  the  fire  of  her  dmrk  eye  lighting  up  the  quiescence 
of  her  fisatures.     Her  head  is  small,  her  forehead  square, 
compact,  and  well  developed.     Her  eyes  are  singularly  ex- 
pressive— sparkling,  frowning,  and  laughing,  and  reflecting 
every  phase  of  feeling.     That  prominent  feature,  of  whidi, 
excepting  in  the  case  of  ideal  ladies,  the  less  that  is  said  about 
it  the  better,  is,  in  this  case,  rather  aspiring  in  iu  diaracter, 
and  gives  the  lady's  face  an  air  of  unquestionable  good 
humour.     She  dresses  with  exquisite  taste,  and  withal  has  a 
lady-like  deportment,  winnmg  grace,  and  dignity  of  manner. 
Such  is  this  prima  donna.      Of  her  vocal  powers  it  is  less 
.easy  to  speak  in  the  calmness  of  every-day  compliment*    Her 
opening  piece  was  a  cavatina  from  Donizetti's  '*Ugo  di 
Parigi,"  difficult  of  execution,  but  in  the  air  prodigal  of 
beauties.    Her  execution  of  the  recitative  at  once  placed  us 
at  ease  as  to  her  capabilities  both  of  voice  and  execution. 
Ihe  former,    as  our  readers  are  already  aware,  is  a  pure 
soprano^  of  great  compass  and  richness,  rather  than  the  more 
insipid  quality  of  sweetness.     Her  upper  notes  remind  us 
of  the  luscious  roundness  of  the  tones  of  a  flute,  and  the  middle 
register  is  especially  voluptuous.     Her  voice  is  not  possessed 
of  that  bell-like  clearness  so  frequently  found  in  gopramo 
voices,  but  has  what  may  be  called  a  veiled  quality,  which 
adds  to  its  power,  and  the  gorgeousness  of  its  effects.      Her 
execution  is  remarkably  perfect— characterised  by  neatness  in 
the  introduction  of  herembellishments,  of  which  she  is  occasion- 
ally lavish ;  and  her  execution  of  Jioriiures  is  no  less  finished 
and  artbdc*     In  the  cavatina  we  have  mentioned,  her  chromatic 
runs  were  executed  with  surprising  certainty  and  taste.     She 
leaps  from  octave  to  octave  with  ease,  and  produces  an  e£^t 
startling  and  delightful.     Her  falls  are  particularly  beautiful 
and  occasionally  she  introduces  a  half  note,  which  melts  away 
into  a  flood  of  the  most  harmonious  embellishments,  and  then 
glides  almost  insensibly  into  the  note  upon  which  she  has  so 
tastefully  dwelt.  The  romance  from  the  opera  of  **  Loretta," 
'*  On  the  banks  of  Guadalquivir,*'  a  deh'ghtful  snatch  of  melody, 
developed  the  superb  character  of  her  sweU,  and  the  beauty  of 
her  modulation.     This  air  was  vociferously  encored.   The  next 
cavatina,  by  Meyerbeer,  "  Ah,  come  rapida,"  educed  her  his- 
trionic powers.    In  the  third  movement,  where  the  action  of  the 
libretto  is  spirited,  she  displayed  great  energy  and  fervour  of 
feeling.     It  is  scarcely  necessary  to  say,  that  it  is  not  reason- 
able to  expect  that  a  vocalist  proficient  in  the  florid  omamenU 
of  the  Doniaetti  school  of  music  can  do  justice  to  the  simple 


THE  MUSICAL  WORLD. 


49 


and  unadorned  ballads  to   which   Bnrna  loved  to  wed  his 
matchless  poetry.    Yet  "  John  Anderson,  my  Jo"  was  thus 
treated.    This  requires  something  approaching  to  genius.  We 
have  repeatedly  heard  this  beautifal  and  touching  air,  which 
tradition  tells  us  was  at  one  time  a  chant  in  the  "  haly  kirk,*' 
sung  by  the  bright  particular  stars  of  ballad  singing,  but  until 
Wednesday  night  we  had  no  conception  of  the  pathos  of  the 
music  or  the  potency    of   the  Terse.    Madame    Bishop's 
execution  of  it  was  toned  to  the  very  essence  of  pathos.     No 
extraneous  ornament  was  introduced ;  it  was  given  in  its  un- 
adorned  loveliness,  and  at  the  <*  rest"  which  immediately 
precedes  the  dose  of  the  air,  the  most  intense  sympathy  was 
manifested,  and  rendered  the  succeeding  burst  of  applause 
absolutely  deafening.     It  is  such  music  as  this  that  fulfils  the 
h^  purposes  of  the  art,  but  its  true  interpretotion  is  rarely 
met  with.    The  shadow  of  the  noUe  monument  that  covers 
the  resting-place  of  the  poet ;  the  storied  um  and  animated 
bust  that  endeavour  to  perpetuate  the  image  of  one  of  Nature's 
noblest  sons,  would  not  yield  the  poet  so  much  ddight  as 
could  the  glorious  exposition  of  his  sentiments,  as  given  by 
Madame  Bishop,  if  he  were  cognisant  of  the  evente  of  this 
nether  world.     No  wonder  that  the  hall  rung  with  reiterated 
plaudits,  and  little  marvel  is  it  that  the  echo  of  the  melody 
still  plays  upon  our  memory.    The  quaint  and  pretty  French 
air,  "  Je  suis  la  Bayadere,"  in  which  she  accompanied  herself 
on  the  tambourine,  assisted  by  the  harp  of  M.  Bochsa,  formed 
a  pleasing  fmaU  to  a  very  delightful  concert.    The  voice  of 
Mr.  Arthurson,  who  assisted,  is  a  high-pitched  tenor,  limited 
in  compass,  and  deficient  in  expression.     His  style  is  cold 
and  inanimate,  and  though  there  is  a  degree  of  sweeUiess  in 
his  notes,  they  are  bald  and  colourless.    Mr.  Corri's  pipe  is  a 
comical    one,    uncommonly  harsh  and  roost  perseveringly 
monotonous*  We  need  scarcely  add,  that  M.  Bochsa's  leaitasia 
on  the  harp  was  a  luscious  piece  of  instrumentation ;  occa- 
sionally giving  forth  tones  like  the  breathing  of  Shakspere's 
Artel^  then  swelling  into   the  majestic  harmony  of  a  fiill 
orchestra^  and  again  in  fitful  sweeps  and  gusts  giving  ex* 
pcession  to  strains  wild,  brilliant,  or  plaintive* 

The  ^*  Maid,  ef  Arttn$^''  at  the  Theatre  on  Friday  nig^t, 
afforded  us  an  opportunity  of  judging  of  the  histrionic  powers 
of  the  gifted  lady.  Madame  Bishop's  execution  of  her  part 
was  marvellously  perfect.  The  first  scena  is  a  difficult  piece 
and  by  no  means  pleasing,  yet  she  masters  it  effectively,  and 
again  at  once  carried  with  her  the  sympathy  of  her  auditory. 
In  the  second  part  there  is  a  pleasing  though  not  an  original 
melody,  *'  Oh,  what  a  charm."  This  she  sang  with  charac- 
teristic simplicity.  Her  triumph,  however,  was  in  the  last  act, 
where  weary  and  athirst  she  resigns  herself  to  death.  The 
air,  *'  Oh,  beantiiul  night,"  was  sung  with  most  exquisite 
pathos,  and  the  grand  finale,  so  complicated  in  its  construction, 
and  magnificent  in  its  efi^ects,  was  delivered  with  that  finished 
grace,  and  buoyancy  and  brilliancy  of  voice,  which  forms  so 
prominent  a  feature  in  the  style  of  the  accomplished  artiste. 
We  observe  that  she  appears  again  in  the  same  opera  on 
Tuesday,  when  we  counsel  the  attendance  of  all  lovers  of  the 
divine  art. 


MUSIC  AT  MANCHC8TCII. 

{From   our  own   Corrotpondent*') 

On  Thursday  last  the  following  sacred  selection  was  given 
at  the  third  concert  for  the  present  season  of  the  Hargreaves 
Choral  Society.  The  night  was  intensely  cold  and  foggy — 
the  cold  was  in  some  degree  mitigated  by  the  Free  Trade  Hall 
being  so  .well  filled«-«but  neither  the  bright  glances  of  the 


fairer  porUon  of  the  audience,  nor  the  brilliancy  of  the  gas 
lights  could  dispel  the  gloom  that  was  caused  by  the  fog^-and 
this  thxew  such  a  damp  on  the  concert  that  the  first  part  passed 
off  very  heavily  indeed,  and  mnst  have  no  little  tended  to 
diKOurage  the  artists  engaged. 

.    PAav  natr. 

Orerture. ''StPsol" MendOstokn. 

Chorus  . . . .  "  Lord,  thou  alone  art  God  "  . .  (St.  Paul)  . .  MmdeUtohn. 

RecitaUv "Deeper  and  deeper  atUl"  1         (Jcphtht)....H(if«fel. 

AJr ••Waft  her  angela" J         v    *~     ' 

Air ;;j?«?»^S^?*^,."***»'' V---(S«««>n)----»«^ 

Chorus "  To  duit  his  glory" J  ^^     ^.  , 

Song -  ATcMaria" ChenUnnu 

(Clarinet  Obligato,  Mr.  Leonard.) 

Motet  (ftan  choir) *-8anctna« ^^'!?'^!f- 

Christmas  Hymn  . . . . "  Adcste  Fidelcif' Arranged  bff  NaveUo. 

Duet "  Poiaake  me  not"  ....  (The  Last  Judgment)  ..^.Spohr. 

Song "Honour  and  arms" (Samson) Handd. 

Chorus "With  thunder  armed" (Samson) Handd. 

FAST  SICOMD. 

Motet.. •••• ••Prsist  Jehotah" Mm^H. 

Kmtalive.."  Oh,  worse  than  death". . ..  1   ^  (Theodora) .. ..  BmM. 

Air "Angels  ever  bright  and  fair"  J  .    ,         „  ,^  , 

Choral "AllaTrinitabeata"....(A.D.  1545)  ....Paterfrffitf. 

Air "Total  eclipse-. .......  1....  (Samson)  ....Hondrf. 

Chorus ••Oh,ftiitcreatedbeam"  /••••^  '     ^^^ 

Air -Lord  God  Atanii^ty". {^"^JT^. 

Chorus.. "Thai  round  aboutthe  starry  thion^'  ..(Samson) ..  ««»»«• 

Chorale "Luther's  Hymn" Harmnized  by  8.  Bacl^ 

(Trumpet  ObUgato,  Mr.  Ellwood.) 

Solo  and  Choms ••  Alma  Viigo" EmmO. 

As  will  he  seen  ahove,  the  concert  was  scarcely  of  that  Wgh 
character  that  the  Hargreaves  Society  is  now  expected  to  pro- 
duce. When  sacred  music  is  given,  some  complete  work — 
some  mass  or  cantata— or  some  entire  oratorio  is  for  more 
worthy  of  the  powers  and  resources  of  the  Hargreaves 
directors,  their  inimitable  choir  and  excellent  hand ;  and,  we 
think,  would  be  far  more  pleasing  to  the  body  of  subscribeis 
generally ,  than  any  such  selection  as  the  one  given  on  this 
occasion.  There  is  a  patch-work  and  want  of  continuity  of 
interest  about  them  at  the  best— and  then,  except  given  by 
such  a  society,  what  chance  have  we  in  Manchester  of  hearing 
the  greatest  works  of  the  greatest  composers?  In  London 
you  have  them  given  by  the  Sacred  Harmonic  Society  at 
Exeter  Hall— then  let  our  Hargreaves  Society  follow  their 
good  example.  But  to  the  performance.  We  must  not  notice 
each. piece  after  our  already  lengthened^  remarks.  Mr. 
Manvers  was  in  good  voice,  and  acquitted  himself  well  in  all 
he  had  to  do.  Unfortunatelv  any  singer  who  attempts  to  give 
"Deeper  and  deeper  still,"' or '* Total  eclipse,"  is  put  into 
comparison  with  Braham,  (we  mean  with  Braham  as  he  was, 
not  now,)  it  is  scarcely  fair,  but  the  thoughts  will  revert  back 
to  the  splendid  dramatic  delivery  of  Braham  in  his  best  days 
so  **long  as  memory  holds  her  seat.**  Mr.  Manvers,  or 
any  other  tenor,  may  succeed  better  with  these  songs  in  the 
next  generation  I  By  the  way,  although  Mr.  Manvers  was  not 
quite  so  successful  in  the  dramatic  in  his  recitative,  he  gave  ua 
some  theatrical  pronunciation  in  his  song,  which  he  would  do 
well  to  alter, 

"Waft  her  angeb  to  the  akee^iet:^ 

Why  make  ikie»  into  two  syllables  ?  Mr.  A^  Sapio  is  a  bass 
or  barytone  of  very  moderate  pretensions;  he  might  well 
have  chosen  some  song  more  suited  to  his  limited  power  thaa. 
*«  Honour  and  Arms.**  It  may  seem  ongallant  to  speak  kui 
of  the  lady  principals,  but  though  last  we  do  not  think  least 
of  their  talent.  Miss  Cubitt  has  a  sweet  and  pleasing  quality 
of  voice,  with  a  plain  style  of  sticking  to  her  text,  which 
pleased  us  more  than  the  omamenta  introduced  by  her 
more  shewy  competitor,  Miss  EUaa  Biich-^f  courae  the 


5a 


THE  MUSICAL   WOBXD. 


Tdcts  are  diflferent,  the  forthet  being  a  mezao  soprano, 
the  latter,  at  present,  a  somewliat  thin  and  high  soprano ; 
they  both  appear  young  too,  so  doubtless  are  far  from 
being  at  the  «eni^  of  titeir  powers.  If  they  -^rould 
allow  us  to  give  each  a  word  ot  advke  it  would  be  to  Miss 
Cubitt  to  infuse  a  little  more  animation  and  feeling  into 
her  manner,  and  to  Miss  E.  Birch  that  she  should  be  more 
certain  of  het  intonation  before  she  ventures  on  so  much 
ornament ;  and  she  should  not,  when  singing  in  English,  Italia- 
nize her  words,  as  '*  Taake,  oh,  taake  me  to  your  care  !"  her 
"  Angels  ever  bright  and.  fair,''  but  for  this,  would  have 
nierited  and  ho  doubt  received  an  encore. 

Tha  chief,  gems  of  the  concert,  both  as  to  music  and  per- 
formanee,  were  Mozart's  Motett ;  Falestrina's  Chorale  (which 
was  encored);  and  the  chorus  from  Samson,*^  Then  round 
about  the  starry  throne,"  a  bit  of  Handel  that  our  choir 
revelled  in  accordingly.  Great  praise  is  due  to  the  per- 
formmlice  of  Martin  Luther's  Hymn,  as  a  chorale,  by  the  choir, 
and  to  Mr*  Blworth's  admirable  trumpet  accompaniment,  as 
also  to  Miss  £.  Birch,  band,  and  chorus,  for  the  **  Alma 
Virgo"  of  Hummers,  (a  most  lovely  composition,  the  ordhestral 
accompaniment  especially,  are  very  beautiful)  which  made  a 
good  finale  to  one  of  the  tamest  ooneeris  giten  for  aome  time 
by  the  H&rgreaves  Society.  We  trust  there  will  be  something 
of  a  higher  character  in  store  for  us  at  the  nest,  or  fourth 
conoert^  which  is  fix;ed,  we  see,  for  the  25th  of  February. 
Elijah  is  promised  but  cannot  be  done,  it  is  expected,  before 
ApriL  -^  May  we  have  Staudigl  and  Mendelssohn  on  that 
il 


THE  RIVAL  ITALIAN   OKRAS^ 

Of  the  Due  Rivale,  Her  Majesty's  Theatre  has  made  the 
first  official  announcement.  The  substance  of  the  prospectus 
for  the  ensuing  season  (for  particulars  of  which  see  our  leading 
article)  has  appeared  in  all  the  morning  joilmals  of  Thursday, 
with  tne  exception  of  The  Morning  Chronicle.  The  Times^ 
JSertdd^  and  Daily  News  are  little  more  than  statistical,  while 
The  Morning  Post  spins  out  its  notice  to  a  column  and  three 
partii  in  length.  From  the  splendid  array  of  talent  put  forth, 
and  the  magnificent  promises  held  out  by  Mr.  Lumley  in  his 
prospectus,  we  should  have  thought  that  even  the  Morning 
Post  might  have  rested  satisfied  with  the  mere  edict  of  so 
superlative  a  biU  of  fare :  but,  ho !  that  zealous  advocate 
thhiks  otherwise :  it  considers  a  small  grain  of  irony  necessary 
to  flavour  the  programme.  Grisi's  "  years'*  afe  again  made 
ih»  subject  of  discussion.  One  would  absolutely  be  led  to 
believe,  from  reading  the  articles  in  the  Momina  Post,  that 
Madame  Grisi  was  ''  fallen  into  the  vale  of  years, '  instead  of 
being,  as  most  indubitably  she  is,  in  the  very  prime  of  woman- 
hood. The  Morning  Post  states  that  Madame  Grisi  has  been 
fifteen  years  at  Her  Maiesty*s  Theatre.  We  beg  to  correct 
our  contemporary  on  this  head.  Mademoiselle  Grisi  made  her 
first  appearance  in  London  in  April  1 834,  and  consequently 
Mademoiselle  Grisi  has  been  twelve,  not  fifteen,  years  at  the 
Opera.  The  same  jounlal  accuses  the  prima  domna  of  abso- 
lutism, meaning  thereby  to  convey  to  its  readers  that  Madame 
Grisi  usurps  all  the  leading  characters  in  the  theatre  in  which 
the  is  «igaged»  Justice  bids  us  politely  to  contradict  this 
assertion*  The  principal  parts  which  the  accomplished  cania" 
triee  has  peiaonated  since  her  first  advent  to  this  country, 
could  hardly  have  been  undertaken,  with  success,  by  any 
prima  donna  who  has  been  since  engaged  at  Her  Majesty's 
Theatre*  Gtisi  is  undoubtedly  a  great  tragic  actress,  and 
has  won  her  laurelf«  as  well  in  the  histrionic,  as  in  the  lyric 


department  of  the  opera*  Her  performances  of  Nontax 
Semiramide,  Desdemona,  Ajona  Bolena,  Elvira  in  the  P»rt« 
<am,  Miiietta,  and  other  parts,  ave  proofs  of  her  superior 
tragic  powers.  The  only  oomie  parts  she  assumed  at  Her 
Majesty's  Theatre  for  several  seasons,  ware  Norina  ua  Dem 
PasqMle^  and  Eosina  in  II  Barbiere,  That  she  does  not 
exert  the  ahsolwtism  ascribed  to  her  by  the  Morning  Ptmt^ 
even  in  parts  which  she  has  peculiarly  made  her  own,  may  be 
instanced  by  her  resigpung  her  favourite  character  of  Rosinn 
in  II  Barbiere  to  Persiaui  i&  Paris.  The  article  in  the 
Morning  Post^  however,  from  its  important  and  elaborate 
statements  deserves  more  consideraiaon  than  we  have  room  to 
devote  to  it  this  week.  Next  week  we  shall  review  it 
at  length. 

In  an  artide  on  this  sujbjeet,  which  i^[»peared  in  the  Moh^ 
tfijr  Herald,  of  Monday,  our  coutemporary  follows  up  somis 
statements  and  conjectures  about  the  engagements  at  Her 
Majesty's  Theatre  for  the  forthcoming  season^  with  th» 
following  excellent  remarks :— * 

**  In  the  mean  while  the  public  it  diverted  with  the  squabbling  that  is 
going  on  between  the  organs  of  the  elder  Theatre,  and  those  of  the  new 
undmtaking  in  Bow^street.  What  is  said  on  the  one  side  is  flatlr 
contradicted  on  the  other,  and  the  quarrel  has  reached  a  point  when  aU 
courtesies  are  laid  aside — when  impertinence  is  met  with  impertinence, 
and  vulgar  imputation  with  defiance  and  rejoinder.  Fblks  who  are 
collaterallr  connected  with  the  two  establishments  have  rushed  into  print, 
and  their  letteca  have  been  suffidentlx  piquant  to  gratiff  the  IovcIb  oC 
professional  dispute ;  and,  no  doubt,  more  of  the  same  sort  are  in  store» 
which  will  be  equally  acceptable.  Beyond,  however,  the  amusement 
derived  from  these  charges  and  recpminations,  the  public  care  very  little 
for  the  real  fkcts  at  Issue,  and  the  partisans  on  either  side  woeld  show 
bettor  taste  and  better  geaenlahip  were  they  to  abetata  altosetber  from 
open  scurrilities,  which  are  neither  calculated  to  atrengthen  the  interests 
they  defend,  nor  give  their  respective  establishments  credit  in  the  eyes 
of  the  world.  Mr.  Lumley  has  no  doubt  found  a  direct  practical 
antagonism  to  his  Theatre^one  conducted  with  hugeness  of  view  and 
helped  by  pecuniary  sufficiency.  It  behoves  him,  therefore,  to  meet  the 
denger  which  laight  otherwise  threaten  him  with  boldness  and  activity* 
and  we  apprehend  he  has  done  so,  if  we  were  to  place  any  faith  what- 
ever in  the  hints  which  have  oo2ed  out  of  his  engagements,  present  and 
prospective.  The  public  will  Judg«  for  themselves,  and  the  competition 
no  doubt  will  be  pcoduetlve  of  something  very  near  perfeetlon  in  elthfer 
caae.  But  for  our  own  part»  we  have  no  hesitation  In  eaprassing  the 
convictioui  which  we  have  from  the  first  entertained*  that  there  is  not  a 
public  for  two  Theatres  of  this  class,  the  costliness  of  which  must  inevit- 
ably Iceep  them  both  beyond  general  accessibiUty,  to  the  fatal  narrowing 
of  the  receipts  and  the  gradual  absorption  of  the  means  of  maintenance* 
This,  however,  only  ooncerae  those  who  chooae  to  incur  the  heavf 
responsibilities  in  question,  and  indulge  in  golden  dreams  undisturbed  by 
fears  and  misgivings-shacked,  let  it  l>e  added,  by  the  powerful  incentives 
of  personal  animosity  and  the  rancorous  spirit  of  revenge.*' 

We  do  not  understand  the  last  sentence,  hut  with  the  rest 
of  the  observations  we  cordially  assent*  Coming  from  so 
impartial  a  quarter,  they  ought  to  have  double  weight  with 
the  contending  parties* 

The  Morning  Chronicle  of  Thursday  contains  an  article 
respecting  the  progress  of  the  alterations  and  modifications  oi 
Covent  Garden.  It  speaks  in  high  terms  of  what  has  been 
already  done,  and  states  that  the  New  Italian  Opera  will  be 
ready  for  performances  in  April.  A  Sunday  journal  contitf- 
dicts  flatly  the  coming  of  Jenny  Lind  to  Her  Msjesty*s 
Theatre.  We  can  as  flatly  contradict  the  assertion  of  the 
Sunday  journal.  Jenny  Lind  is  engaged,  and  were  there  any 
direct  necessity,  we  could  inform  ^e  said  journal  of  the  very 
night  upon  which  Jenny  Lind  tviU  appear  at  Her  Majesty's 
Theatre^  We  are  also  able  to  say,  that  the  order  for  the 
dresses  and  decorations  in  La  Fille  de  Regiment^  one  of  Jenny 
Lind's  favourite  operas,  has  been  already  issued  by  the 
management.  Digitized  by     ,  ittT 

The  Morning  Chranick  of  yesterday  treats  the  prospectus 


THE  MUSICAL  WORLD. 


01 


of  Her  Majeaty'i  Theatro  with  the  ntmiMt  eoolnesa,  and  it 
entinly  aeeptical  ooneeming  the  principtl  attractiont  held 
forth  in  the  aanoancement.  Our  readers  ahall  have  the  entire 
article. 

''Our  contenponuieft  ptibBslied  yeateidty  a  aotiflcatloa  of  certain 
anangements  for  the  ensuing  season  at  Her  Miyesty's  Theatre.  We  need 
scarcely  assure  our  leaders  that  this  eircular  is  fiol  the  official  prospectus* 
which  has  not  yet  been  issued.  As  the  main  hope  of  haying  a  presentable 
prima  donna  rests  on  Jihnt  Limd,  and  we  are  only  told  by  the  Timet 
that  she  will  "no  doubt"  come,  it  is  evident  there  Is  eoery  doubt.  We 
know  that  overtures  have  been  dispatched  to  Mr.  Bunn  (who  is  at 
Brighton  on  aeoount  of  ill  health)  to  aseertain  at  what  amount  he  fixed 
bis  damages  if  Jenny  Lind  broke  her  contract  with  him,  with  an  intima- 
tion to  meet  any  reasonable  arrangement ;  but  we  have  reason  to  believe 
that  Mr.  Bunn  will  listen  to  nothing  of  the  kind,  and  still  greater  reason 
to  believe  that  unless  be  docs  abandon  his  contract  Jenny  Lind  will  not 
visit  IIS.  The  idea  of  Meyerbeer  coming  unless  the  matter  be  arranged 
with  the  Swedish  Nightingale,  is  absurd,  for  he  not  only  drew  up  Jenny 
Lind's  contract  with  Druiy>lane  Theatre,  but  specifically  undertook  to 
produce  his  opera  there,  the  Camp  of  Siletia,  which  can  only  be. 
given  on  a  very  laige  stage,  as  in  the  second  act  there  are  more  than 
30O  people  rtquirad  at  one  time,  with  fbur  distinct  military  bandst 
The  opera  of  Mendelssohn  is  mere  moonshine.  It  is  true  that  he  has 
promised  to  write  an  opera  for  Jenny  Lind,  when  he  has  a  good  Ubretto ; 
but,  to  our  knowledge,  he  has  refused  shoals  of  poems ;  and  it  is  not  a 
fortnight  since  he  declared  that  he  had  no  opera  ready,  and,  what  is  of 
more  importance,  no  chance  of  any  aa  he  had  not  yet  met  with  a  lihrtito 
that  he  could  approve  of.  To  suppoee  that  Mendelssohn  would  accept  a 
French  translation  of  Shakspeare'a  Tmpeti  for  an  Italian  opera,  two  of 
the  principal  parts  to  be  supported  by  a  Swede  and  a  German,  is  to  draw 
too  largely  on  our  credulity.  Another  reason  tbat  prompts  us  to  regard 
the  drcolar  of  our  contemporaries  as  Idle  gossip  is,  that  Rossini's 
patHoew  Bi$k0rt  Bnie$^  which  has  just  provad  a  signal  fsUure  in  Paris,  as 
such  a  musical  fraud  deserved,  is  announced  anumgst  the  novelties." 

In  addition  to  the  abore  remarks  of  the  Chronicle^  we 
publish  a  letter  of  Mr.  Bnnn'i  which  appeared  in  the  Aforntii^ 
PoH  of  yeateiday*  aa  bearing  dosely  npon  the  question  ao  long 
at  issoe  between  the  partiaans  of  the  Rival  Operas. 

**  1\»  f to  SdUcr  of  the  MonOng  Pott. 

"  Sir,-— My  attention  has  been  direeted  to  the  following  pangraph  in 
the  Mommg  HorM  of  this  day,  itlating  to  the  arrsngements  of  the 
ensuing  season  at  Her  Migesty's  Theatre  :-^ 

" '  At  Easter  Jenny  Lind  absolutely  comes,  and  what  is  more,  remains, 
throughout  the  whole  of  the  season ;  the  direftil  threatenings  of  Mr. 
Bonn,  to  whom  she  was  last  year  under  certain  imputed  obligations, 
being  either  removed  by  negotiations  or  regarded  with  defianoe** 

"The '  imputed  obligations'  between  Mdlle.  Jenny  Lind  and  myself, 
ootosist  of  a  formal  contract  drawn  up  by  M.  Meyerbeer,  (who  undertook 
to  produce  his  opera  of  the  Camp  of  Siletia  with  her  at  Drury  Lane,) 
and  It  was  executed  in  the  presence  of  the  British  Minister  at  Berlin. 
Mdlle.  Und  has  made  a  fncible  appeal  to  ne  to  give  up  this  contract, 
which  I  have  most  certainly  refused  to  do.  My  '  direiul  threatenings  * 
may  be  '  regarded  with  defiance,'  but  are  not  at  present  removed  by 
negotiation;  for,  while  I  am  ready  to  admit  that  a  negociation  it  under 
oonsidttition,)!  beg  to  say  the  contemptible  oifer  of  compensation  re- 
cently nada  me  his  been  utterly  f^cted.p— I  have  the  honor  to  be.  Sir, 
your  most  obliged  servant,  •*  A*  Bumn, 

"York  HoM,  Brighton,  Jan.  21." 

We  abstain  aa  yet  from  offering  further  remarka  upon  tiie 
advent  of  the  Swedish  Nightingale,  having  already  pledged 
ourselves  aa  being  able  to  state  the  very  night  upon  wldch 
she  would  make  her  fiiat  i^peamnca  at  Her  Majesty's 
Theatre. 

It  is  gratifying  to  ua  to  find,  that  La  OnUqne  Musieale^ 
one  of  the  moat  independent  and  able  of  the  Parisian 
musical  papers,  has  given  us  full  credit  for  our  impartiality 
regarding  the  Rival  Opera  Houses.  **  T^  Musical  World," 
it  remarks,  **  a  special  journal  devoted  to  the  art  of  music, 
and  one  generally  well  informed,  has  hitherto  taken  no  poaition 
for  either  side.  An  impartial  observer,  it  principally  confines 
itself  to  publishing  the  correspondence  emanating  from  the 
organs  of  either  party.  It  declares  itself  the  friend  of  both 
establiahmentai  and  expreaaea  its  wishes  for  the  proeperity  of 


e.lMO 
c.l5d4 

1567 
cU80 

laes 


both.  Will  the  hope  of  The  Mmioal  World  ever  be  realiaed  I 
We  fear  not.  In  this  instance,  as  in  every  other,  fortune 
will  make  two  unequal  parts  of  its  fovoura."  With  thia 
eidogium  we  shall  eondude  thia  week's  remavks  oo  the  Rival 
Italian  Opera  Houses, 

I  n     II      I  M  -II        1 _^^__^.^^^^_..^^^ 

ExrreR  hall. 

In  aid  of  the  '*  Hullah  Testimonial  Fund/'  the  object  of 
which  is  to  aid  the  spirited  disciple  of  Wilhem  in  his  praise- 
worthy object  of  erecting  a  large  music-hall  in  London  for 
his  own  purposes  and  for  general  musical  performances  on  a 
vast  scale,  the  first  of  a  series  of  four  concerts  was  given 
on  Monday  night.  The  design  of  these  concerts  is  one  of 
high  interest  and  importance.  It  is  to  illustrate  by  examplea 
the  history  and  progress  of  English  vocal  music  from  the 
earliest  times  up  to  the  present  moment  Though  we  are  no 
devoted  admirers  of  the  old  English  school  of  music,  we 
cannot  but  admit  the  utility  of  these  performances  considered 
in  the  light  of  popular  elementary  lectures.  Of  course  the 
first  concert  was  likely  to  be  the  dryest,  and  the  leaat 
interesting,  but  even  that  contained  much  that  was  delightful 
and  much  more  that  was  instructive.  Our  best  mode  of 
giving  an  idea  of  its  nature  will  be  to  insert  the  programme. 

Part  L— Sacred  Music. 
I/ymn  .    .    .    Gloria  in  sxodsii,  Deo  •  Chorus  •    •    .    .  Tye, 
jinihem    .    .    Call  to  remsmbranoe    .  SoU  and  Cftorut  •  Farraa^ 
n-....^  Hear    the  voice  and 

^«y^     •    •  pravsr    ....  Somi-chorut  .    .  TaUis, 

Anthem    .    .    Sing  joyfully   ....  Chorus      .    .    .  Byrd, 
MetricalPtalmYe  ebudren  which  do  tSend-chorut  and) 

serve  the  Lecd      A  Ckorut  ^  Tenor  \  hViitomt 
^«  Foicet    .    .  / 

Anthem   .   .   OLotdmyOed     .   'f%i^f^,]^^         «•!««• 

Hymn,    •    •    Te Deum Dondlo Choir    '^  O.OibboBS,e^ldlO 

Part  IL— Secular  Music. 

Part  Song    •    In  going  te  my  loaely 

bed Chorut  .    .    •  Edwaides  c.  1560 

BaUet .    .    .    Sitig  we  and  chant  it    .  Chomt  .    .    .  Morley,      «  1595 

Part  Song    .    Awake^  sweet  love  .    .  iSWI  .    •    •    •  Dowlaad,       1597 

MndrigJ.    .    Lady.whenlbehrid  •  Chome  .    .    .  WUbye^  I50a 

MadrigtU.  .  All  creatures  now  .  •  Chomt,  .  •  Benneti  .1601 
Song   •    .    .    Shall  I  seek  to  ease  my 

pioL Mr.  Maavers .  Vsraboieo^     lOOa 

Madrigal,    •    The  silver  swan  .    •    •  Chorut  .    •    .  a  Gibbons*  lOlS 

Song    .    .    .    Sweet  Echo     ....  Miss  Rainforth  H.  Lawes,     1654 

Part  Song    .    Where  the  bee  sacks    .  SoH  ....  WUson,         1644 
I  longtosingthe  seige 

of  Troy Mr.  I«efller.   «  ILLawes,  c.l65e 

Whilst  1  Usten  to  thy 

voice Miss  Dolby     .  „  „ 

Chloris  yowaeir  yeu  so 

excel    .    «    .    .    .  Mr.  Manvers  .  i*  ^ 

they  knew  |Mi«D.ifty     ]       " 

Why    shouldst      thou 

swear Mr.  Leffler  ^  m 

As  I  walked  forth    •    •     Miss  Dolbv    •    Johnson,     „ 
Go,  young  man   •    .    •     MissRaidorth    U.  Lawes    |» 

The  Waits  ....  Chomo  .  .  .  SaviUe^  t,  1660 
The  whole  of  the  first  part,  though  capitally  executed  by 
the  choristers,  who  were  selected  from  Mr.  Htillah's  ttpper- 
singing  schools,  was  inevitably  monotonous  aild  dull.  The 
total  absence  of  rhythmic  melody,  the  pecnliarly  Gothic  nature 
of  the  harmonies,  and  the  unfinished  part* writing  in  the  works 
of  these  old  masters,  which  abound  in  every  dpeeies  of  contra- 
puntal fault,  makes  listening  to  an  uninterrupted  succession 
of  them  a  wearisome  task  to  modem  ears.  The  second  part 
was  more  musically  interesting,  and  agreeable  in  propor- 
tion. The  works  of  Henry  Lawes  preponderated  much  more 
than  their  merita  authorised,  since  nothing  could  well  be  more 


Song    . 
Song    • 

IHakgue 

Song    . 

Song    « 
Song    . 

Duet    . 

Part  Song 


S2 


THE  MUSICAL  WOELD. 


spiriUess  and  deyoid  of  character.  The  part-flong  of  Edwardes 
has  some  sweet  melody,  sometimes,  however,  disfigured  hy 
laboured  attempts  at  imitation  and  elaborate  counterpoint.  It 
was  beantifiilly  sung.  Morley's  ballet  is  pretty  and  fanciful ; 
it  was  well  rendered,  and  encored  with  unanimity.  This 
was  the  first  bit  of  decided  tune,  with  beginning,  middle,  and 
end»  that  we  had  heard  during  the  evening.  John  Dowland's 
part-song  is  also  pretty  and  melodious;  but  this  again  is 
spoiled  by  attempts  at  imitations  in  the  part- writing.  The 
madrigals  were  u^appily  chosen,  partaking  too  largely  of  the 
sombre  and  fragmentary  style  of  the  ecclesiastical  music. 
Mr.  Manvers  was  encored  in  the  song  of  Ferabosco,  in  which, 
nevertheless,  we  could  discover  no  merit  whatever.  Orlando 
Gibbons*  madrigal  is  as  ugly  as  a  piece  of  music  can  easily 
be.  If  the  ''Song  of  the  Swan,"  about  which  it  treats, 
at  all  resembles  it,  then  is  the  "  Song  of  the  Swan*'  unworthy 
of  its  reputation.  Wilson's  part-song  is  almost  the  same  as 
that  to  which  the  name  of  l5r.  Arne  has  most  unwarrantably 
been  affixed.  It  was  excellently  sung,  and  encored  with 
clamorous  enthusiasm.  Mr.  Seguin  sang  the  "  Anacreontic 
Ode,"  by  Lawes,  much  better  than  its  dulness  merited,  and  the 
same  may  be  said  of  Miss  Dolby  in  "  Whilst  I  Usten  to  thy 
voice.*'  The  duet  of  the  two  nymphs  is  very  absurd ;  but  was 
well  sung,  nevertheless,  by  Misses  Rainforth  and  Dolby. 
The  best  song  of  the  whole  lot  was  "  A  forsaken  lover's 
complaint,"  by' Robert  Johnson  —  a  plaintive  and  simple 
melody,  harmonized  with  unpretending  sweetness.  Miss 
Dolby's  execution  -of  this  charming  trifle  was  not  only  graceful 
and  finished,  but  full  of  exquisite  tenderness  and  pathos.  She 
was  encored  with  one  voice  by  .the  whole  audience.  In  such 
songs  as  these  Miss  Dolby  has  no  superior,  her  voice  and 
style  are  alike  suited  to  them.  Miss  Rainforth  also-  gained  a 
boiaterous  encore  for  her  animated. and- ^^Hrt/vaZ  delivery  of 
"  The  young  maid's  resolution,"  the  only  one  of  the  songs 
of  Lawes  that  presents  the  ghost  of  a  tune,  with  the  excep- 
tion of  "  LoveV  scrutiny,"  a  song  to  which  Mr.  Seguin  (who 
is  to  be  doubly  praised,  for  having  upon  very  short  notice 
supplied  the  place  of  Mr.  Leffier)  rendered  more  than  justice. 
The  words  of  this  'latter  song  might  with  advantage  have 
been  reconsidered  by  the  managers  of  the  concert  ere  they 
had  been  admitted  into  the  programme  of  a  modem  concert ; 
they  are  positively  indecent.  We  are  none  of  your  straight- 
laced  persons,  and  are  not  likely  to  be  offended  by  or- 
dinary matters.  But  when  we  find  nothing  but  filthy  pro- 
fligacy helped  o\it  by  a  villanous  display  of  hearUessness, 
with  no  poetic  beauty  to  redeem  it,  we  cannot  flnd  it  in  our 
hearts  to  set  decorum  at  defiance-^and  such  are  the  words  of 
this  song,  which  are  about  as  good  as  the  music  to  which  they 
are  allied.  The  bacchanal  duet  has  little  merit,  but  was  well 
•ung  by  Messrs.  Manvers  and  Seguin,  and  Saville's  pretty 
*'  Waits"  concluded  the  concert  merrily.  On  the  whole  the 
selection  was  monotonous.  Mr.  Edward  May  must  be  praised 
for  the  efficient  manner  in  which  he  conducted  the  entire  per- 
formance— and  Mr.  Oliver  May,  a  musician  whose  great  merits 
ought  to  bring  him  more  frequently  before  the  public,  deserves 
the  highest  praise  for  the  admirable  style  in  which  during  the 
first  part  he  presided  at  the  organ,  and  during  the  second  at 
the  pianoforte,  filling  up  with  extreme  cleverness  the  accom- 
paniments of  almost  all  the  pieces,  the  authors  having  leit 
them  with  nothing  but  a  figured  bass  to  help  out  the  melody. 
The  second  concert  is  announced  for  Monday,  February  8th. 
The  Hall  was  well  attended.  The  organ,  by  the  way,  was 
erected  by  Mr.  T.  Robson,  expressly  for  the  occasion,  the 
committee  of  the  Sacred  Harmonic  Society  having  declined  to 
allow  their  own  instrument  to  be  used  for  the  occasion.    On 


this  particular  a  correspondent  has  forwarded  us  some  par* 
ticulars  for  insertion,  which  want  of  space  compels  us  to  defer 
till  our  next. 


GREG0RIANIZER8  v.  HARMONIZERS. 

No.  2. 

(From  The  Mancheiter  Cornier.) 
We  alluded  in  a  former  article  to  the  "  fertile  fancy"  of  the 
Gregorianizers,  and  we  have  since  been  much  entertained  b;f 
some  amusing  examples.  One  unassuming  proposition  is 
this — '*  The  defenders  of  harmony  are  only  those  persons  who 
know  nothing  of  Gregorian  music."  This  is  concise  and 
satisfactory.  The  bull  has  gone  forth,  and  we  are  merely 
extinguished.  With  all  due  submission,  however,  to  onr 
rampant  adversaries,  we  opine  that  there  is  something 
malignant  in  utter  annihilation.  We  might  have  been  allowed 
to  descend  to  the  grave  with  the  consoling  thought  that  we  had 
met  the  foe  with  fearless,  though  unsuccessful  bravery.  This 
is  denied  us.  We  might  have  said^  with  honest  Sir  John, 
«  We  fought  a  full  hour  by  Shrewsbury  clock."  But  no,  we 
are  disbanded  and  cashiered,  as  unfit  for  duty^  and  must 
henceforward  be  considered  as  the  Chelsea  pensioners,  of 
Tetracordian  warfare.  Our  pen  trembles  in  our  palsied  hand. 
What  will  harmonizers  say  to  the  establishment  of  a  musical 
star-chamber,  to  be  designated  "the  Hypo-mixo-lidio- 
phrygian  order  of  knighthood?"  Who  could  have  anticipated 
the  passing  of  an  act  for  the  suppression  of  sacred  harmony  ? 
We  quote  from  memory  a  rough  draft  of  "  The  Gregorianizers' 
Relief  Bill."  "  Whereas  sundry  rebellious  persons  have  from 
time  to  time  assembled  for  the  purpose  of  singing  divine 
compositions,  known  as  "harmonized  church  song,"  be  it 
hereafter  enacted,  that  any  person  or  persons  suspected  of  this 
enormity  shall  be  liable  to  imprisonment,  unless  the  words  be 
profane,  without  bail  or  mainprize."  Tremble,  ye  lovers  of 
Tallis,  Tye,  Purcell,  and  Gibbons.  For  our  part,  we  confess 
our  dreams  are  ever  and  anon  disturbed  with  visions  of  these 
belted  knights.  We  avoid  with  scrupulous  care  the  abrupt 
comers  of  our  streets,  lest  we  should  be  laid  low  with  a  hypo- 
mixo  batUe-axe.  Before  we  retire  to  oblivion  we  will  remind 
our  Quixotic  antagonists  of  two  or  three  defects.  They  tell  us 
of  their  laborious  researches,  intense  application,  years  of  study, 
&c.,  they  publish  the  result  of  all  these,  we  pursue  them,  and 
yet,  strange  to  say,  "  we  remain  in  entire  ignorance."  While 
reading  some  of  their  speculations,  we  rub  our  eyes,  and  feel 
strongly  inclined  to  refer  to  the  title  pages,  to  ascertain 
whether  the  work  is  not  "  Belzoni  on  Egyptian  antiquities." 
That^earned  traveller  informs  us,  that  when  he  examined  the 
ancient  catacombs,  he  attached  a  piece  of  thread  to  the  entrance 
carrying  one  extremity  in  his  hand,  to  enable  him  to  return 
without  difficulty.  What  would  have  been  his  consternation, 
if  after-travellers  had  amused  themselves,  and  tired  their 
readers  with  ingenious  disquisitions  on  the  texture  of  the 
thread,  its  colour,  its  probable  length,  and  peculiar  properties  ? 
What  should  we  say  to  the  antiquary  who  should  present  us 
with  the  figures  from  an  Egyptian  tomb,  not  as  valuable 
curiosities,  but  as  true  copies  of  nature.  Place  these  before 
the  child, — the  uncouth  posture,  the  right-angled  anatomy, 
and  perhaps  the  small  discrepancy  of  the  arms  extending  to 
the  ankles,  and  he  will  tell  you  in  other  words  "  the  harmony 
of  proportion  is  wanting."  Let  us  not  be  thought  to  under- 
value the  disinterested  exertions  of  the  antiquarians.  We 
would  not  rush  in  and  break  the  slender  thread  of  history,  and 
then  plunge  into  the  secret  caverns,  and  recesses  of  our  own 
invention,  or  oiu:  fiorid  imagination.  We  are  indebted  to  the 
guide,  not  only  for  our  internal  xamUings,  but  for  our  safe 


THE  MUSICAL  WORLD. 


53 


xetreat.    The  upholders  of  mere  antiquity  seem  to  think  that 
the  great  and  beautiful  must  not  be  trusted  by  themselves ; 
they  must  be  put  in  leading-strings.      We   must  abandon 
hannony»  because  '*  horrid  examples"  exist.     The  question  is 
frequendy  asked,   ''  What  is  the  distinguishing  feature  of 
ecclesiastical  harmony  ?'*    To  the  musician  we  might  discourse 
on  broad  and  fundamental  harmonies.    To  the  unmusical  we 
say,  What  is  the  difierence  between  a  chapter  of  Isaiah  and 
"  Drink  to  me  onjy  V*  between  the  triumphs  of  Rubens  and 
the  ngn-board  of  a  country  inn?  between  the  sculpture  of 
Chantrey    and  the  roughed  wax-work  of    a  hair-dresser's 
window  ?     Do  we  close  the  scriptures  because  men  misquote  ? 
Should  we  demolish  all  sculpture  if  some  fanatic  proposed  the 
insertion  of  glass  eyes,  vermillion  cheeks,  and  an  elaborate  wig  ? 
The  broad  volume  of  Nature  is  open  before  us.     Let  the 
study  of  her  beauties  be  pursued  wiUi  humble  simplicity,  and 
the  truth'loving  student  will  not  depart  unrefreshed.  Let  him 
throw  open  the  windows  of  his  soul,  and  inhale  the  fragrance 
of  her  breath.     Her  dasied  meadows,  her  flowing  fields  are 
all  his.     She  sighs  in  the  soft  language  of  evening  after  her 
fallen  votary-men.     She  thunders  in  her  anger,  and  yet  per« 
verse  man  pursues  the  vagaries  of  his  own  imagination,  and 
invents  for  himself  a  standard  of  beauty^  as  imperfect  as  it  is 
presumptuous;  as  grovelling  as  it  is  fallacious.     He  seeks 
instruction  with  pieconceived  notions.     Can  he  wonder  if  he 
reap  disappointment.    In  this  age  of  intellecUuil  supremaopf 
we  would  not  for  one  moment  be  misunderstood.     We  regard 
with  intense  satisfaction  every  approximation  to  the  simplicity 
of  primitive  doctrine ;  but  the  arts,  the  divine  handmaids  of 
the  church,  must  advance  with  the  great  stream  of  time.     No 
earthly  power  can  stem  the  torrent.     No  mortal  can  make  the 
attempt  without  experiencing  shipwreck  and  complete  over- 
throw.    We  do  not  wish  to  lay  too  much  stress  on  the  dis- 
coveries of  finite  man.     They  are  loud  proclamations  of  his 
former  ignorance;  yet  we  do  not  return  to  the  principles 
deduced  from  that  ignorance.     Sir  .Isaac  Newton  supposed 
himself  a  child  playing  with  pebbles  on  the  sea-shore,  yet  we 
do  not  dispute  gravitation.    If  the  cup  of  a  man's  terrestrial 
happiness  be  small,  there  can  be  no  impiety  in  attempting  to  fill 
it.     The  Gregorianizers  launch  the  vessel  of  discovery,  and 
descend  the  stream  buoyant  with  hope ;  then,  like  Uie  dis- 
affected crew  of  Columbus,  they  mutiny.    '*  Take  us,"  cry 
thejf  '*  to  our  own  ancient  stream,  our  native  obscurity.    You 
talk  of  antipodes,  you  say  the  world  is  round,  and  that  every- 
thing in  nature  has  its  echo ;  but,  oh,  let  us  not  lose  sight  of 
shore."     This  fresh   water  fry  carnot  live  in  the  swelling 
waters  of  progression ;  they  must  return  to  the  wildness  of 
by-gone  ignorance, — to  the  ruggedness   of  dim  antiquity. 
Refinement   and  finished  magnificence  are  not    for   them. 
These  musical  Calibans  disdain  the  elegant  attire  which  nature 
has  so  bountifully  displayed  ;  they  cast  the  ponderous  remains 
on  shore,  meagre  and  unsightly.     We  exclaim  with  Trinculo, 
"  Verily  it  hath  an  ancient  and  fish-like   smell.'*     These 
Robinson  Crusoes  must,  forsooth,  live  in  solitary  grandeur, — 
in  sumptuous  misery.     St.  Ambrose  did  not  employ  harmony, 
and  Mr.  Crusoe  eschewed  kerseymere,  and  in  the  plenitude  of 
our  simplicity,  we  conjecture,  for  one  very  excellent  reason, 
they  did  not  possess  the  article  in  question.     In  vain  Nature's 
sonorous  monitors  proclaim  the  rules  of  harmony.     The  bells 
peal  forth  their  sweetest  chords  from  tower  to  spire,  her  hills 
and  dales  repeat  the  sound ;  she  reverberates  with  rapture. 
The  feathered  songsters  warble  forth  their  praise ;  but  man 
alone  must  descend  to  second  infancy.     In  profane  matters, 
indeed,  he  may  employ  the  high  resources  of  harmony,  but  in 
celebrating  the  glories  of  his  Creator*  barbarity  must  be  his 


guide,  and  ancient  groping  after  truth  his  maximum  in  art. 
The  practical  part  of  the  question  presents  insuperable  obsta- 
cles, which  we  will  hereafter  explain.  The  sustaining  a  long 
and  solemn  tone  is  an  artistical  exertion,  not  a  natural  pro- 
perty of  the  vocal  organ.  How  will  voices  out  of  tune  blend 
with  the  organ?  Will  a' 1000  rough,  uncultivated  voioet  be 
more  endurable  than  20,  12,  or  2  ? 


7&&     AFFIBITIBS- 

Jtom  tit  Gtrman  of  (Soti^e. 

(ContifrtudJ^em  page  94.) 
PART    I. CHAPTER  XVI. 

Thb  next  day  the  Captain  had  disappeared,  and  had  left  a  grate- 
fully expressed  letter  tor  his  friends.  He  and  Charlotte  had,  on 
the  preceding  evening,  taken  a  sort  of  half-leave  of  each  other, 
couched  in  monosyllabic  words.  She  felt  that  the  sepa'ration  was 
to  be  eternal,  and  resigned  herself  accordingly ;  for  in  the  Count's 
second  letter,  which  the  Captain  had  at  last  communicated  to  her, 
mention  was  made  of  an  advantageous  marriage  ;  and  although  he 
paid  no  attention  to  this  point,  she  looked  upon  the  matter  as 
certain,  and  gave  up  all  thoughts  of  him. 

She  now  conceived  she  had  a  right  to  exact  from  others  that 
power  which  she  had  exercised  over  herself.  What  had  not  been 
impossible  to  herself  must  be  possible  to  others  also.  With  this 
view  she  commenced  a  conversation  with  her  husband  with  the 
more  openness  and  confidence,  as  she  felt  that  the  matter  must  once 
for  all  be  brought  to  an  issue. 

•*  Our  friend  has  quitted  us/  she  said  ;  *«  we  are  now  towards 
each  other  as  we  were  formerly,  and  it  depends  upon  ourselves 
whether  we  can  completely  return  to  our  old  position.** 

£dward,  who  heard  nothing,  but  that  which  flattered  his  passion, 
thought  that  by  these  words,  Charlotte  alluded  to  her  previous  state 
of  widowhood,  and  was  throwing  out  vague  hints  of  a  separation. 
He  answered  smiling,  •*  Why  not  ?  it  only  requires  a  mutual 
understanding." 

Ho  felt  he  was  much  mistaken,  when  Charlotte  proceeded  thus  i 
<'  We  have  now  only  to  remove  Ottilia  elsewhere,  for  a  double 
opportunity  presents  itself  to  place  her  in  a  position  which  would 
be  most  desirable.  She  can  return  to  the  school,  now  my  daughter 
has  gone  to  her  great  aunt,  or  she  can  be  taken  into  a  superior 
famiTy,andthere,withanonly  daughter,  have  all  the  advanUges 
of  a  suitable  education.*' 

•*  But,**  said  Edward  tolerably  composed,  "Ottilia  is  so  accustomed 
to  our  friendly  society,  that  she  would  hardly  be  pleased  ^-ith  any 
other.'* 

"  Wo  have  all  been  spoiled,"  said  Chariotte,  |*  and  you  not  the 
least.  In  the  meanwhile  an  epoch  has  come  which  demands  con- 
sideration, and  which  earnestly  warns  us  to  think  what  will  be  the 
most  advantageous  for  the  members  of  our  little  circle,  and  also  to 
undergo  some  sacrifice." 

"  At  any  rate  I  do  not  think  it  fair,"  said  Edward,  "  that  Ottilia 
should  be  sacrificed,  which  will  be  the  case,  if  at  the  present 
moment  she  is  forced  to  be  among  strangers.  The  Captain  has 
been  sought  here  by  his  good  fortune,  and  we  may  let  him  go,  not 
only  without  regret,  but  with  pleasure.  Who  knows  what  is  in 
store  for  OttiUa.     Why  should  wo  be  in  a  hurry  ?  '* 

'•  What  is  in  store  for  us  b  pretty  clear,**  replied  Charlotte,  with 
some  emotion,  and  as  it  was  her  design  to  speak  out  plainly,  she 
continued,  "  You  love  Ottilia,  and  are  making  yourself  accustomed 
to  her.  Inclination  and  passion  are  also  created  and  fostered  on 
her  side.  Why  should  we  not  speak  out  in  words,  that  which  every 
hour  acknowledges  V  Shall  we  not  have  so  much  foresight  as  to 
ask  what  is  to  come  of  this  ?"  ,  « .       j       , 

«•  If  an  answer  cannot  be  given  at  once,**  said  Edward,  col- 
lecting  himself,  "at  least  as  much  as  this  can  bo  said,  that  we  first 
resolve  to  await  the  instruction  of  the  future,  when  we  cannot 
exactly  say  what  will  come  of  a  matter.*' 

**  in  the  present  case,"  retorted  Charlotte,  "  no  great  foresight 
is  required,  and  at  all  evenu  wo  may  say  this,  that  we  aro  neiUier 
of  us  young  enough  to  go  blindfold  into  an  improper  course.  Ne 
one  can  any  longer  look  after  us  ;  we  must  be  our  own  friends,  our 


54* 


THE  MUSICAL  WORLD. 


own  tutors.  No  one  expects  to  see  us  driven  to  extremities  ;  no 
one  expects  to  find  us  culpable  or  ridiculous.^ 

'*  Can  you  blame  me,**  said  Edward,  who  could  not  answer  the 
plain  open  speech  of  his  wife ;  "  Can  you  blame  me,  if  I  take 
Ottilia's  interest  to  heart  I  do  not  speak  of  a  future  interest, 
which  is  not  to  be  estimated,  but  of  the  present.  Think  for  your* 
self  honestly,  and  without  self-deceit,  l^hat  it  would  be  to  tear 
away  Ottilia  iirom  our  society,  and  place  her  amonff  strangers.  I 
at  least  do  not  feel  cruel  enough  to  counsel  such  a  change." 

Charlotte  clearly  perceived  the  resolution  of  her  husband,  in 
spite  of  his  dissimulation,  and  now,  for  the  first  time,  she  felt  how 
far  he  was  estranged  from  her.  With  some  emotion  she  cried  out : 
"  Can  Ottilia  be-  happy  if  she  divides  «s— if  she  deprives  me  of  a 
husband,  and  his  children  of  a  father  ?" 

'*  As  for  our  children,  I  should  have  thought  they  were  provided 
for,"  said  Edward  with  a  cold  smile  ;  but  he  added,  somewhat  more 
timidly,  "  Whv  should  the  worst  be  imagined  at  once  ?  " 

*'  Because  toe  worst  lies  nearest  to  passion,**  returned  Charlotte. 
**  Do  not,  while  there  is  yet  time  to  profit  by  it.  reject  the  good 
advice  and  assistance  I  offer.  In  obscure  cases  those  must  act 
and  assist  who  see  most  clearly.  I  am  such  a  one  in  the  present 
case.  Dear  dearest  Edward,  do  be  persuaded  by  me.  ^  Can*  you 
cour  ael  me  at  once  fo  renounce  my  well-earned  happiness — the 
bolitSt  rights, — in  a  word,  to  renounce  you  f* 

*'  Who  says  anything  of  the  kind  ?**  sud  Edward,  with  some 
confusion. 

**  Yourself,**  replied  Charlotte ; '"  while  you  wish  Ottilia  to  be 
kept  near  us,  do  you  not  yourself  allow  of  all  the  consequences  ? 
I  will  not  press  youi  but  if  you  cannot  subdue  yourself  at  any  rate 
you  will  not  be  able  to  deceive  yourself  much  longer.** 

Edward  felt  how  perfectly  she  was  in  the  right  An  uttered  word 
is  a  terrible  thing  when  it  at  once  expresses  what  the  heart  has  long 
permitted,  and  it  was  only  for  a  moment's  evasion  that  Edward 
said,  "  I  do  not  clearly  know  what  you  propose.** 

'*  My  plan,**  replied  Charlotte,  '*  was  to  (insider  both  pro- 
positions, for  there  is  a  great  deal  of  gojd  in  both.  The  school 
appears  most  suitable  for  Ottilia  when  I  consider  what  the  girl  is 
now.  But  on  the  other  hand,  the  grander  position  promises  more 
when  I  consider  what  she's  to  become.'  She  then  explained  to 
her  husband  in  detail  the  two  positions,  and  concluded  with  these 
words.  "  For  my  own  part  I  should  prefer  the  lady's  house  to  the 
school  for  several  reasons,  but  on  this  account  particularly,  because 
I  do  not  wish  to  increase  the  inclination,  nay  the  passion  which  the 
young  man  at  the  school  felt  for  Ottilia."* 

Edward  appeared  to  assent  but  it  was  only  to  obtain  a  respite. 
Charlotte  determined  to  do  something  decisive  at  once  when  she 
found  she  had  no  immediate  opposition  from  Edward,  embraced  the 
opportunity  of  appointing  the  departure  of  Ottilia  within  the  next 
few  days.  Every  thing  had  already  been  got  ready  quietly  for  her 
departure. 

Edward  shuddered,  he  considered  he  was  betrayed,  and  looked 
upon  the  really  amiable  discourse  of  his  wife  as  preconceived, 
artful,  and  systematically  contrived,  to  separate  him  for  ever  from 
his  hapniness.  He  seemed  to  leave  the  whole  affair  in  her  hands,  but 
internally  he  had  formed  his  resolution.  Only  to  gain  breathing  time 
and  to  avert  the  inevitable  evil  of  Ottilia's  removal,  he  determined 
to  quit  the  house  himself,  and  indeed  not  unknown  to  Charlotte, 
whom  he  managed  to  deceive  by  saying  that  he  would  not  be 
present  at  Ottilia's  departure^  nay,  that  he  would  not  so  much  as 
see  her  from  the  present  moment.  Charlotte,  who  thought  she 
had  gained  him  to  her  wishes,  rendered  every  assistance.  He 
ordered  his  horses,  gave  his  valet  the  necessary  directions  as  to 
what  was  to  be  packed  up,  and  how  he  should  follow  him,  and 
then,  without  forethought,  sat  down  and  wrote  : 

EDWARD   TO    CHABLOTTX. 

*'  The  evil  that  has  befallen  us,  my  love,  may  be  curable,  or  it 
*'  may  not  but  this  I  feel,  that  if  1  am  not  to  be  driven  to  immediate 
**  despair,  I  must  have  respite  for  myself— for  us  all.  While  I 
"  sacrifice  myself,  I  may  make  demands.^  I  quit  my  house,  and 
"will  only  return  when  the  prospects  are  more  favourable  and  more 
*'  calm.     You,  in  the  meanwhile,  shall  possess  it  but  with  Ottilia. 

*  Charlotte  allndes  to  the  teacher,  whose  letters  appear  in  the  early  part  of  | 
the  romanee^— THANSbATOR.  I 


<<  I  wiU  know  that  she  is  with  you«  and  not  with  strangers.  Take 
**  care  of  her,  treat  her  as  you  have  hitherto  done,  na v,  even  vrith 
**  more  kindness  and  tenderness.  I  promise  that  I  Will  carry  on  nO 
"  clandestine  intercourse  vrith  Ottilia.  Rather  let  me  be  for  A  time 
"  altogether  ignorant  how  you  are  going  on,  And  I  will  itnugfaii  the 
"  best.  Imagine  the  same  of  me.  Chi  this  point,  eboye  tU»  I 
*' insist  with  the  greatest  urgency;  make  no  attempt  to  settle 
"  Ottilia  elsewhere,  or  to  bring  her  into  any  new  connections.  If 
"  she  goes  beyond  the  circle  of  your  castle  and  park,  and  is 
"  entrusted  to  strangers,  she  belongs  to  me,  and  I  will  take  charge 
**  of  her.  If  you  have  any  regard  for  my  inclinatioas,  my  wishes, 
'*  my  pains ;  if  vou  humour  my  fancies,  my  hopes,  I  will  not  resist 
"the  chance  ofrecoveryiif  it  presents  itself." 

The  last  sentence  flowed  from  hia  pen,  but  not  from  his  beaft^ 
Nay,  when  he  saw  it  on  the  paper,  he  began  to  weep  bitterly. 
That  he,  in  any  manner  whatever,  should  resign  the  happiness- 
aye,  the  unhappinessf  of  loving  Ottilia!  Now,  for  the  first  tim^  he 
felt  what  he  was  doing.  He  departed  without  knowing  what  might 
be  the  consequences.  For  the  present  at  least,  he  was  not  to  see 
her,  and  with  what  certainty  could  he  promise  himself  that  he 
should  ever  see  her  again  ?  But  the  letter  lay  written,  the  horses 
stood  at  the  door,  and  he  dreaded  every  moment  lest  he  ihonld  see 
Ottilia,  and  find  his  resolution  shaken.  He  collected  hiaisel&  He 
consid^^sd  that  it  would  be  possible  for  him  to  return  any  moment 
that  he  pleased,  and  that  by  absenting  himself  he  might  draw 
nearer  to  his  wishes.  On  the  other  hand,  he  pictured  to  himself 
Ottilia  forced  out  of  the  house,  if  he  remained.  He  sealed  the 
letter,  hurried  down  the  steps,  and  sprang  upon  his  horse. 

When  he  ^ode  by  the  inn,  he  saw  sitting  in  a  bower,  the  beggar 
whom  ho  bad  liberally  rewarded  the  evening  befbre«  The  man 
was  sitting  comfortably  at  his  dinner,  and  rinng  as  Edward 
approached,  bowed  respectfully— even  with  something  of  adoretioB* 
This  very  form  had  appeared  to  him  yesterday,  wlien  Ottilia  was 
leaning  on  his  arm,  and  it  now  painfully  leminded  him  of  the 
happiest  hour  of  his  life.  His  anguish  increased ;  the  feeling  of 
what  he  had  lost  was  insupportable,  and  looking  once  more  after 
the  beggar,  he  exclaimed,  **  Oh,  thou  enviable  man,  thou  can'st 
feast  on  yesterday*!  alms,  while  I  cannot  feast  on  yesterday's 
happiness  r 

{To  ie  ctmilutud,) 

f  This  despair  ef  teslgning  even  unhappinen  is  a  beautifhl  ttmAf*^ 
Translator. 

»%  To  prevent  misimderBtanding  it  nuiy  be  ttated  tbat  the  oopyrifbt  of  tUa 
translation  belongs  loidy  to  the  tnmsUtor. 


SONNET. 

MO.  zyiii. 

HtAUTONtrlfORUMKNOS. 

Stramok  is  the  task  assigned  to  me  by  &te ; 
In  mine  own  hands  the  deadly  torch  is  placed 
That  I,  by  slow  degrees,  my  life  may  waste. 

And  countless  forms  of  agony  create. 

Of  none  may  1  complain— -none,  none,  I  hate. 
But  most  are  kindly.  I  myself  haye  trac'd 
The  path,  that  by  no  cheerful  flow'r  is  grac'd, 

Myself  have  piled  the  soul-oppressing  weight. 

In  place  of  joy  I  have  this  sullen  pride. 
That  I  create  the  world  in  which  1  dwell, 
I  do  the  work  that  cannot  be  undone,— 

A  work  of  misery  and  nought  beside, 
But  still  mine  own->-I  stand  in  mine  own  hell, 
I  stand  and  burn  alone— alone-*alone. 


N.D. 


DRAMATIC   INTELLICENCE. 

Hatmarkbt. — Nothing  novel  of  late  has  been  produced  at 
this  house.  The  first  piece  performances  are,  however,  varied 
nightly — the  Invisible  Prince  still  holding  its  firm  place.  Mr. 
Planche's  clever  two-act  comedy,  Who's  your  Frieud  ;  or^  Me 
Queensbeny  Fete,  has  been  performed  during  this  week,  Mr* 
Webster  taking  Charles  Mathews's  original  part  of  Giles 
Fairland.  Mr.  Webster  plays  the  part,  to  our  thinking,  witb 
a  happier  tact  and  a  nicer  diacrimination  than  Mr.  Cluurlei|^ 
Mathews,  and  the  majority  of  the  audience  on  Wedneaday 


THE  MUSIGAJi  WOELD. 


assess 


55 


night  seamed  to  lean  to  our  opinioB,  as  Mr.  Webster's  per- 
formaace  was  received  throughout  with  very  considerable 
applause*  We  know  no  one,  indeed,  on  the  present  stage  who 
can  represent  the  rough  and  hearty  natures  of  countrymen  like 
this  aetor.  He  never  ibigets  the  rustic  to  assume  the  gentle- 
man. He  is  in  earnest  with  his  part,  and  acts  it  con  amore ; 
and  the  rough  humour,  which  is  a  characteristic  of  his  comedy, 
aids  him  materially  in  such  impersonations.  Mrs.  Glover 
played  her  original  part  of  Lady  Bab  Blazon.  She  was  the 
same  as  ever — let  Uiat  be  her  eulogy.  On  Tuesday  evening 
Her  Majesty  and  Prinoe  Albert  honored  the  theatre  with  their 
presence.  The  royal  couple  laughed  heartily  at  the  drolleries 
in  The  Invisibte  Prince,  and  remained  till  the  last  finale  was 
sung.  The  house  continues  to  be  crowded  every  night.  All 
the  boxes  are  taken  several  days  in  advance.  We  are  delighted 
with  this  success.  The  enterprising  manager  deserves  evety 
encouragement  at  the  hands  of  the  public. 

Adslphi. — Notwithstanding  the  absence  of  pantomime,  the 
Adelphi  performances  draw  capital  houses*  The  Phantom 
Ikmeera  is  the  main  cause  of  attraction.  We  understand  a 
new  drama  of  great  interest  is  in  preparation  for  Madame 
Celeste. 

PuNcBss's.-*-The  new  &rce  at  this  theatre,  entitled 
SehwMwf  Frolicif  is  a  very  amusing  trifle,  is  excellently 
acted,  and  is  received  with  great  laughter  nightly.  Miss 
Marshall  has  a  capital  part,  a  mischief-loving  romp— male, 
net  lenHda— and  plays  it  with  great  spirit.  It  is  a  part  some- 
thing between  Chlwubino  and  Little  Pidcle,  requiring  all  the 
amofom)  tendencies  of  the  one,  and  all  the  fun  and  frolic  of  the 
other.  We  have  not  seen  Miss  Marshall  for  a  long  time  in  a 
character  so  well  suited  to  her.  She  kept  the  whole  house 
alive. 

Miss  Bassano^s  perf&Tmances  are  bringing  crowded  and 
fashiotiable  tfndiences  nightly.  We  are  sorry  to  see  Ths  Night 
Dancer*  withdrawn  from  the  bills  to  make  room  for  The  Seven 
MMiofMunkh. 

OitYKi^ic*— A  new  draraa,  entitled  Gaston  Duharry  ;  or^ 
a* Night  m  La  Beriaudiere^  has  been  produced  at  this  theatre 
with  much  suceess.  The  plot  is  entirely  taken  from  the  French* 
The  drama  is  of  the  mixed  school,  comprising  intricacies, 
canUreiem^^  embarrassments^  complications,  involvements, 
and  other  intmresting  excitations.     It  is  very  well  acted. 

FasKOH  Plats.  —  On  Monday  last  M.  Frederick  Le« 
m&itce  again  played  in  the  Dame  de  Samt-Tropez^  by  order 
of  Her  Migestjs  who  honoured  the  theatre  by  her  presence. 
The  hoose  was  the  best  we  have  seen  this  season  ;  the  stalls 
were  almost  all  occupied,  and  scarcely  a  private  box  was 
empty*  We  are  glad  at  these  indications  of  prosperity,  and 
reowd  them  with  unfeigned  pleasure  and  satisfaction .  Hitherto 
we  have  had  every  reason  to  be  content  with  the  exertions  of 
the  enterprising  lessee  C'he  has  given  us  the  best  actors  of  the 
Freneh  eapital,  and  the  St.  James's  Theatre  may  boast  of  a 
company  little,  if  at  all*  in&rior  to  the  first  in  Paris,  and  cer- 
tainly superior  to  any  beyond  the  Boulevards,  Last  Monday 
we  were  Confirmed  in  our  former  opmion  of  M.  Frederick 
Lemditre*  As  regards  the  piece,  it  is  of  the  purely  melo- 
dnMoatie  school.  Written  at  a  period  of  extraordinary 
eleitemaat,  when  the  famous  trial  cf  the  notorious  Madame 
Laffiurge  had  caused  a  thrill  of  horror  and  disgust  throughout 
Eur^e  s  when  opinions  ran  high  against  and  in  favour  of  this 
modem  BrkuvHUers-^jiatt  at  the  moment  of  the  publication 
of  her  sickening,  vapid,  poisonous  lucubrations,  called  by  her 
Memmre$t  and  blindly  read,  and  we  shuddered  at  the  thought 
believed  by  many;  this  play  caused  a  certain  sensation  to 
whifih^  judging  it  on  its  own  intrinsic  worth,  it  had  no  right 


whatever,  even  from  the  most  vapourous  waiting  maids,  or  the 
tnost  philanthrophic  of  medical  students,  or  long  bearded 
tnogen  dge^rapins*  Having  disposed  of  the  piece,  we  shall 
][>roceed  to  point  out  a  few  of  the  most  salient  parts  of  the 
performance.  In  the  first  place,  we  were  deprived  of  one-half 
of  the  aetor-^we  had  his  energy  without  his  humour^-his 
pathos  without  his  satire — his  tragedy  witiiout  his  comedy ; 
that  which  distinguishes  him  from  all  living  actors — the  con- 
trast between  the  severe  and  the  buffo,  the  grave  and  the 
sarcastic,  did  not  exist ;  and  these  are  so  mixed  up  and 
blended  together,  the  public  are  so  accustomed  to  the  vi^lange 
from  him,  that  more  than  once  they  distorted  the  words  put 
into  his  mouth,  gave  them  a  difierent  meaning,  and  indulged 
in  laughter  when  tears  were  required  at  their  hands,  both  by 
the  author  and  actor.  The  first  three  acts  were  somewlu^ 
tame  and  tiresome ;  but  the  last  scene  of  the  fourth  was  a 
complete  triumph,  and  the  crowning  effort  of  the  actor.  The 
accusation  of  his  wife — the  agonies  he  endures  from  the  effects 
of  the  poison — the  trembling,  convulsive  writhing  of  his  whole 
frame — the  fixed,  vacant  eye — the  dropping  of  the  jaw,  pro- 
duced a  sensation  which  cannot  be  conveyed  by  mere  descrip- 
tion. Not  a  sound  was  heard  throughout  the  theatre  :  a  pin 
tnight  have  been  heard  to  drop  in  any  part  of  the  house — all 
were  bent  forward,  greedily  intent  on  catching  every  word, 
every  gesture ;  and  when  the  curtain  went  down  on  this  scene 
of  horror  the  applause  was  deafening,  and  the  actor  was 
obliged  to  come  forward  to  receive  the  felicitations  of  the 
tiudience.  For  the  fiilh  act,  the  discovery  of  the  real  assassin 
Was  well  managed,  and  the  death  scene  was  effective,  although 
deficient  in  colouring  when  comptured  with  that  in  tike  fourth. 
This,  of  course,  was  no  fault  of  the  actor's,  the  author  is  alone 
to  blame  for  introducing  an  anti-climax,  which  destroys  the 
effect  of  the  denouement.  It  would  not  be  fair  to  judge  M. 
Frederick  Lem&itre  from  this  piece  ;  his  genius  is  essentially 
versatile,  change  is  his  element ;  he  requires  a  wide  field> 
Unlimited  scope  to  be  seen  to  advantage ;  a  part  that  requires 
t>atient,  careful  study,  elaborate  finish,  attention  to  detail, 
Would  not  suit  him,  he  would  be  cramped  in  it ;  that  which 
constitutes  the  great  comediem,  the  finished  actor,  that  which 
elevates  Perlet  above  all  the  men  of  the  present  day,  is 
entirely  wanting  in  Lemd.itre.  Ihe  one  can  never  err,  and  is 
knore  refined,  more  polished,  more  brilliant  every  time  you 
see  him ;  time  adds  to,  but  cannot  detract  from  his  merit ; 
even  physical  infirmities  can  scarcely  impair  his  powers,  for  he 
does  not  depend  upon  them  for  his  effects ;  his  acting  will 
tarely  cause  the  house  to  rise  as  one  man,  or  vociferate  forth 
thunders  of  applause  on  some  particular  gesture  or  exclama- 
tion, but  it  will  command  universal  attention,  elicit  frequent 
and  deep-felt  marks  of  satisfaction,  please  by  the  exquisite 
finish  of  all  the  parts,  by  the  unity  of  conception,  the  absolute 
abandonment  of  everything  else  to  the  one  thing  in  hand,  and 
when  all  is  over,  we  feel  that  we  are  satisfied  with  the  actor 
and  ourselves — that  we  have  not  been  duped  into  exaggera- 
tion, but  have,  perhaps,  rather  underrated  than  overrated  the 
artist.  The  other  acts  from  impulse ;  he  is  great  on  great  occasions 
• — he  carries  us  away  with  him  whether  we  will  or  not ;  every- 
thing depends  upon  the  humour  of  the  moment ;  he  does  not 
improve,  for  he  is  no  greater  now  than  he  was  ten  years  ago  ; 
his  health  has  a  painful  and  most  decided  infiuence  on  his 
acting,  even  in  those  parts  where  no  great  energy  is  required ; 
he  astonishes  to-day  in  a  part  in  which  he  will  merely  succeed 
to-morrow.  He  cannot  always  adapt  himself  to  a  part :  the  part 
must  be  suited  to  his  genius.  His  effects  are  not  produced  by  the 
elaborate  finish  of  details,  but  dashed  off  with  a  bold,  daring, 
desperate  hand,  and  consequently  are  dependant  for  success  on 


56 


THE  MUSICAL  WOELD 


accident;  he  is  child  of  impulse.  Nature  has  gifted  himJiighly; 
occasionally,  he  sports  with  her  gifts — he  rejects  the  pearls. 
In  conclusion,  we  must  not  be  supposed  to  infer  that  M. 
Frederick  does  not  deserve  the  popularity  which  he  enjoys  ; 
for  from  it.  In  drawing  the  above  parallel  between  the  two 
actors,  we  have  merely  indulged  in  one  of  those  trains  of 
reflection  which  have  frequently  struck  us  on  witnessing  their 
performance ;  and  we  have  endeavoured  to  put  our  readers 
on  their  guard  against  the  seductions  of  the  latter,  more 
specious  than  solid ;  and  point  out  the  sterling  worth  of  the 
former,  whose  conceptions  will  bear  the  closest  analysis, 
and  stand  the  test  of  the  severest  criticism. 

We  must  not  forget  to  mention  that  Mademoiselle  Clarisse 
deserves  the  highest  commendation  for  the  feeling  and 
tenderness  which  she  threw  into  her  part.  Her  surprise 
when  taunted  by  the  multitude,  her  honour  and  agony  when 
accused  by  her  husband,  were  well  conveyed,  and  gave  a  most 
favourable  impression  of  her  powers. 

On  Wednesday  this  same  piece  was  again  repeated. 

J.  DE  C E. 


ORIGINAL  CORRESPONDENCE. 

n  the  Editor  of  the  "  MutiecU  World:* 

MISS   BASBANO. 

Sir,— Permit  me  to  correct  an  error  in  your  account  of  Min  Bassano 
last  weelc.  You  assert  that  her  voice  was  a  decided  contralto  before  she 
left  England,  and  that  since  that  period  she  has  been  forcing  it  upward 
from  its  natural  pitch.  This  is  quite  a  mistake ;  Miss  Bassano's  voice  is 
now  lower  than  ever  it  was,  not  only  in  compass  but  in  quality,  the 
upper  notes  having  been  formerly  the  best,  as  the  middle  ones  are  now ; 
in  fact,  nature  never  intended  her  voice  for  other  thaa  what  it  now  is. 
As  I  have  Icnown  Miss  Bassann  from  her  childhood,  and  may»  therefore, 
be  allowed  to  be  a  competent  authority  on  the  subject,  you  will  oblige 
me  by  the  insertion  of  these  lines.— I  am,  sir,  your  most  obedient  servant, 

Kentieh  Town,  TtteMday,  I9th  January.  J.  G. 


FOREIGN  INTELLIGENCE. 

Berlik. — {From  a  Correspondent.) — Mademoiselle  Anto- 
nina  di  Mendi,  cousin  of  Madame  Malihran  and  Mademoiselle 
Yiardot  Garcia,  who  made  so  favourable  an  impression  upon 
our  aristocratic  dilettanti  during  the  latter  part  of  last  season, 
has  been  paying  a  visite  artisHque  to  Berlin,  where  she  has 
been  received  with  the  most  flattering  marks  of  approbation ; 
the  freshness  of  her  voice,  the  neatness  and  elegance  of  her 
style,  and  though  last  not  least,  her  graceful  deportment,  have 
combined  to  render  her  an  object  of  most  attractive  interest 
alike  in  private  and  public  society.  She  has  been  singing  with 
the  greatest  success  at  court,  in  company  with  Mademoiselle 
Viardot  Garcia  ;  the  critics  give  their  general  assent,  that  age 
alone  is  required  to  make  her  a  worthy  vocal  member  of  the 
Gurcia  family.  Other  foreign  journals  also  announce  a  similar 
success  having  befallen  this  charming  young  artist  in  a  recent 
tour  through  Belgium. 

Venice. — Mademoiselle  Lucile  Grahn  was  engaged  for  the 
three  months  of  the  carnival  at  the  sum  of  40,0(X)  livres,  and 
in  quitting  the  Venice  theatre  has  given  up  that  amount, 
wishing  to  overthrow  the  old  system  of  Italian  pantomimes 
in  order  to  introduce  the  modern  French  ballets.  The  artistes 
employed  in  the  choregraphic  department  united  with  Grahn 
to  defeat  the  old  system.  A  cabal,  similar  to  that  of  which 
Marie  Taglioni  was  last  year  the  victim  at  Milan,  was  organized 
against  Lucile  Grahn,  and  when  she  came  on  the  stage  for 
the  first  time  in  the  ballet  of  the  Gypaetfy  a  dozen  individuals 
in  the  pit  received  her  with  shouts  and  threats.  The  young 
lady  remained  a  moment  as  if  thunderstruck,  and  then,  with 
a  gesture  full  of  calmness,  ordered  the  curtain  to  be  dropped, 
and|  in  spite  of  everything  which  could  be  done  to  retain  her, 


quitted  the  city  immediately,  Venice  will  long  suffer  from 
this  event,  for  what  foreign  artiste  of  celebrity  would  come 
and  expose  herself  to  a  similar  cabal.— -According  to  an 
account  given  in  a  Venice  journal,  the  disturbance  was  partly 
caused  by  the  prices  of  admission  having  been  unexpectedly 
raised.  Lucile  Grahn  is  now  at  Milan,  whence  she  will 
proceed  to  Vienna,  at  the  expiration  of  her  engagement. 


PROVINCIAL. 

LivBttPooL.— The  introduction  to  the  lecture  season,  which  com- 
mencedlait  night  at  the  theatre,  waa  a  grand  concert  on  Tuesday 
evening,  at  the  CoUegiate  Institution,  when  there  wat  a  full  and 
fashionable  auditory.  The  performers  were.  Miss  Birch,  Madame  F. 
Lablache,  Mr.  Manvers,  and  Signor  F.  Lablache,  the  veteran  Lindky, 
Mr.  Carte  and  Mr.  Hopldns.  Miss  Birch  was  in  good  voices  and  aung 
well,  especially  in  the  aria"  Lo I  here  the  gentle  lark,"  and  the  other 
performers  acquitted  themselves  well.  Macfarren's  song  by  Madame  F. 
Lablache  "  Ah,  why  do  we  love  ?*'  and  which  was  the  gem  of  the  evening, 
being  encored.  Mr.  Manvers  appears  to  have  improved.  The  concert 
terminated  at  a  quarter  to  eleven.— Ziverp0o<  A/otl,  Jan,  16. 

Halifax.— On  Tuesday  evening  week,  a  grand  performance  of  Sacred 
Music  took  pUce  in  the  Parish  Church,  Halifax,  with  the  organ  and  a 
chorus  of  sixty  voices.  The  first  part  was  from  the  Messiah ;  the  second 
was  a  capital  selection,  and  included  Handel's  choruses,  "Your  harps  and 
cymbols  raise,"  '*  Immortal  Lord/'  and  "  From  the  Censor."  Mrs. 
Sunderhind  was  the  principal  vocalist,  and  sang  with  her  accustomed 
taste  and  feeling.  Mr.  Frobisker,  who  enjoys  considerable  provincial 
reputation  as  an  accomplisbed  oi^ganist,  presided  with  great  ability; 
indeed,  he  fairly  promises  to  become  one  of  our  greatest  players. 
The  choruses  were  given  in  most  excellent  style.  Hie  attraction  at 
this  performance  was  so  great  that  the  church,  which  is  one  of  the 
largest  in  the  kingdom,  was  crowded  in  every  part.  It  waa  estimated 
that  there  were  not  less  than  from  7,000  to  8,000  persons  present. 
Hundreds  went  away  unable  to  gain  admittance. 


MISCELLANEOUS. 

Mr.  WitsoK  will  give  an  entertainment  on  the  **  Songs 
of  the  Highlands,"  at  the  Princess's  Concert  Room, 
Oxford  Street,  on  Tuesday  evening,  the  26th,  in  hehalf  of  the 
fund  heing  raised  for  the  Distressed*  Highlanders.  Mr.  Wilson 
has  heen  giving  a  series  of  Scottish  Entertainments  at  the 
Music  Hall,  Duhlin>  during  the  last  fortnight  with  his  accus- 
tomed success. 

Exeter-Hall. — The  Sacred  Harmonic  Society  performed 
the  **  Creation"  on  Tuesday  evening.  This  favourite  com- 
position of  Haydn  invariahly  collects  a  large  audience, 
whether  on  account  of  the  lightness  of  its  style,  compared 
with  the  more  severe  demands  of  Handel  on  the  attention, 
being  more  appreciable  by  the  general  public,  or  wheliier  on 
account  of  its  being  the  only  oratorio  of  that  master,  we  are 
unable  satisfactorily  to  determine.  We  incline  to  the  former 
opinion,  as  it  cannot  be  doubted  that,  to  the  unpractised  ear, 
the  flowing  melodies  with  which  the  composition  abounds,  die 
"  fitting"  (if  we  may  us6  such  a  term)  of  the  words  to  the 
music,  and  the  brilliancy  pervading  so  many  of  the  moreeaux^ 
as  so  much  more  adapted  to  captivate  the  senses,  than  that 
severe  school  in  which  Handel  writer,  and  which  requires  so  • 
much  attention,  and  time,  properly  to  appreciate,  ^e  per- 
formance of  Tuesday  night  partook  of  the  sameness  which  usually 
characterises  this  Society's  efforts.  For  the  reasons  which  we 
have  above  stated,  it  partook  a  little  more  of  the  light  and 
shade  necessary  in  all  Compositions,  but  in  no  other  respects 
was  there  much  difference.  The  air  and  chorus,  **  The  mar- 
vellous work,"  was  encored.  **The  Heavens  are  telling*' 
was  rendered  unintelligible  by  the  efforts  of  the  organist, 
the  total  disregard  of  time  by  the  chorus,  and  tho  want 
of  luderstanding  of  its  nature  by  the  conductor.  We 
regret  that  the  organ  is  so  much  used  at  these  concerts. 


THE  MUSICAL  WORLD. 


57 


Apart  from  ^e  instrument  itself  not  being  of  the  first  order, 
it  is  not  required  in  an  orchestra  so  complete  as  this  is  ;  and 
when  used,  it  should  be  sparingly,  and  in  so  masterly  a 
manner  as  not  to  dash  with  Uie  instrumentation.  Its  obtru- 
siveness  was  particularly  remarkable  also,  in  Mr.  Phillips's 
air,  "  Now  Heaven  in  fullest  glory  shown."  The  use  of  the 
pedal  on  the  words,  **  With  heavy  beasts  the  ground  is  trod/* 
was  in  very  bad  taste.  Mr.  Lockey  made  his  first  appearance 
in  the  tenor  part  of  this  oratorio  at  these  concerts,  and  the 
chaste  style  of  his  singing  the  music  allotted  to  him  deserves 
approbation.  He  was  encored  in  the  air,  **  In  native 
worth,"  and  deservedly  so.  Miss  Birch  was  tbe  soprano. 
The  duet  for  soprano  and  bass,  ''  Graceful  consort,'*  sung  by 
her  and  Mr.  Phillips  was  effectively  performed.  The  oratorio 
was  announced  for  repetition  next  Tuesday.  We  observe  that 
the  committee  have  publicly  advertised  the  engagement  of 
Spohr  to  conduct  several  of  his  compositions  during  the 
season,  which  we  intimated  in  our  last  week's  number* 

Thb  Ancient  Concbbts  will  take  place  this  season  on 
Wednesday,  March  lOth  and  24th;  Apnl  21  ;  May  5th  and 
10th  ;  June  2nd,  16th  and  30th.  Handel's  Messiah  will  be 
performed  on  the  7th  of  July. 

Mr.  Hawkins. — A  burial  service  by  Drs.  Croft  and 
Purcell  was  performed  in  Westminster  Abbey,  on  Tuesday 
morning,  by  the  members  of  the  choir,  assisted  by  those 
belonging  to  the  Chapel  Royal,  and  several  professional 
persons,  as  a  tribute  to  the  memory  of  the  late  Mr.  Hawkins, 
whose  remains  were  deposited  in  the  Cloisters  on  that  day. 

Thb  Melodists  Club  will  meet  for  the  first  time  this 
season,  being  tlie  twenty-third,  on  Tuesday  next,  at  the 
Freemason's  Tavern*  The  prize  given  by  W.  Dixon,  Esq., 
for  a  cheerful  song,  to  be  sung  and  accompanied  by  Mr.  J.  L. 
Hatton,  will  be  awarded  at  the  meeting  in  February.  Sir 
Andrew  Barnard  will  give  a  prize  for  a  Druidical  Ode  and 
Chorus,  to  be  sung  by  Mr.  Machin,  &c.,  &c.,  in  the  course  of 
the  season.  The  musical  members  of  die  dub  only  are  to  be 
the  candidates,  of  whom  there  are  twenty. 

Choral  Harmonists. — The  third  Concert  toc^  place  this 
season  as  usual,  at  the  London  Tavern,  and  its  periformance 
altogether  was  more  successful  than  the  last  meeting.  Spohr's 
*'  Last  Judgment,"  principal  parts  by  the  Misses  Williams, 
Messrs.  Lod^ey,  Machin,  and  Peck,  occupied  the  first  part :  the 
choir  (kept  under  good  restraint  by  Mr.  Westrop)  executed  their 
portions  admirably.  This  society,  instituted  many  years  back 
for  the  practice  of  choral  music,  offers  to  amateurs,  aiid  prO" 
fessors  even^  the  pleasing  opportunity  of  hearing  and  studying 
our  old  choral  music,  sacred  and  secular.  The  efficient  per- 
formance of  the  latter  description  of  part-writing  is  rendered 
scaroe  in  London,  by  restrictions  imposed  upon  our  largest 
choral  society.  We  are  led  to  this  remark  by  Bennett's  (1590) 
madrigal,  '^  All  creatures  now  are  merry-minded/'  which 
opened  the  second  part  of  the  concert,  with  an  encore.  This 
madrigal  was  written,  with  many  others,  in  honour  of  Queen 
Elizabeth,  and  which  is  a  fine  specimen  of  our  primitive  part- 
writing.  The  Misses  Williams  sang  the  duet  ivomDer  FreischuU, 
•*  Come  be  gay,"  which  produced  an  encore.  Mr.  T.  H. 
Severn's  "  The  Spirit  of  the  Shell  '*  was  performed  in  a  man- 
ner gratifying  to  the  public,  as  every  efibrt  was  used  to 
represent  the  conception  of  this  talented  native  composer. 
The  band,  led  by  Mr.  Dando»  redeemed  a  little  unevenness  in 
their  execution  of  the  Serenata,  by  a  masterly  performance  of 
Weber's  beautiful  overture  Oberon^  which  concluded  the 
concert. 

Camillo  Sivori.— -A  correspondent  in  a  Philadelphia 
journal  thus  writes  in  respect  of*  this  violinist,—"  I  forbear 


any  attempt  (as  all  attempts  must  be  futile)  to  describe 
Sivori's  playing :  it  is  etherlal  and  cannot  be  condensed  into 
language.  This  is  the  sober  truths-it  runs  into  and  all  about 
the  heart,  gushing  now  hither,  now  flitting  thither,  taking  up 
with  magic  force  its  inscrutable  emotions  and  sentiments,  and 
whatever  of  poetic  feeling  is  there,  and  carrying  them  along 
at  will,  till  one  is  enchanted.  This  is  the  only  word  in  the 
English  language  which  gives  the  faintest  idea  of  the  effect  of 
Sivori's  inspiration.  A  female  writer  in  New  York  has 
ventured  to  describe  what  seems  to  me  indescribable :  after 
listening  to  him,  her  critique  is  not  only  without  astuteness, 
but  is  vapid  and  palls.  Let  all  who  can— go  to  hear  him,  if 
ever  he  plays  in  this  city ;  (which  if  I  were  him,  would  never 
be  graced  by  a  repetition  of  a  concert,)  for  all  who  do  not 
hear  him  may  be  assured  they  can  learn  nothing  from 
those  who  have  had  that  delight.  The  eyes  which  see 
not  his  eyes  when  he  is  inspired,  and  the  ears  which 
do  not  hear  the  dulcet  song  following  that  inspiration,  and 
the  heart  that  has  not  been  seized  and  held  by  his  music,  can 
form  no  conception  of  his  poetry  of  sound.  And  so  be- 
comingly modest  withal !  But  how  often  is  high  genius 
thus  characterised.  This  communication  is  no  puff  of  Sivori 
— the  writer  does  not  know  him  nor  any  one  in  the  remotest 
manner  connected  with  him  or  his  interests — besides,  Sivori 
cannot   be  puffed  I  Ole   Bull  could  be  and  was,  most 

effectually,  to  his  hearts  content  and  his  pockets  joy,  (if 
pockets  can  have  joy,)  and  I  think  mine  danced,  with  it  last 
night  owing  to  the  vacancy  made  by  some  paltry  coin  melted 
away  into  the  etherial  essence  of  the  heart's  best  banquet 
and  the  dulcet  song  of  Sivori's  violin." — The  letter  is  signed 
W.  P.  C.  B.  Since  Sivori's  arrival  in  America  he  has  given 
six  concerts  at  New  York,  nine  at  Boston,  three  at  Philadel- 
phia, two  at  Baltimore,  and  two  at  Washington.  Besides 
this  he  has  played  at  three  of  the  Philharmonic  Societies. 
His  success  has  been  very  great,  and  perhaps  a  more  legit- 
imate one  than  that  of  Ole  Bull. 

The  Pricr  op  Genius. — We  are  happy  to  find  that,  not- 
withstanding the  alleged  extinction  of  the  drama,  the  price  of 
dramatic  genius  has  suffered  no  abatement.  According  to  the 
latest  state  of  the  market,  lOOi^.  a-night  has  been  asked,  and 
50/.  a-night  has  been  refused,  by  a  fair  ex-actress.— PuncA. 

Concert  at  Greenwich.— The  concert  which  we  announced 
last  week,  as  been  given  at  the  Lecture  Hall  by  Miss  Moriatt 
O'Connor,  was,  in  reality,  given  by  Mr.  Carte,  the  flute- 
player,  the  mistake  having  crept  into  our  columns  from  an 
oversight  in  the  letter  of  our  6orrespondent. 

New  Theatres. — It  is  currently  reported  that  a  new 
theatre  for  the  legitimate  drama  is  shortly  to  be  built,  and  will 
be  put  under  the  direction  and  sole  management  of  Mr. 
Macready.  Mr.  Buckstone's  new  theatre,  the  site  of  which 
is  already  fixed  upon,  in  Leicester  Square,  will  be  commenced 
as  soon  as  the  list  of  shareholders  is  completed. 

Fanny  Xembls. — Speaking  of  literary  matters,  it  has 
transpired  that  Mrs.  Butler  (Fanny  Kemble  that  was)  has  two 
or  more  new  plays  ready  if  any  manager  can  be  found  to 
accept  her  services  on  the  terms  declined  by  Bunn,  viz.  £100 
a  night  for  ten  nights,  and  £75  for  every  subsequent  night, 
the  plays  to  be  a  matter  of  special  bargain  extra.  Bunn's  offer 
of  £50,  the  highest  sum,  as  he  says,  ever  paid  Mrs.  Siddons, 
is  considered  by  professionals  and  amateurs  as  most  liberal, 
parucularly  as  the  engagement  would  entail  another  £50  a 
night  in  procuring  dramatic  talent  necessary  to  afford  her 
performances  something  like  adequate  support.  With  such  a 
monstrously  extravagant  demand  as  this,  in  the  very  lowest 
epoch  of  ibe  drama,  what  nonsense  it  is  to  clamour  a|i^  the 


53 


THE  MUSICAL  WORLD. 


eztordons  of  foreign  actors.  It  is,  however,  fortunate  for  the 
traditional  reputation  among  present  playgoers  of  the  great 
ornaments  of  the  stage,  that  Mrs.  Butler  is  not  to  reappear. 
Were  she  to  do  so,  the  admiration  entertained  hy  tliose  who 
remember  in  their  prime  Dowton,  Kean,  Young,  and  the  rest 
of  the  great  race,  of  whom  Farren  and  Mrs.  Glover  are  the  last, 
would  be  put  down  by  the  present  generation  to  the  score  of 
mankind's  natural  partiality  for  the  ''scenes  of  their  youth, 
when  every  sport  could  please."  Fanny  Kemble  was  the 
**  Boz"  of  the  stage — the  pet  of  a  coterie  who  succeeded  in 
persuading  the  public  to  accept,  as  wonderful  genius,  abilities 
very  respectable  in  themselves,  but  which  would  never  have 
been  regarded  as  anything  more  than  respectable,  were  it  not 
for  incessant  panegyrics  of  people  who  had  the  general  ear,  and 
from  other  causes  which  occur  probably  but  once  in  a  century, 
and  then  leave  behind  them  a  reputation  that  becomes  a 
standing  mystery  to  those  who  created  it.  Actors,  however, 
unlike  authors,  once  they  retire  famous,  are  famous  for  ever, 
provided  they  do  not  break  the  spell  by  an  inopportune 
reappearance  before  a  strange  or  fastidious  audience;  the 
justice  of  an  author's  temporary  celebrity  may  at  any  time  be 
tested  by  his  works.  If  Mrs.  Butler  value  the  preservation  of 
the  renown  that  undoubtedly  belongs  to  her,  no  matter  how 
acquired,  she  will  not  furnish  the  present  class  of  play-goers 
with  materials  for  astonishment  at  the  Fanny  Kemble  mania 
of  fifteen  or  sixteen  years  ago. — Birmingham  Journal. 

M.  Lboh-Pillet. — **  The  most  contradictory  reports  have 
been  circulated  respecting  the  renewal  of  the  privilege  of  the 
Opera.  One  party  asserts  that  M.  Leon-Pillet  will  resign  his 
direction  of  the  Opera,  while  others  more  strenuously  affirm 
that  he  will  still  hold  it,  and  that  all  will  remain  as  heretofore. 
Certain  journals  have  spoken  of  an  interview  between  M. 
Leon-Fillet  and  M.  Cav6,  director  of  the  Fine  Arts;  but 
they  have  been  rather  premature  in  stating  the  result  of  this 
interview,  since  a  definite  ministerial  decision  must  first  inter- 
vene. We  ourselves  can  positively  state,  that  M.  Leon-Pillet 
will  still  hold  the  privilege  of  the  Opera,  and  his  reinstatement 
will  take  place  with  a  proviso  that  will  equally  satisfy  the 
minister  and  the  director,  viz  :  that  Leon-Pillet  will  have  an 
associate.  We  will  return  to  this  important  question,  which 
has  so  much  influence  upon  the  destinies  of  the  musical 
world." — La  Presse  Musicale* 

An  Inharmonious  Chorus.  —  Some  nights  since,  the 
chorus  employed  in  *'  The  Bondman  **  committed,  in  the 
prompter's  opinion,  divers  acts  o(  insubordination.  It  was 
impossible  to  identify  any  particular  ofi'ender,  and  a  fine  of 
sixpence  was  infiicted  upon  all  the  males.  Every  opposition 
was  offered  to  this,  and  on  Saturday  night  the  entire  body 
refused  to  go  on  in  '*  The  Bondman^"  unless  their  sixpences 
were  restored  to  them.  This  the  manager  refused,  but  Mr. 
Harley,  the  stage  director,  drew  his  purse  strings,  and  yielding 
to  every  man  his  little  coin,  peace  and  harmony  were 
restored. — Daily  News. 

Musical  Education. — ^It  may  be  said  there  never  was  a 
period  in  England  when  music  was  more  cultivated  than  at 
the  present  day ;  nevertheless,  the  manner  of  its  cultivation 
tends  to  deprive  it  of  its  beneficial  qualities,  and  often  ren- 
ders it  an  evil  rather  than  a  good.  It  is  too  generally  regarded 
-and  employed  amongst  us  as  one  of  our  most  trifling  and 
frivolous  amusements,  instead  of  being  studied  and  prosecuted 
as  a  noble  science  and  a  beautiful  art,  calculate  d  to  exercise 
the  intellect — to  refine  the  taste—  to  elevate  the  moral  and 
religious  sentiments,  and  to  soften  the  heart.  The  substantial 
knowledge  of  the  olden  time  is  at  present  poorly  compensated 
by  executive  dexterity.  Music,  as  fashionably,  (and,  conse- 
quently), as  generally  cultivated,  is  reduced  to  an  exhibition 


of  flexibility  of  throat  and  rapidity  of  finger.  The  best  per- 
former is  he  or  she  who  can  produce  the  greatest  mumber  of 
«  demisemiquavers"  in  a  second  of  time !  We  trust,  how- 
ever, that  there  is  a  prospect  of  better  tim««.  A  deiips  for 
solid  musical  education  is  on  the  increase,  and  we  are  glad  to 
see  that  Mr.  Hackett,  who  haa  lately  been  appoiiated  to  the 
important  office  as  organist  of  St.  Peteir's  Church,  and  whoee 
musical  skill  is  well  known,  announces  his  iht^itioii  of 
combining,  with  the  practice  of  the  piano-iforte  or  orgus  ^e 
theory  of  music.  This  is  an  advantage,  ofwhich>  we  doubt 
not,  many  will  avail  themselves.— JLtrerjikw^  Mail. 

The  Sunday  Times  and  OoVent  Garden.— The  above 
weekly  journal    has  made   the   amende    honorable    for    its 
mistatement  respecting    the    works  in  progress  at  Govent 
Garden.     The  following  letters  will  explain  til : — 
**  To  ih€  Editw  of  the  Sunday  Times, 

"  Mr.  Editor— On  reading  your  ptper  of  Sunday  laafc  I  was turpristtd  to 
find  a  paragrapb  stating  tliAt  a  portioa  of  the  building  vaa  giviof;  way, 
which  caused  great  excitement  among  the  workmen,  and  that  it  was 
only  allayed  by  the  timely  calling  In  of  Mr.  Smirke.  I  am  sure,  from 
your  usual  kindness  and  sense  of  justice  to  Mr. '  Albano  and  those 
employed  under  his  directions,  you  will  insert  the  following  contradiction. 

"  I  can  say  throughout  the  pullii^g  down  of  the  iatarior  of  the  old 
theatre,  and  making  the  various  and  extensive  alterations,  there  has  not 
been  the  least  cause  to  fear  that  any  portion  of  the  old  well-built  building 
was  giving  way,  and  neither  was  Mr.  Smirke  called  in,  as  your  corres- 
pondent calls  him  (but  he  means,  I  suppose.  Sir  Robert  Smicke) ;  and  I 
can  likewise  testiiy  that  the  greatest  possible  caution  and  care  has  been 
used  by  all  those  employed  on  the  works  under  Mr.  Albano's  direction 
to  prevent  any  such  occurrence  or  inconvenience  to  the  works  or 
workmen.  And  I  have  Mr.  Albano's  instructions  to  invite  any  gentlemen 
of  the  press  ^or  architect),  that  are  willing  to  view  the  work  now  in 
progress,  they  will  be  at  liberty  to*  do  so  by  sending  thftif  card  to  the 
office.  "Thomas  Juuam. 

"  Covent  Garden  Theatre,  January  14,  1847.*' 

"  Mr.  Editor — ^The  paragraph  which  I  sent  yon  last  week,  respecting 
Covent  Ganien  Theatre,  had  its  origin  In  a  rumfour  which  was  very 
prevalent  at  the  west  end  of  the  town;  but  which,  I  have  found  on 
inquiry,  was  utterly  devoid  of  truth ;  not  a  single  untoward  event  has 
occurred,  during  the  progress  of  the  extensive  alterations  which  are 
making  in  that  theatre,  the  walls  of  which  are  of  immense  thickness,  and 
cakulated  to  last  for  ages.  I  regret,  exceedingly,  that  I  sboidd  have 
been  the  innocent  cause  of  giving  a  »oment'a  uneasiness  to  any  pefaons 
connected  with  that  establishment.  "  Youa  Rkpoktkb." 

This  settles  the  question* 


TO   CORRESPONDENTS. 

Ak  Old  Bxllows  BlowbA.— TAe  second  letter  hat  unfortunately  been 
mislaid,  but  we  shall  be  delighted  to  hear  at  all  times  /rem  cur  kUtd 
correspondent,  and  theoftener  the  better. 

A  Lady  Subbcribkb.— Maitsr  thanks  for  the  suggestion  </  our  fair  and 
courteous  correspondent.  We  will  take  it  into  consideration — though  to 
accompliJi  it  effectually  would  be  little  less  than  the  labour  of  Hercules 
mhich  involved  the  cleansing  of  the  Augecm  stables. 


ADVERTISEMENTS. 

DESTITUTE    HIGHLANDERS. 
Mr.   WI1.80N  ^ 

"Will  give  an  Entertainment  on  the 

SONGS   OF   THE    HIGHLANDS, 

Th  the  PRINCESS'S  CONCERT  ROOM,  Castle  Street,  Oxford  St. 

On  Tuesday  Evening  next,  Jan.  26,  at  Eight  o^cloch. 
The  proceeds  of  which  will  be  gpiven  to  the  fond  for  the  relief  of  t^  destitate 
Hifcblanders.  when  it  is  hoped  there  will  be  a  great  gathering  of  the  sons  of  the 
mountain  and  the  glen,  who  have  an  ear  for  their  native  strauis,  and  a  heart  that 
can  feel  for  the  distress  of  their  poor  coantrrmen.  Tlckcta  and  pragrammaa  may 
be  had  at  the  principal  music  shops. 


THB   "BBAUPORT   POI-KA,» 

(Wira  BLEGANT  TITLE  PAGSy) 
Composed  and  respectftiUy  dedicated  (by  permiMion)  to  the  LADT  BLANCH 
SOMERSET,  by  C  MILSOM,  Jan..  is  Just  published,  at  .^ 

a.  ARGYLE  ST&EET,  BATH;      ^^ 
And  to  be  had  of  every  Music  Seller  in  London  and  the  United  Kingdom. 
Solo, Ss.;  colored 8S.;  Duet, 8s« 


THE  MUSICAL  WOELD. 


69 


WARREN^S 
20  GUINEA  COTTAGE  PIANO^FOETES 


ABB  NOW  0BLLINO  AT  THB 

KttMifRCtorjy  7I9  IieadenliAU  Street^ 

{Removed from  landi,  Ltoerpooi  8ineU  BUhopegaU  Street) 
Tlitie  Iwtrasienti  are  well  manufkctnred  of  the  bett  leMODed  wood.  FINB 
FULL  TOKB  AND  GOOD  TOUCH,  A  two  yeen  wamntrgiveo  with  e^h  inetra. 
nicnt*  BSTABU8HBD  TWENTY^NB  YBABS,  The  only  home  in  London 
where  ft  rood  loand  initnuneDt  can  be  obtained  at  the  above  low  price,  (for  cash 
only).    SMALL  PBOFIT  AND  QUICK  BETURNS! 

JOHH  WAm&BN,  71,  LeadenhaU  St.,  opposite  Aldsato 


TO  AMATEURS  AND  PROFESSORS  OF  THE  VIOLIN 
AND  TENOR. 

J.  STEWART'S 

REGISTERED  VIOLIN  AND  TENOR  HOLDER. 

J.    HART 

IwuetfMly  informa  Anitenra  and  ProliMaora  of  the  Violin  and  Tenor,  that  be  ia 
noif  prepared  to  rapply  them  with  the  above  INSTBUMBNT.  which.  Ibr  ease  of 
application  and  eiBdency,  rarpaiaea  anythin^^  of  the  kind  that  haa  yet  been  offered 
tothe  poblic.  J.  H.  is  borne  ont  in  this  aaaertion  by  the  opinion  of  some  of  the 
liret  rioUniati  of  the  country,  who  have  acknowled{^  ito  avneriortCy  by  adopting 
the  nme,  conceiving  it  to  be  the  grand  dedderatum  to  the  above  instnimenta. 

JUST  IMPORTED,  A  CASB  O? 

FINE    ROMAN    STRINGS, 

Of  which  a  fresh  supply  wiU  be  received  every  three  montha. 

J.    HART'S 

Xywlesl  IkistrtUBMat  W»relu>nse,  14,  Prinees.strest,  toho, 

Where  may  be  seen  a  line  collection  of  Cremona  and  other  Instrmnents,  com. 
prKIng  Stradinarins,  Ooamerina,  Amati«  and  other  celebrated  makers* 

Hm  eOMRS,  COLDS,  IRRITATIOM  OF  THE  THROAT,  HOARSUESS, 
PECTORAL '"eIVIULSION, 

Proared  strictly  according  to  the  ibrmnla  of  a  distinguished  Physician  in  Paris, 
This  preparation  having  enjoyed  great  celebrity  for  many  years  on  theContinent, 
as  well  as  undergoing  a  trial  for  some  time  in  private  practice  in  this  country,  ia 
'"     ^"  "*    effica(^us,and  speedy  cure 


now  introdaoedlo  the  public  as  the  moat  agreeable,  efficadous,  and  apeedy 
fn  the  above  alTectiona,  relieving  the  most  obstinate  Coughs  in  a  few  hours. 
Singers,  Professors,  and  Public  Speakers  it  will  be  found  invaluable, 

FRBrAMIO  ONLY  BT 

TURNER   AND   SPRATT, 

Engliah  and  Foreign  Chymists.  7,  TICHBORNB  STREET,  Haymarket. 
iaBotUca  at  la.  lid.  and  Sa.  9d.  each.— Importera  oit  French  Jigabea  and  Sympa. 

DR.   STOIsBBBOra   VOICE   X.OZBNGE 

Is  acknowledged  aa  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removii^^  all  affections  of  the  throat,  strongly  recommended  to 
clsrgyinen,  singers,  actors,  public  speakers,  and  all  persons  suliject  to  relaxed 
thioata. 

The  Fh»prletors  haive  |u8t  received  the  foUowiag  Testimonial,  amongst 
mtny  others,  from  Madame  Anna  Bishop:— 

"  Dbab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
eilcary  of  Dr.  Stolbero^b  celebrated  Lozenge  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Locenges,and  my  voice  was  very  dear,  and  my  throat  quite 
free  from  relaxation.    I^am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

**  18th  November  1846.— Jermyn  Street." 

Barday  and  Sons,  Parringdon-street ;  Sutton  and  Co.,  Bow  Churdiyard; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Churchvard :  Sanger,  and 
Pietridisen  and  Hannay,  Oxford-street;  and  retail  by  all  respectable 
Chymista  in  the  Kingdom^ 


iH 


ASSEMBLY    ROOMS, 
LONG'S    ROTAL    HOTEL* 

CLIFTON,   NEAR   BRISTOL. 
Mrs.  Long  begs  respectfolly  to  inform  the  Public,  that  the  above  Kooms  are 
let  for  Concerts,  Lectures,  8cc.,  on  the  following  terms,  viz.- 


The  Laige  Boom,  for  a  Morning 
Do.  Do.   for  an  Evening 

The  Smaller  Room  for  a  Morning 
Do.  Do.    for  an  Evening 

Caiflon,  Brislolt  Dec.  18, 1846. 


^  «.  if. 
.880 
.880 
.  1  11  6 
.    9  19    6 


JULUEN'S 

NEW  DANCE  MUSIC  FOR  THE  NEW  YEAR. 

The  British  Army  Quadrillf ,  the  American  and  Camelia  Polkas— Jullien.  The 
Garland  Walts  and  Casino  Polka— Kasnig.  Adrienne  Valse  and  La  lln  du  Bal 
Gatop-Barret.  The  above  compositions,  in  addition  to  being  the  newest  and 
mort  fkshionable  of  the  day.  wiU  be  found  superior  Jo  all  others  in  tiieir 
applicability  to  Dancing,  the  time  throughout  all  of  them  being  carefblly  marked 
tor  that  eapecialpnrpose. 

ROYAL  MUSICAL  CONSERVATORY. 

A14,    REGBNT    8TBBBT,    aad    45,    KIMO    8TRBST. 


JUIsUEN'S 

VOCAL  MUSIC  FOR  THE  NEW  YEAR. 

JUST    PUBLI8HED:- 

.'<The  Preference."  and  ''The  Castie  and  the  Cottue,"  Balfe;  Venetian 
Serenade,  Roch  Albert;  *<0  how  can  I  smile,*'  BiSer;  <«Go  not  to  the 
Rhine,*'  Glover ;  «« O  meet  me  in  the  Flow'ry  DeU,»»  Hatton ;  and  "  1  lov'd  thee 
in  those  early  years."  G.  Linley.  The  above  new  and  fisshionable  compocitions, 
which  are  admirably  adapted  for  the  festive  drele,  are  now  being  sung  with 
unprecedented  success  by  the  most  eminent  vocalists  at  the  principal  concerts  in 
town  and  country. 

&OTAL    MUSICAL    OON8SKVATOKT, 

214,  REGBNT  STREET,  AND  45,  KING  STREET. 


To  the  Queen's  Most  BzeeUeat  Mulestr,  s&d  the  British  Armj 
and  NsTy. 

J.  KOHLER'S  NEW  PATENT  LEVER  WSTRUMENTS. 

J.  KoHLBB  having  brought  to  perfSection  and  obtained  Her  Majesty's  Letters 
Patent  for  the  above  invention,  which  he  has  applied  to  the  COENOPEAN, 
TRUMPET,  CORNETTO,  TROMBONES,  and  FRENCH  HORNS,  he  can  now 
vrith  great  confidence,  after  an  experience  of  Five  years  in  bringing  the  action  to 
its  present  state  of  perfection,  recommend  them  to  her  Majesty's  Army  and 
Navy,  and  all  Piofessors  and  Amateurs.  The  advantages  that  this  Patent  givea 
to  these  Instrumenu  are ; — 

I.  All  the  Tones  and  Semitones  produced  by  the  Patent  Lever  are  quite  as  per- 
fect as  the  Natural  Notes  on  the  Instrument. 

1.  The  intervals  on  the  Diatomic  and  Chbonatic  Scales  are  perfect,  the  com- 
pass greater,  and  the  most  rapid  and  difficult  passages  may  be  performed  with  a 
precision,  freedom,  and  fulness  of  tone,  and  comparative  ease  to  the  performer. 

3.  Combinations  in  harmony,  which  never  berore  could  be  performed  at  all  by 
any  Brass  Instruments,  may  now  be  executed  with  perfect  ease,  and  Ten  or 
Twelve  Instramenta  on  this  principle  can  produce  a  more  rich  and  sonoroes 
effect  than  Twenty  Four  could  do  on  the  old  principlea.  The  harahncM  of  tone  in 
the  former  Brass  instruments  is  entirely  done  away  with,  and  a  set  of  these 
Instrumests  heard  together,  produces  Ifilitary  ana  harmonious  effects  never 
bcfsre  heard. 

These  Inatmmenta  are  now  in  use  in  Hbr  Majistt's  Pbivatb  Bamd,  Fibst 
LiVB  Guards,  Royal   Horsb  Guards,  Grenadibr  Guards,  Fdsilbbb 

GUABDS,  ROTAL  ABTII4.BRY,  60TH   RoYAL   RiFLBB,  IeC. 

Testimoniala,  Drawings,  and  Prices,  forwarded  on  application  to  J.  KOHLRB>S 
MannfMrtory,  86,  Henrietta-street,  Covent-garden,  London. 


MEDZOAIs  OAIsVANISM. 

HORNB,  THORNTHWATTE,  fc  WOOD,  Successors  to  E.  Palmbb,  13S,  New- 
gate-street,  in  submitting  their  improved  KLECl  RO-GALVANIC  MACHINES, 
beg  to  sute,  that  they  have  availed  themselves  of  the  discoveries  of  De  la  Rive, 
Faraday,  Smee,  and  others,  by  which  they  are  enabled  to  construct  a  coil  with  all 
the  required  intensity  and  quantity  of  electricity  for  medical  use,  thereby  effect- 
ing both  a  saving  of  expense  and  trouble  to  the  invalid,  and  placing  in  his  bands 
an  effective,  powerftd,  and  simple  instrument,  that  may  be  excited  at  a  minute's 
notice,  and  without  trouble.— Price,  jes.  Ss.;  4^3.  lOs.;  and  iffS.  5s.  * 

PHILOSOPHICAL  APPARATUS.— Every  description  of  Apparatus  oonnedcd 

with  Chen'  '"    *      "       ""' '       *"  "  '  

Electricity 

solving  Views,  Photography.  Sk    , , 

and  Wood,  saccessors  to  Edward  Palmer,  138,  Newgate  Street,  London. 

Foreign  orders,  endoaiug  %  remittance  or  order  for  payment  in  London, 
proniptly  yttesded  to. 


60 


THE  MUSICAL  WORLD. 


JULLIEN'S      ALBUM 

FOR  1847, 

A  moat  bM«tlf«a  OhrUtmaa  Present,   N«w  YaWs  CMft, 
and  Btreanas. 


M.   JULLIEN 

Hai  the  honor  to  announce  that  his 

MUSXCAt  .  ANHUAL    FOR    1847 

Is  now  Published;  and  is  by  far  the  best  work  of  the  kind  that  has  ever 
appeared ;  contains  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AND 

FOURTEEN    OF    INSTRUMENTAL 

The  gireater  part  of  which  have  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

Theportien  which  has  already  appeared  comprise  those  pieces  only  whose 
decidea  success  has  induced  M.  Ji^llien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  ezecut6d  Covers,  Title,  and 
Dedication  pages,  include 

'  TWO   MAGMinOENT  VIEWS 

OF    THB 

SnteHot  ot  ®obettt«<^attiien  Wbt&ttt, 

The  one  taken  during  the  brilliant  scene  exhibited  in  that  splendid  arena  of 
the  occasion  of  M.  JtLLIEN'S  GRAND  6AL  MASQUE;  the  other  a 
VIEW  OF  THE  THEATRE  TAKEN  DURING  THE  CONCERTS, 
the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience  in  a 
manner  at  once  life-like  and  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  goi^geous  scene, 

A   SFLENDIDLT-COLOURED 

PORTRAIT 

Of  the  celebrated  Danseuse, 


VEiOBA 

In  the  admired  Pas,  LA  CASTIGLIANA. 
AN   ORIGINAL  SUBJECT, 

"THE     FORTUNE     T  E  L  L  E  B," 

Illustrating  Baker's  beautiful  Ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  ALBUM,  and  in  proof  of  its 
txut  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributors,  where  will   be  found  the  principal  talent  in  Europe:  via. 


ROSSINI,  VERDI, 

ROCH-ALBBRT,  HCELZELL, 


DONIZETTI,  RUBINI, 

GOLDBERG,  SCHIRA, 

SCHULZ,  STOEPEL.  DUPREZ,  JOSR  GOMIS. 

MASARNAU,  MARATZEK,    BALFE,  JULLIEN, 

HATTON,  BARRET,         ALEXANDER  LEE,  K(ENIG, 

KNIGHT,  BAKER,  FARMER,  LINLEY, 

LAKE,  FITZBALL,       MOULD,  HURREY, 

FOREST,  ALBERT  SMITH,      DESMOND  RYAN,      &c. 

It  will  thus  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  will  contain  some  of  the  newest  and 
roost  popular  productions  of  Italy,  Germany,  France,  Spain,  &c,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Continental  diletanti. 


Price  18s.  and  £l.  Is. 

ROYAL   CONSERVATORY   OF 


MUSIC 


214,  Regent-Street,  and  45,  King-Street. 


LIFE  ASSURANCE  COMPANY, 

No.  5,   St.  JAMES'S    STREET, 

LONDON. 


Sir  A.  Brydges  Henniker,  Bart. 
B.  Bond  CabbeU,  Esq.,  M.P. 


Drutt€4i, 


Chairman,  Lieutenant-Colonel  Lord 

Arthur  Lennox. 
Dspcjty-Chaibman,  T.  C.  Granger, 

Esq.,  M.P. 
John  Ashbumer,  Esq.,  M.D. 
T.  M.  B.  Batard,  Esq. 
Blyth,Esq. 


Diroeiore, 


Henry  Pownall.  Esq. 
Claude  Bdwsnl  Scott,  Esq. 


M.P. 


Henry  Broadwood,  1  ^ 

Sir  James  Carmicheel,  1 

Charles  Farebrother,  Esq.,  Alderman. 

William  Tulloh  Fraser,  Esq. 

John  Gardiner,  Esq. 

_„ Aaron  Asher  Goldsmid,  Esq. 

Philip  P.  Blyth,  ^.  Henry  WUliam  PownaU,  Esq. 

Assurances  granted  on  fkvourable  terms. 
l*he  Rates  of  Premium,  of  which  the  following  are  specimens,  are  on  the  lowest 
scale  consistent  with  security  i— 


Antmal  Prewiimau/or  Jjmaring  jtflOO. 

Age. 

For  One  Year.       |     For  Seten  Years. 

For  Whole  Life. 

20 

£      #.     <f. 
1       1       0 

£       «.       d. 
1        1        8 

£     #.       4. 
1      18       7 

A  new  plan  of  Accumulative  Assurance,  by  depositing  instead  of  paying 
Premiums,  thus  ;— 

By  the  DepotU  Plan,  commencing  at  the  age  aO,  ^40  per  Annum  secures  tbib 
aamredattneageof  £  e,   d. 

SBaP^cylbr. 949  16    4 

39  „         1779  .1    0 

49  „  »4g5    0    0 

fi9  » '. 311119    8 

(19  J^  M50    9    0 

Deferred  Annuities,  to'eommence  at  any  ^wdiled  tte,  rranted  either  with  or 
without  return  of  the  Premiums,  in  case  the  age  at  wmch  the  annuity  is  to  < 


menoe  is  not  attained. 


H.  D.  Davenport,  Secreiarjf^ 


ROYAL    ITALIAN    OPERA,    COVENT    CARDEM. 

The  nobility,  gentry,  and  public  are  respectfully  informed,  that  the 
NRW  THEATRE 

IVUl  Open  the  first  Week  in  April^ 

For  the  performance  of  the 

LYRICAL   DRAMA 

On  a  scale  ^  efficiency  in  every  department  nerer  belbre  ahempCed  in  this 
country* 

THE    BALLET 

WUl  include  the  names  of  the  most  celebrated  artisU.    The  prospectus  forthe 
arrangement  of  the  season  Win  be  issued  in  due  course.    Mr.  Bealt,  IXcedor. 
January  9th,  1847* 


NEW   SONGS 

AND 

lANOFORTE     MUS 

Particularly  adapted  for  Teaching. 


\o, 


PIANOFORTE    MUSIC. 

I.  4. 

Gems  of  Balfb's  opera,  the  Bondman,  arraniced  by  Charles  W.  Glover      ..SO 

**  They  say  there  is  some  distant  land,"  ttom  the  Boadman,  by  W.  C.  I  •    q 

Hacfarren > 

Fantasia  on  "  Sol  campo  della  gloria,"  fh>m  Belisario,  by  F.  Hiinten       . .  SO 

<' Melodic  Allemande,'*  op.  147,  ditto         SO 

<<  Retour  au  Chalet,"  air  national,  op.  144,  ditto  SO 

«<  La  Serenad?/' op.  146,  ditto  SO 

Ttie  favourite  air  **  Lucy  Neale,"  arranged  by  Chantieu         SO 

Ditto  "VaPensiero,"  ditto 9    0 

"Pestal,"  by  RimbauU,  (very  easy)  10 

«' Lucy  Neale,"  ditto,  ditto       10 

The  celebrated**  Bridal  Polka,"  (4th  edition.)  Solo  and  Duet,  each..       ..SO 

SONGS. 
*<  Dream  on,  young  hearts,"  bySporle;  a  gay  melody,  with  a  very  easy 

accompaniment,  and  pleasing  words;  (third  edition)       S 

'*  The  Irish  Emigrant,"  words  by  Lady  Dtifferin,  music  by  Barker  - .  9 

"  In  the  Greenwood  lYee,"  as  suog  by  Miss  Steele,  music  by  B.  Ridiards  S 

Ditto,  as  a  Duet  S 

**  Go,  memory  go,"  one  of  the  favourite  songs  from  the  Bondman,  Balfe  . .  S 
" They  say  there  is  some  distant  land,"  sung  by  Mr.  Harrison        ..       ..3 

"  Sweet  Spring,"  song,  G.  A.  Macfarren S 

OHAPPEIiIi,    60,   NBW    BOKD    8TRBET. 


Printed  and  Publishetl,  for  the  Proprietors,  at  the  **  Nassau  Steam  Preis,'» 
by  William  SfSNCua  Johnson,  M,  St.  Martin's  Lane,  in  the  pariah  of  St. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex ;  where  all  communications 
for  the  Editor  are  to  be  addressed  post  paid.  To  be  had  of  G.  Purkess,  Dean 
Street,  Soho;  Strange,  Paternoster  Row;  Wiaeheart,  Dublin;  and  all  Book* 
aellen.— Saturday,  January  38rd,  1847. 


(PUBLISHED  CVCRY  SATURDAY  AT  NOON.) 

A  RECORD  OP  THE  THEATRES,  MUSIC,  LITERATURi;  TiNE  ARTS, 
FOREIGN  INTELLIGENCE,  4c 

to  tkm  PnMtoher,  Wi  8.  Jokasoa,  ''Haann  mtmm  »«••/'  OO,  Wt.  MaHta's  : 

%m  •Mtititd  to  an  AdmUrtoa  to  ut  Annual  Ooaeart,  amd  a  Vlooa  of  liiiMlo.  (rocviar  1 


Na  6.--V0L.  XXTT, 


SATURDAY,  JANXFARY  30,  1847. 


cPEICB  TURSEPEMCE 

1 8TAMFBD,  vcagugufGi 


NOTICC 
:s«b8ort1b«ni  aro  Fvoaoatod 
OaAHD  TBIUMPBAL  KAROH, 
tojr  X.  MO0OHBU50. 


With    • 
•spraaalj 


THE   NIVAL  ITALIAN   OPERAS. 

*•  AutU  aUeram  partem:' 
yfm  monld  fain  allow  this  sabject  to  drop  for  the  present, 
and  let  the  two  operas  alone  until  the  proper  time  arrives  for 
discassbg  their  meiits  on  the  occasion  of  their  actual  demon* 
stration.  Bat  the  press  has  taken  so  unexpected  a  position, 
and  Its' various  organs  have  argued  on  either  side  with  such 
vehemence,  and  in  many  cases  with  such  indiscreet  betrayal 
€>f  partiality,  that  we  should  be  forgetful  of  our  duty  towiurds 
our  leadeta  and  the  public,  were  we  to  refrain  from  doing  our 
vtmoit  to  pkce  the  subject  in  its  proper  light,  and  dear  away 
tlie  nust  of  malaria  which  has  arisen  from  the  unhealthy  sdl 
of  party  feeling  to  wrap  it  in  obscurity.  The  plain  question 
alBHlB  Am;  Jfr.  Lumley,  the  Dbeetor  of  Her  Majesty's 
Theatre,  by  some  means  or  other,  with  which  neither  the 
pubHc  nor  the  press  has  anything  to  do,  has  given  such  cause  of 
discontent  to  the  principal  members,  vocal  and  instmmental,  of 
his  company,  as  to  induce  them  to  leave  him  in  a  body,  and 
Hot  to  stop  at  this,  but  to  found  a  rival  esUtblishnent  of  their 
own.  Our  high  opinion  of  Mr.  Lumley,  and  our  sense  of  the 
improvements  he  has  effected  in  the  condition  and  prospects 
of  Her  Majesty's  Theatre,  cannot  be  doubted.  "We  have  never 
been  backward  in  giving  expression  to  our  sentiments  on  this 
IKnnt,  and  Mr.  Lumley  would  be  the  last,  we  are  sure»  to  tax 
us  with  misappreciation  of  the  services  he  has  conferred  upon 
the  public  in  his  capacity  of  director  of  the  largest  and  most 
important  musical  theatre  in  the  world.  But  were  we  to 
consalt  exclusively  the  interest  of  Mr.  Lumley,  or  any 
other  servant  of  the  public,  we  should  derogate  from  the  duty 
which  we  qwe  to  our  readers,  who  expect,  aid  hav^an  impera* 
tive  right  to  expect  from  us  the  tmth^  unadulterated  by  per* 
sonal  prejudice  of  any  kind  whatsoever.  This  we  shall  endea- 
yoor  tp  do.  We  have  nothing  to  expect  from  either  party,  and 
hold  in  Ytry  small  account  the  attempts  of  certain  active 
denizens  of  one  of  the  pariieB  to  injure  us  by  studious  vitope- 
Mion  of  The  Mueieai  World  in  quarters  accessible  to  their 
innnuations.  We  court  neither,  prefer  neither,  and  fear 
ndther.  Our  principal  object  in  this  paper  is  to  show  that 
both  solfer  from  the  mistaken  zeal  of  certain  of  their  adherents, 
and  the  violent  and  injudicious  method  of  its  expression.  We 
shall  from  week  to  week,  until  the  Operas  commence  proceed- 
ingi»  devote  a  portion  of  our  space  to  extracts  from  the  various 
journals  which  take  an  interest  in  the  subject ;  and  by  a  com- 
jparison  of  their  opinions  and  asseverations,  we  shall  hope  to 
arrive  at  the  truth,  so  as  to  be  enabled  to  lay  it  before  our 
npders  naked  and  bare  for  their  consideration.  With  this 
yeaisofpa  unite  imother ,  viz. ,  that  throughout  our  diecoiffon 


of  this  engrossing  and,  in  some  respects,  unpleasant  topic,  we 
shall  be  influenced4>y  no  personal  considerations  whateYer. 

Last  week  we  gave  a  deteiled  account  of  a  written  prospeetw 
which  had  been  politely  forwarded  to  na  by  Mr.  Lumley. 
Since  then  this  prospectus  has  been  printed  and  advertised  in 
the  public  journals,  with  the  solitary  exception  of  the  Mwmifig 
Chromcle.  Wily  the  Morning,  Ckronkh  was  excepted  may 
readily  be  devined  t^  those  who  haYC  remarked  the  style  in 
which  that  journal,  during' the  last  twelve  months,  or  diere- 
abouts,  has  descanted  on  the  performances  at  Her  Mijesty'a 
Theatre.  The  publication  of  this  prospectus  has  however 
been  the  signal  for  a  charge  of  literary  artillery  from  the  ad« 
herents  of  either  side.  It  may  be  as  well,  in  a  hm  words,  to 
inform  our  readers,  all  of  whom  may  not  be  acquainted  with 
the  subject,  what  policy  the  various  influential  jonmals  pursue 
in  respect  of  this  mooted  question.  The  Timm^  with  the 
acumen  and  the  spirit  of  indfuendsnee  which  are  its  duoae* 
teriatfca,  eaters  in  noway  intp  the  controYengp;^!  andiaftYfai|p 
the  outline  of  Mr.  Lumley's  programmer  MHmI  iMk  ie  a 
simple  statement  of  &cts,  or  such  aa  it  has  every  right  to  oon^ 
sider  £scts»  there  being  no  conoeiYahle  reason  why  Mr. 
Lumley's  pledges  to  his  patrons  and  the  public  should  ba 
doubted.  The  Herald^  with  a  like  feeling,  has  even  gone  fur* 
ther  than  the  Tmes»  in  accompanying  its  announcement  of 
the  opera  prospectus  by  a  decUration  of  impaitiallty  iriitch  wa 
transfeied  to  our  pages  last  week.  The  Daily  iV^ats,  Mlow- 
ing  the  same  line  of  policy,  has  put  forth  a  like  leprobatiott  of 
party  feeling,  which  has  also  appeared  in  the  pages  of  this 
journal.  But  now  comes  the  other  side  of  the^question.  The 
Jthenaum,  a  journal  respectable  from  the  talent  with  whieh  ift 
is  edited,  and  influential  from  its  position  and  circulation,  has 
by  the  general  tone  of  its  articles  about  the  opera  created  an 
impression  by  no  means  favourable  to  its  impartiality.  The 
unmingled  disapproval  which  it  bestowed  on  sill  Mr.  Lunley'a 
efforts  last  season,  to  say  nothing  of  the  biting  and  saitastic 
vein  of  doubt  and  ridicule  in  which  it  discourses  of  the  pros* 
pects  of  the  coming  season,  leaves  small  room  for  belief 
that  the  musical  critic  of  the  Aihencemn  is  in  any  way 
favourable  to  Her  Majesty's  Theatre.  Still  we  are  bound  to 
add,  that  this  evidence,  of  acrimonious  feeling  towards  the  old 
establishment  is  joined  to  no  puffing  or  inflated  eulogy  of  iu 
rival.  One  word  must  dismiss  the  two  journals  which 
remain  to  be  signalised — the  Morning  Post  and  the  Morning 
Chronicle.  These  are  purely  and  unconditionally  partisans, 
the  former,  of  Mr.  Lumley's  establishment,  the  latter  of  his 
oppoaers.  The  talept  and  induttry  evinced  by  these  journals 
in  the  discussion  of  the  question  is  as  nearly  as  possible  equal. 

With  these  preliminaries  let  us  proceed  to  state  the  oc- 
currences of  the  week.  ,  The  Chronicle^  as  our  readers  are 
aware,  replied  to  the  prospectus  of  Mr.  Lumley,  and  theeom* 
ments  tiiereupon  of  certain  journals,  by  an  article  in  wludi 


6? 


THE  MUSICAL  WORLD. 


the  advertised  engagement  of  Jenny  Lind  and  the  promised 
o|ltorA  «f  Mettdelciiohii  Were  treated  (to  quote  the  Chr^tdt 
phraaeclogy)  as  •'  mere  moonshine."  In  Saturday's  Times 
however,  appeared  the  following  : — 

"  HtR  Majbbtt'js  TBE4TRB.— By  letters  from  Vienna  we  «re  enabled 
to  announce,  that  Mademoiselle  Jenny  Lind  will  leave  that  capital  in 
February,  in  order  to  arrive  in  London  early  enough  to  prepare  for  ler 
debut  at  the  reopening  of  H  er  Majesty's  Theatre  after  Easter.  As  to  the 
claias  fliMie  by  Mr.  Bum  mi  this  dNtiagiiiBhed  artUte,  whatever  their 
merits  may  be,  .they  only  apply  to  a  apeciAc  period  long  past.  We  hive 
reason  to  beUeve^4faat  an  offer  has  been  made  in  the  most  fair  tnd 
iHinourable  manner  to  enter  into  an  investigation  of  any  deroanda  for 
K)fiiJ>en8stion  that  Mr.  Bunn  can  possibly  have." 

..  That  Mr.  Bonn  regarded  the  offer  referred  to  in  a  very 
dHftrent  Ught  tnay  be  gathered  from  the  fact  of  his  havfrig 
addressed  a  letter  to  the  public  journals  in  which  he  applies  to 
it  the  expressive  epithet  *' contemptibloi"  and  asserts  liis 
determination  to  reject  it  and  any  other  that  might  be  made. 
This  letter  appeared  in  our  last  week's  impression.  Touching 
t&e  other  point,  the  opera  of  Mendelssohn,  the  following 
remarks  appeared  in  the  Times  of  Monday,  when  the  prospectus 
of  Mr.  Lumley,  which  had  previously  only  been  seen  by  the 
representatives  of  the  public  press  in  a  written  form,  had  been 
officially  advertised  in  the  columns  of  that  journal. 

"The  off  cial  publication  of  the  programme  for  the  approaching  season 
confirms  all  that  was  published  in  this  journal,  and,  of  course,  sets  at 
nought  the  doubts  which  have  been  uttered  becauj»e  the  statements  of 
Tharsday  last  wefre  not  offlciaify  made.  With  respect  to  a  conjecture  set 
efloat  that  a  tracslation  of  Shakspere'a  TVmpett  would  not  be  acceptable 
to  Dr.  Mendelssohn  as  a  subject  for  an  opera,  it  may  be  mentioned  thai 
ihere  is  in  London  a  tetter  from  the  eminent  composer,  in  which  he  ex- 
trpsses  his  great  satisfaction  at  M.  Scribe's  poem,  accompanied  with 
sundry  miggestloits.  It  is  just  the  sort  of  letter  that  would  come  from  a 
pemn  actually  at  work  on  a  aobject.  With  respect  to  the  appearance  of 
Jenny  Lind,  we  have,  on  the  one  hand,  the  positive  aodoffieial  assurance 
Jf  the  fact  by  the  manager  of  Her  Majesty's  Theatre,  and  on  the  other 
hand,  the  statement,  confirmed  by  Mr.  Bunn,  that  she  is  under  a  con- 
flict With  that  gentleman  which  will  prevent  her  appearing  elsewhere 
than  at  Drary-kne.  It  is  not  oor  otBck  to  give  legal  Opiniona,  but  it 
seemtf  to  as  veiy  doubtful  whether  the  existence  of  a  contract  with  one 
foanager  could  prevent  the  appearance  of  a  performer  at  the  theatre  of 
Ipiother,  and  whether  an  affair  of  the  sort  might  not  be  readily  settled  by 
paying  Into  court  a  sum  which  a  jury  might  consider  a  fair  compensa- 
tloh.  In  other  wotda.  It  seema  a  (natter  of  damat^es,  and  not  of  in^une* 
Icon.  Moreover,  it  ia  aaid  by  some  partes  that  the  contract  only  lefera 
to  a  period  long  past,  and  has  nothing  to  do  with  this  year,  1847.  This 
isof  course  an  affair  for  lawyers  to  consider,  but  the  fact  of  the  dis 
fcuss^on  shows  the  very  great  Importance  which  is  attached  to  the  engage- 
ment of  Jenny  Li«d,  even  by  those  who  can  fccarcely  be  considered 
ftvcarabie  to  Her  Mijesty's  Theatre.  In  a  letter,  dated  January  7,  ahe 
noilflea  her  intenUon  of  leaving  Vienna  in  February,  in  order  to  arrive  in 
London  in  March.  We  ate  informed  that  Coletti,  whose  engagement  is 
nientioned  in  the  programme  as  under  negotiation,  is  now  actually 
engsgcd.  On  his  account,  it  is  said,  Verdi'a  opera,  /  due  Foscari  will  be 
prcduoed  very  early  in  the  season/' 

It  will  be  remarked  that  the  Times  tnerely  intends  to  convey 
in  this,  that  the  doubts  thrown  by  certam  parties  upon  the 
genuineness  of  the  prospectus  were  set  at  rest  by  its  official 
publication  In  a  printed  form  in  the  advertising  sheets  of  the 
morning  papers.  The  writer,  moreover,  though  insinuating 
that  a  letter  from  Mendelssohn  on  the  subject  of  the  opera 
ffpokeh  of  was  in  London,  does  by  no  means  state  the  fact  of 
having  seen  that  letter,  which  pi^oceeding  from  so  grave  an 
authority  as  the  TimeSy  Would  have  settled  the  qnestion  defin- 
itively. Nor  does  the  Tmes,  while  informing  its  readers  that 
a  letter  from  Jertny  Lfnd,  ••dated  Jan.  7,  notifying  her  intention 
of  leaving  Vienna  in  February,  in  order  to  arrive  in  London 
in  March,"  at  all  pledge  itself  that  she  is  coming  to  Her 
Majesty's  Theatre,  which  is  not  precisely  synonymous  with 
the  fact  of  her  coming  to  London.  Information  from  the 
^ymen  is  mformation-i-that  all  the  world  believes.  No  one 
cttri*  thet^fonf  blame  it  for  betng  guarded  and  chary  of  its 


llnnonneements.  tn  the  meantitiie  the  Chronicle  is  not  Idk, 
Imt  endettftmrs  io  strengthen  the  position  it  has  aismndd  hf  for- 
ther  argument,  in  the  form  of  letters,  and  extracts  trom  letters, 
with  comments  thereupon.  That  somebody  must  be  wrong  is 
sufficiently  evident  from  the  contents  of  the  dopument.  But  let 
us  give  them  in  order.  On  Monday  we  read,  with  no  little 
astonishment,  the  following  remarks  in  the  Chronicle,  which 
prefaoed  a  letter  from  Mr.  Buim  to  Jaoay  I^iiidf  that  wa  ahall 
cite  further  on. 

"Jbnnt   Lino. — It  is  with  great  gratifisation  we  are  eaabied  to 

announce  to  our  readers,  that  the  great  obstacle  to  the  appearance  in 
thia  country  of  Jenny  Lind  has  been  removed,  and  that  there  can  now 
be  no  reasonable  doubt  as  to  her  eietiU  bfeing  made  it  Dmry  Lane 
in  due  course,  the  lessee  having  in  the  handsomest  manner  consented 
to  her  singing  either  in  German  or  Italian,  at  her  option.  Although  this 
important  concession  will  subject  Mr.  Bonn  to  a  considerable  increaae  in 
his  nightly  expences,  and  he  might  at  once  have  feallsed  a  considerable 
sum  without  any  risk,  we  think  that  he  has  dii{>layed  a  proper  feeling  hi 
thus  keeping  faith  with  the  poblic,  after  he  has  anaounced  ia  MM  a«o* 
cessive  seasons  the  advent  of  the  Swedish  nightingale,  whom  we 
sincerely  congratulate  on  this  happy  result.  Jteny  Lind  will  indeed  be 
delighted  to  have  the  opportunity  of  proving  that  her  alleged  reason  for 
not  having  up  to  this  moment  fulfilled  the  cotitract  with  Mr.  Bttnn, 
signed  in  January,  1845,  in  the  presence  of  the  £arl  of  Wesmorland,  our 
minister  in  Berlin,  was  really  true,  that  she  waa  unable  to  conquer  the 
difficulties  of  the  English  language,  and  that  no  mercenary  considerations 
of  a  more  lucrative  contract  had  entered  her  mind.  Nest  to  the  deHglit 
of  admiring  the  genius  of  an  artist,  there  is  alwaya  the  additional 
pleasure  of  being  able  to  acknowledge  the  value  of  character.  Good 
faith,  honour,  and  punctuality  in  the  observance  of  dealings  with 
managers,  are  a  guarantee  that  artists  will  not  disappoint  the  public.  The 
game  of  outbidding  is  always  a  dangerous  one,  both  for  manager  and 
artist,  aa  was  proved  signally  in  the  case  of  Gardoni,  the  tenor,  who 
was  bought  off  from  Milan  for  Paris,  and  from  Paria  in  turn  for  Londoni 
and  if  he  were  worth  the  purchase,  might  no  doubt  be  secured  for  any 
other  lyrical  capital." 

We  agree  with  the  last  paragraph  entirely,  considering  that 
an  engagement  should  not  only  be  legally  but  honourably 
binding.  Managers  will  henceforth  have  no  confidence  what- 
ever in  celebrated  artists,  if  a  compact  made  with  them  on 
liberal  terms  can,  ere  completed,  be  violated  at  caprice.  But 
this  by  the  way.  From  all  the  preceding  remarks  we  ex- 
pected at  le&st  to  peruse  a  document  which  should  place  the 
advent  of  Jenny  Lind  to  Brury  Lane  beyond  all  question. 
How  we  were  disappointed  in  reading  what  follows,  may  be 
easily  imagined.  **  We  subjoin,"  pursues  the  Chronicle^  a 
copy  of  Mr.  Bonn's  letter  to  Jenny  Lind,  and  in  a  few  days 
her  name  will  doubtless  appear  in  the  Drury  Lane  bills 
officially.'*    The  letter  is  as  follows : — 

"  London,  January  23,  1847. 

"  Madams,— The  manager  of  Her  Majesty's  Theatre  has  this  day 
Issued  a  programme  of  his  season's  arrangements,  a  copy  whereof  I 
endoae  you,  at  the  head  of  which  you  will  find  your  own  name.  AUkoMgh, 
in  common  wUh  others,  I  have  little  faith  in  any  prospectus  issued  from 
that  theatre,  it  is  necesssry  I  should  bring  the  circumstance  to  your 
knowledge.  For  my  ows  part,  I  do  not  believe  you  have  signed  any  but  a 
conditional  engagement  with  the  management  of  Her  Miyesty^s  Tli<»iitre, 
deeming  it  impossHiIe  that  an  artiste  of  auch  celebrity  aiyl  chancter 
could  visit  this  country  liable  to  the  consequences  of  two  atteated  con- 
tracts, and  prepared  to  forfeit  the  one  for  the  larger  offer  subsequently 
held  out  in  the  other.  Ai  it  is  alleged  tliat  the  proposed  violation  of 
your  engagement  with  me  is  based  upon  your  inability  to  master  the 
English  language,  I  repeat  the  offer  contained  in  my  letter  of  the  fOtli 
of  last  March,  that  you  sing  in  either  German  or  lUlian,  and  thQa  redkove 
any  objections,  on  your  part,  to  your  appearance  at  Drury- Lane  Theatre. 
I  have  resolved  to  repudiate  any  offer  of  a  compromise,  not  based  on  the 
important  condition  of  your  deb{U  in  England  taking  place  in  this  theatre ; 
as  well  to  enable  me  to  keep  faith  with  the  publie,  as  to  silence  the 
groundless  representations  resorted  to  by  the  friends  of  Her  Migeaty's 
Theatre.  I  therefore  trust,  that  having  got  rid  of  all  impediment,  you 
will  apprize  me  by  the  first  post  of  the  precise  time  I  may  expect  you,  to 
enable  me  to  make  every  necessary  preparation.  I  am,  Madame,  yoxir 
very  obedient  servant,  *•  A.  Btftcit. 

"  MadesnoMk  Jenny  IM.  neiiiui.''^jtized  by  \^UUy  It: 


THE  MUSICAL  WORLD. 


.63 


Which  merely  goes  to  say,  that  Mdile.  Jenny  Lind  may  sing 
at  Dniry  Lane  if  she  please,  and  choose  her  own  language,  be 
It  German  or  Italian.  No  one  doubted  it.  But  does  this 
letter  at  all  warrant  the  introductory  remarks  of  the  Chronicle  ? 
Most  assuredly  no !  The  Chronicle  then  proceeds  to  say  : — 
"  We  might  break  off  here,  but  as  it  Is  declared  by  a  contemporary 
tlmt  Jenny  Lind  bad  resolved  to  come  to  London  and  set  Mr.  Bunn's 
conduct  at  defiance,  we  repfint  her  own  letter  on  the  sul^ect,  printed  in 
oar  columns  Jan.  7,  1846,  the  original  of  which  is  in  French :— " 

and  accordingly  the  letter  is  printed  in  full,  or  rather  a  trans- 
lation thereof.     Here  it  it : — 

•  •■  How  shall  I  reply  fbr  so  much  kindness  ?  Yon  will  txx  me  with 
Ingratftade.  but  I  hope  that  your  opinion  of  my  good  faith  will  not  be 
affected.  I  have  written  to  Mr.  Bunn  to  request  him,  as  a  favour,  to 
return  my  signature,  and  to  free  me  from  a  promise  which  it  is  impos- 
sible for  me  to  keep.  I  admit  that  I  was  wrong  to  allow  myself  to  bt* 
persQsded  that  the  English  language  would  be  easy  enouifh  fbr  me  to 
appear  on  the  stage.  I  am  now  convinced  of  the  utter  impossitrinty  of 
luch  an  attempt,  and  I  hope  that  Mr.  Bunn  is  gentleman  enough  not  to 
seek  to  profit  by  the  circumatances  which  led  to  that  fatal  signature— 
my  position  in  respect  to  M.  Meyetb^er,  whose  opera  (the  Camp  of 
SUefiaJ  was  the  princlppl  condition.  Truly  I  was  teased,  surprised,  and 
1  signed,  not  knowtog  bow  and  what*,  between  the  acts  of  the  opera, 
under  the  influence  of  my  part.  Finally,  If  1  have  niade  a  blunder 
(b^puej,  f  cannot  be  the  victim  of  a  counsel  as  destructive  as  it  was 
inorin-iderate.  Never  shall  I  be  enabled  to  sing  in  English;  my  habits 
fiispoaituins)  "tirt  cpposed  to  it ;  but  if  cwr  I  had  sufficient  confidence  to 
believe  myself  capable  of  being  ab'eto  sing  at  the  Italian  Opera,  at  the 
Queen's  Theatre,  you  may  believe  in  mff  word  of  kotwur  that  tie  a  fair  f^ 
Drury  Lane  icould  prevent  me  from  doin^  so.  I  must  deplore  the 
enthusiasm  which  caused  me  to  sign  the  promise  to  appear  there,  for  it 
deprives  me  for  ever  from  the  happiness  of  seeing  your  fine  country,  and 
to  seek  f6r  the  saffraices  of  a  great  fieople.  May  I  then  request  you  to 
exercise  yovr  influence  with  Mr  Bunn  to  relieve  me  from  a  burthen 
.which  weighs  on  my  mind  and  saddens  me  T  1  repeat  to  you  that  I  do 
not  calculate  on  signing  any  other  engagement  in  England.  1  have  the 
honour  to  lie,  with  tlie  most  perfect  consideration,  your  very  humble 
servan%  "Jinht  Liud. 

'*  Copenhagen*  Oct.  18,  1845." 

To  which  the  Chronicle  annexes  the  following  paragraph  in 
«ulogy  of  the  Swedish  nightingale's  unbroken  faiUi : — 

•*  We  <«an  only  add  to  the  above  explicit  declaration,  that  fWim  every 
authentic  information  which  has  reached  us  respecting  Jenny  Und's 
intentions,  she  has.  much  to  her  honour,  invariably  confirmed  the  reso- 
lution she  has  so  forcibly  expressed  in  her  letter,  not  to  sing  in  London 
until  Mr.  Bunn's  contract  was  placed  in  her  hands." 

Bui  the  Chronicle  overlookjs  the  fact  that  he  is  writing  in 
the  year  lb47,  January  23,  and  that  the  letter  of  Jenny  Lind 
is  dated  1845,  October  18,  which  makes  all  the  difference  in 
the  world,  the  long  interval  which  has  elapsed  since,  without 
any  si^nsof  Mademoiselle  Jenny  Lind's  anxiety  to  fulfil  her 
engagement  proving  beyond  question  her  indifference^  or  her 
regret  for  having  accepted  it. 

But  on  this  point  we  have  more  to  advance  in  another 
place.  Not  content  with  the  above,  the  Chronicle  attacks  the 
Mendelssohniun  feature  of  Mr.  Lumley's  programme,  with  even 
more  vehemence,  in  the  next  day's  paper.  After  quoting 
some  remarks  of  his  own,  which  appeared  in  our  number  of 
last  week,  and  some  counter-remarks  from  his  opponent,  the 
Morning  Po8t,  and  one  of  its  constant  satellites,  the  Sunday 
Times,  the  critic  introduces  to  his  readers,  with  an  appropriate 
preparatory  flourish,  the  following  most  startling  letter  from 
Mr  Ruxton,  Mendelssohn's  "  confidential  agent  and  pnblisher 
in  London :" 

"72,  Newgate-Street,  Jan  23,  1847. 

"Bear  Sir— You  msy,  if  you  llke,lilatlv  contradict  every  word  the 
Post  and  the  Time$  have  put  forth  respecting  Mendelssohn  having  made 
•ny  airangement  with  the  Italian  Opera  House.  Up  to  the  16th  of 
January  lie  had  neither  seen  a  libretto  nor  written  a  note  tewsrft  an 
opera ;  and  he  is  the  hist  man  in  existence  to  make  an  eogageme  <t 
withbot  being  sure  he  can  keep  it.  As  far  as  Mendelssohn  is  concerned 
H  b  alt  fabrication.    It  even  depends  on  my  letter,  ti^dh  I  haVe  written : 


to-day,  whether  he  comes  over  this  year  or  not. — I  am,  Sir,  your  most 
'obedient  servant,  **£.  Bvxton  (Ivwsa,  and  Co«}" 

That  th6  above  letter  is  somewhat  difficult  to  get  over  no  one 
can  deny,  who  is  aware  of  the  extreme  intimacy  that  exiata 
between  Mr.  Ruxton  and  Dr.  Mendelssohn.  The  following 
day,  however,  we  sent  at  an  earfy  hour  for  our  PbH,  expecting 
to  find  in  its  columns  some  kind  of  statement  which,  while  it 
shamed  the  Morning  Chronicle,  would  set  the  matter  entirely  at 
rest.    Judge  of  our  astonishment  on  reading  what  follows  :«*- 

"  Hbr  Majsstt*s  THBATRE.-»-Tlje  only  notice  we  think  it  nec^Mry 
to  take  of  lAt*e  bftrefaced  assertion  of  a  morning  contemporary,  in  which 
our  authority  is  called  into  question,  is,  that  what  we  suted  in  reference 
to  the  programme  of  Her  Majesty's  Theatre,  was  founded  upon 
documents  of  the  most  clear  and  undoubted  nature.  As  regards  the 
falsehoods  published,  they  are  parts  of  the  wretched  system  unblushingly 
adopted  last  year,  and  which  was  ultimately  exposed,  so  as  to  deprive 
the  concoctions  of  those  parties  of  all  character^  and  end  it.  That  it 
should  have  increased  tenfold  in  virulence,  at  the  present  junction,  does 
not  surprise  us  ;  Imt  what  does  astonish  us  is,  tiMt  any  hope  should  be 
entertained,  after  the  innumerable  exposures,  that  it  should  this  season 
meet  with  the  gullibility  necessary  to  give  it  currency.  The  atousiiig 
part  of  this  afiair  is,  that  the  natond  tendency  of  these  mafavokeat 
tnventioiia  and  intrigues  is  to  excite  an  Uiterest  hi,  and  to  do  good  to  the 
very  parlies  attaciced.*' 

We  very  much  query  the  latter  part  of  this  article,  in  reference 
to  the  "  interest  excited."  That  curiosity  is  excited,  and  in 
no  small  degree,  we  cannot  doubt-— curiosity  to  Jmow  which 
of  the  two  parties  has  bad  the  bolAsesa  to  plMli.iiaitt  in  an 
equivocal  position  before  the  public.  The  settaon's  events 
wUi  decide  the  question,  and  at  the  end  either  the  Chrwkle 
or  the  Post  nrast  hide  its  head  in  sliame. 

In  respect  to  the  difficulty  with  Jenny  land,  our  opinion 
dififers  from  t^e  general  one.  Having  no  poasible  right  to 
donbt  tiie  promises  contained  in  Mr.  Lomley's  prospeotas,  a 
docnraent  on  the  truth  of  which  depends  not  merely  his 
fiuth  as  a  manager,  but  his  honor  as  a  gentteman,  we  profess 
our  entire  b^ief  of  every  word  it  contains,  and  feel  conftdent 
that  the  indedsion  of  the  celebrated  aongstress  depends 
altogether  on  a  timidity  and  aervottsaess  whidi  ^re  veiy 
natural  in  her  position.  She  haa  in  some  degree  compro- 
mised her  great  patron,  Meyerbeer,  in  the  Drury  Lane  afiair ; 
and  it  is  not  at  all  to  be  wondered  at  that  she  ahould  dread 
being  received  in  England  by  opposition  from  a  set  parQr, 
no  matter  on  what  grounds,  which  would  most  probab^r 
be  the  case  if  she  sang  at  Her  Majesty's  Theatft  pre- 
viously to  the  claims  of  Mr.  Bunn  being  satisfied,  fey  law 
or  by  compromise.  Jenny  lind  is  wise  enough  to  know 
that  even  a  partial  failure  in  England  would  be  alnoft 
a  death-blow  to  her  on  the  continent,  and  she  is  peifedljr 
justified  in  holdhig  back  unttt  all  danger  of  oppoaitiDn  be 
smothered.  Her  tdent  must  have  fall  and  fair  play,  and  if  it 
be  as  magnificent  as  Germany  declares,  her  triumph  will 
be  certain,  and  Mr.  Lumley's  eaterprise  rewarded.  TIm 
same  feeling  which  prevents  us  from  entertaining  «aj 
doubts  whatever  about  the  engagement  of  Jenny  Lind,  in- 
spires us,  in  the  face  of  Mr.  Buxton's  letter,  with  equal  con- 
fidence in  the  promised  opera  of  Mendelssohn,  the  moat  splen- 
did feature  in  the  prospectus.  It  is  possible  that  Mr.  Buxton 
may  be  mistaken,  but  it  is  not  probable  that  Mr.  Lumley 
would  take  so  great  a  liberty  with  the  illustrious  eompoaer,  as 
to  use  his  name  without  his  authority ;  especially  since  tha  notf- 
fulfilment  of  the  i^edge  given  to  the  Opera  aubscribers  would 
compromise  the  honour  of  Mendelssohn  no  less  than  that  af 
the  manager  of  the  esUblishment.  This  would  indeed 
be  an  ungrateful  return  for  all  the  fevoura  which  die 
English  public  has  so  lavishly  heaped  npon  the  oompoaer 
of  BUit^h.      No-Mr.  lAunl^^i^|^tg«x!^t?fgT^ 


64 


THE  MUSICAL  WOBLD. 


and  too  much  of  a  gentleman  thus  to  commit  Limself* 
The  name  of  Mendelssohn  cannot,  like  that  of  a  modern 
Italian,  be  made  the  pivot  of  a  job,  or  the  commodity  of  a 
market.  With  this  belief,  we  reiterate  our  approval  of  Mr« 
Lnmley's  programme,  and  our  assurance  of  his  success.  The 
error  of  those  who  doubt  the  candour  of  the  Opera  proceedings^ 
must  be  traced  to  a  mistaken  notion  of  making  the  director 
of  that  establishment  answerable  for  the  absurd  philippics  of 
certain  of  his  literary  champions. 

We  hod  intended  to  have  examined  the  article  on  Mr. 
Lumley's  prospectus  which  appeared  in  the  Morning  Past, 
but  on  reflection  it  would  be  w^ste  of  time  and  space.  Such 
an  odd,  incoherent  jumble  cannot  possibly  be  hurtful  to  the 
Opera,  since  the  satire  it  contains  will  utterly  escape  the 
majority  of  readers.  We  cannot  refrain,  however,  from  ex- 
pressing our  astonishment,  that  the  name  of  Mr.  Balfe,  the 
conductor,  should  have  been  overlooked  by  the  writer,  in  an 
article  which  condescends  to  mention  the  very  meanest  of  the 
subordinates,  in  the  minuteness  of  its  detail.  Surely  Mr. 
Balfe  is  entitled  to  some  distinction  at  the  Opera,  not  merely 
as  the  director  of  the  orchestra*  but  as  Mr.  Balfe,  the  composer. 
In  forgetting  him,  the  Post  has  committed,  at  least,  a 
blonder* 

TMt  NtW  THEATRE  IN   LEICESTER  SCIUARC. 

Tre  Morning  Post  of  Thursday  contains  an  article,  in 
which  is  set  forth  the  names  of  several  noblemen  who  have 
subscribed  largely  to  the  erection  of  the  new  theatre  in 
Leicester  Square.  The  only  portion  of  the  article  to  which 
we  attach  any  importance  is  contained  in  the  following 
Bentence :-— **  A  further  sum  of  from  £25,000  to  £80,000  wiU 
be  necessary  fbr  Us  completion/'  We  have  not  the  slightest 
doubt  of  this.  The  sum  mentioned  would  go  very  near  com- 
pleting the  building  of  a  theatre  of  the  size  laid  down  in  the 
article  of  the  journal.  We  can  therefore  imagine  that  the 
lordly  money  subscribed  amounts  to  little  or  nothing.  It  is 
ridiculous  to  fancy  that  a  home  for  the  legitimate  drama  is 
required  in  the  neighbourhood  of  the  Haymarket.  Mr. Webster 
has  accomplished  everything  requisite  to  sustain  the  legitimate 
diama  at  his  theatre,  and  he  is  not  always  successful.  He 
engages  the  best  actors  in  the  country,  he  employs  the  most 
established  authors,  he  leaves  nothing  undone  to  uphold  the 
'eharacter  of  the  Haymarket  Theatre,  which  is  at  present  the 
only  temple  of  the  west  end  set  apart  for  the  highest  order  of 
dramatic  entertainment,  and  yet  Mr.  Webster  does  not  roll  in 
gold.  He  succeeds  because  he  provides  entertainments 
excellent  in  their  kind,  and  admirably  represented ;  but  he 
does  not  always  meet  all  the  success  he  merits.  Another 
theatre ! ! !  We  shall  believe  it  when  we  witness  its  first 
performance.    Like  Thomas,  we  must  touch  to  be  persuaded. 

MADAME  mSHOP  IN  THE   PROVINCES. 

(From  ih§  Birwdugkam  Jcurnalf  Jamuirtf  2J.) 

^  Since  our  last  Madame  Bishop  has  appeared  at  the 
Theatre  in  the  characters  of  Isoline  and  Amina.  On 
Tuesday  a  full  house  applauded  to  the  echo  the  brilliant 
Tocalism  of  the  fair  cantatrice,  and  as  she  was  supported 
by  the  respectable  acting  and  singing  of  Mr.  King,  she 
appeared  to  far  greater  advantage  than  on  the  first  evening. 
Other  engagements  prevented  our  attendance  on  Thursday 
night,  when  she  appeared  in  the  character  of  Amina^  in  the 
opem  of  "  Sonnambula."  We  understand,  however,  that  it 
was  a  highly  finished  performance.  In  the  ornate  portions  of 
the  music,  her  voice  showered  down  floods  of  brilliant  notes ; 
ber  pathos  was  no  less  remarkable>  and  the  flj^le  was  the 


essence  of  musical  voluptuousness.  Last  night  she  again 
essayed  the  part  of  Isoline,  and  with  still  greater  success  than 
before*  In  the  desert  scene,  particularly*  her  expressive 
energy,  and  the  modulation  of  her  voice,  were  heard  to  great 
advantage.  Nothing  could  exceed  the  play  of  her  feelings  as 
she  gazed  on  the  arid  waste,  and  supported  the  inanimate  form 
of  her  affianced.  Wailing  in  accents  of  despair,  yet  ever  and 
anon  bursting  forth  in  a  transport  of  hopeful  rapture,  she 
alternately  gave  expression  to  the  gloondest  fears  and 
passionate  devotion  with  power,  and  tmUi,  and  purity.  What 
a  fine  conception  is  displayed  in  the  strengUi  which  she 
preserves  while  her  lover  is  insensible,  and  in  the  reaction 
that  follows  ;  and  how  well  does  her  voice  express  the  heart- 
sinking,  the  burning  thirst,  the  love,  '^  strong  in  death,"  and 
the  faint  dull  glimmering  of  the  lamp  of  life  as  it  wavers, 
and  sinks,  and  flashes  into  momentary  brilliance,  before  it  is 
quenched  for  ever.  This  was  a  powerful  scene,  fitly  finished 
by  her  matchless  execution  of  the  gorgeous  finale.  Certainly 
the  lady  is  justly  entitled  to  a  high  place  in  the  role  of  song ; 
may  we  hope  that  she  will  again  delight  us  with  her  graceful 
and  bewitching  warblings. 

(From  our  own  Corretpondent.) 

You  may  rely  upon  what  the  Birmingham  Journal  hat 
stated  of  Madame  Bishop's  success.  There  is  not  a  word  of 
it  exaggerated.  She  has  become  one  of  the  greatest  favourites 
with  the  Birmingham  folk  they  have  had  for  years.  Madame 
Bishop  sung  on  Monday  the  18th  instant  at  Lichfield:  on 
Tuesday  the  19th  at  Birmingham,  where  she  repeated  to  a 
crowded  audience  The  Maid  of  Artois:  on  Wednesday 
the  24th  she  sang  in  a  concert  at  Shrewsbury :  on  Thursday 
in  La  Sonnamhula  at  Birmingham,  with  immense  success: 
on  Friday  also  at  Birmingham  in  the  Maid  of  Artois.  On 
Saturday  she  appeared  at  the  Free  Trade  Hall,  Manchester, 
where  she  obtained  a  complete  ovation.  She  was  greeted  at 
each  entrie  with  three  rounds  of  applause  and  was  encored  in 
all  her  songs.  After  the  concert,  when  Madame  Bishop  waa 
stepping  into  her  carriage,  she  was  greeted  with  cheers  by  the 
members  of  the  Philharmonic  Choral  Society,  who  assisted  at 
the  concert.  From  all  I  have  heard  from  several  gentlemen 
connected  with  the  musical  profession,  it  is  my  belief  that 
Mr.  Simpson  has  not  acted  with  a  judicious  view  to  his  own 
interests.  He  is  acknowledged  to  be  a  very  able  theatrical 
manager,  but  entirely  innocent  of  making  arrangements  for 
concerts.  Instead  of  securing  the  aid  and  good  will  of  the 
local  publishers  and  professors  in  the  difierent  towns  where 
Madame  Bishop  was  engaged,  he  proceeded  entirely  on  hie 
own  individual  strength  without  any  assistance  from,  and 
ojten  against  the  interests  of  musical  societies^  and  the  con- 
sequence was,  that  great  as  was  the  attraction  of  Madame 
Bishop,  it  was  not  so  great  as  it  might  have  been  made  by 
skilful  management.  Madame  Bishop's  success  could  not  have 
been  greater.  Mr.  Simpson  is  blamed  by  all  acquainted  with 
the  ways  and  means  of  regulating  concerts  for  the  want  of 
tact  he  has  displayed  in  his  new  management.  It  is  to  be 
hoped  he  will  gather  knowledge  from  experience.  In  con- 
clusion,! can  assure  you,  without  any  exaggeration  of  criticism, 
that  Madame  Bishop  has  excited  a  great  furore  in  all  her 
performances. 

MEMOIR    OF    PALE8TRINA. 

(Continued  from  our  last,) 
Thb  reputation  of  Palestrina  spread  rapidly  with  the  pub- 
lication of  hb  first  book  of  masses.     Each  succeeding  effort 
seemed  bat  to  strengthen  and  confirm  his  genius.    It  .was 
about  this  period  that  the  ecclesiastical  authority  resolved  to 


THE  MUSICAL  WORLD. 


iS6 


work  a  reform  in  cbarch  music,  which  was  by  most  considered 
indispensable.  A  few  words  respecting  the  abuses  which  had 
originated  the  notion  of  this  reform  may  not  be  here  out  of 
place.  The  composition  of  entire  masses  and  motets  upon  an 
old  chant,  or  a  profane  melody,  was  introduced  by  music 
writers  for  the  church  about  the  thirteenth  century,  as  one 
may  see  in  the  motets  of  Adam  de  la  Hale  for  three  voices. 
This  custom  was  carried  to  such  ridiculous  extent,  that  while 
three  or  four  voices  sang  in  fugued  counterpoint  the  Kyrie* 
Eieison^  the  Gloria  in  Excelsis,  or  the  Credo,  the  person  who 
chanted  the  meiody  gave  the  ancient  words,  or  even  those  of 
the  French  or  Italian  Chanson^  sometimes  sufficiently  gross 
and  lascivious.  The  French  and  Belgian  musicians  were 
especially  fond  of  this  kind .  of  composition,  not  having  been 
acquainted  with  any  other  for  almost  two  centuries,  and  had 
introduced  the  taste  for  it  into  the  pontifical  chapel,  when  the 
seat  of  the  church  government  was  at  Avignon.  "V^Tien  the 
translation  of  the  government  to  Rome  took  place,  the  French, 
Gallo-Belgic,  and  Spanish  singers  followed  the  papal  court, 
and  prepared  the  Italians  to  march  upon  their  footsteps.  The 
first  schools  of  music  in  Italy  were  established  by  foreign 
mnsicians,  who  taught  their  principles  to  their  scholars.  The 
scholars  naturally  were  led  to  adapt  themselves  to  the  style 
and  manner  of  their  masters.  Certain  vulgar  melodies  had 
obtained  so  much  celebrity,  that  every  composer  of  note  of 
the  period,  yielding  to  the  popular  demand,  deemed  it  indis* 
pensable  to  take  one  or  other  of  them  as  a  theme  for  a  mass 
or  a  xDOtet— more  than  fifty  mnsicians  having  written  masses 
upon  the  fiunous  Ckamon,  UHomme  Arms*  Palestrina  did 
not  escape  the  contamination  of  the  school  in  which  he  was 
educated.  He  likewise  had  recourse  to  the  same  Chanson^ 
and  upon  it  he  wrote  a  mass  for  five  voices,  the  fifth  of  his 
third  book,  in  which  he  expended  the  greatest  researches  on 
the  proportions  of  notation.  This  mass,  a  veritable  musical 
enigma,  put  many  musicians  of  the  sixteenth  century  to  the 
torture,  and  gave  rise  to  the  long  commentaries  of  Zacconi  in 
bis  Frattiea  di  Musica,  and  of  Cerone  in  the  twentieth  book  of 
his  Mefopeo^  to  explain  the  system.  The  mass  was  not  pub- 
fished  till  1570;  nevertheless  it  bears  the  stamp  of  having 
l>een  written  long  previously ;  since  after  having  laboured  from 
1563  to  reform  Siese  monstrous  abuses  and  insane  subtleties 
of  music,  and  having  given  in  others  of  his  ecclesiastical  works, 
models  of  perfection,  we  cannot  well  believe  that  he  would 
have  fallen  back  upon  his  rejected  errors  seven  years  after. 

Hie  ridiculous  and  indecorous  medley  of  profane  and  sacred 
ntiBic  became  an  object  of  censure  to  the  Council  of  Bale,  and 
snbeequently  to  the  Council  of  Trent.  The  assembly  of  the 
latter  having  been  closed  in  the  month  of  December,  1563,  the 
Pope,  Pius  the  Sixth,  nominated  the  cardinals,  Vitelozzi  and 
Borrom6e,  who  joined  with  themselves  eight  members  conver- 
sant with  musical  afiairs,  principally  selected  from  the  choir  of 
the  pontifical  chapel.  At  the  first  meeting  of  the  commission 
it  was  resolved — first,  that  for  the  future  the  choristers  should 
Tefrain  from  singing  masses  or  anthems  in  which  words  of 
'different  construction  were  used  ;  and,  secondly,  that  masses 
written  on  themes  of  profane  songs  should  for  ever  be  banished 
from  the  churches.  In  France,  where  the  decrees  of  the  Council 
of  Trent  were  treated  with  contempt,  musicians  still  per- 
sisted for  more  than  twenty  years  in  following  the  old  custom 
in  their  church  music ;  but  in  Italy,  and  more  immediately  in 
Rome,  the  enactments  of  the  commission  were  strictly  en- 
forced. But  as  yet  there  existed  no  models  for  the  musician, 
if  we  except  the  masses  called  Sine  Nomine,  if  such  could  be 
called  models.  These  Sine  Nomine  masses,  moreover,  were 
overchaiged  with  puerile  researches  of  counterpoint,  which 


darkened  or  annihilated  the  sense  of  the  sacred  context.  The 
cardinal*  chosen  by  the  pope  to  execute  the  decrees  of  the 
Council,  particularly  insisted  upon  the  necessity  of  rendering 
these  texts  intelligible.  They  proposed  as  models  for  imita- 
tion the  Te  Deum  of  Constant  Festa,  and,  above  all,  the 
Improperii,  written  by  Palestrina.  The  singers  of  the  pon- 
tifical chapel  replied,  that  these  unskilful  morceaux  could  not 
supply  a  standard  for  their  masses,  from  which  neither  figured 
counterpoint  nor  cannons  could  be  banished.  The  discussion 
was  only  terminated  by  a  resolution  highly  honourable  to 
Palestrina,  and  which  proves  that  the  superiority  of  his  talent 
was  at  that  time  acknowledged  beyond  dispute,  it  being  re- 
solved that  they  should  solicit  the  master  to  compose  a  mass, 
which  should  both  combine  the  majesty  of  the  divine  service, 
and  fulfil  the  exigencies  of  the  art,  such  as  they  demanded  at 
this  epoch.  If  he  attained  the  end  proposed,  music  would  be 
preserved  for  the  church ;  in  the  contrary  case,  a  resolution 
would  have  followed,  which  would  probably  have  reduced  all 
sacred  music  to  the  simple  sintj^-'Song  chant.  Palestrina  was 
far  from  being  dismayed  at  the  responsibility  imposed  on 
his  genius.  Moved  with  a  holy  enthusiasm,  he  composed 
three  masses  for  six  voices,  which  were  heard  for  the  first  time 
at  the  house  of  the  Cardinal  Vitelozzi.  The  two  first  were 
considered  beautiful;  but  the  third  excited  the  most  intense 
admiration,  and  was  considered  by  all  who  heard  it  as  one  of 
the  most  delightful  inspirations  of  the  human  mind.  From 
that  time  it  was  resolved  that  music  should  be  preserved  in  the 
pontifical  chapel^  and  in  the  churches  of  catholic  worship;  and 
that  the  masses  of  Palestrina  should  become  models  for  all 
compositions  of  the  same  class.  The  third  mass,  which  was 
received  with  such  enthusiasm,  was  published  Yxj  Palestrina^ 
in  the  second  book  of  his  masses,  under  the  title  of  Miesa 
Papa  MarceUi.  This  name,  bestowed  by.  the  composer  on 
his  work,  has  given  rise  to  an  anecdote  recorded  by  Bevardi^ 
and  many  other  writers,  in  which  they  inform  us  that,  in  con* 
sequence  of  the  defective  state  of  music,  Maroellus  the  Second 
desired  to  banish  it  from  the  churches,  and  that  Palestrina  had 
prayed  him  to  suspend  his  judgment  until  he  had  heard  this 
mass  ;  and  that  after  he  had  heard  it,  the  pope  immediately 
altered  his  determination.  The  few  days  occupied  by  the 
pope  in  possession  of  the  apostolic  seat  renders  this  history 
of  small  probability :  in  addition,  M.  Baini  furnishes  proofs  c£ 
that  whidi  he  relates,  with  respect  to  the  Council  of  Trent, 
concerning  choral  music.  If  we  admit  the  anecdote  of  Pope 
Marcellus,  we  must  suppose  that  Palestrina  had  twice  pre- 
served religious  music  from  the  anathema  with  which  it  was 
threatened,  which  is  hardly  to  be  admitted.  The  motive  which 
induced  him  to  confer  the  name  of  Pope  Marcellus  on  this 
mass  is  then  unknown  ;  but  that  is  of  little  importance.  It 
is  certain,  that  Pope  Pius  the  Fourth,  after  hearing  this 
beautiful  production  on  June  9,  1565,  remunerated  Palestrina 
by  nominatinghim  composer  to  the  pontifical  chapel«  at  a 
salary  of  four  crowns  monthly,  which  added  to  his  pension  of 
five  crowns,  increased  his  revenue  to  nine  crowns  per  months 
about  fifty  shillings  steriing.  Pope  Gregory  the  Fourteenth, 
moved  with  pity  by  the  distress  in  which  so  celebrated  a  mu- 
sician had  passed  the  greater  portion  of  his  days,  afterwards 
increased  these  emoluments,  so  little  commensurate  with  his 
talents. 

Few  historical  monuments  of  the  art  afford  so  much  interest 
to  the  student  as  this  mass  of  Pope  Marcellus.  It  distinguishes 
one  of  those  rare  periods,  in  which  genius  breaking  down  the 
barriers  that  surround  the  spirit  of  the  times,  suddenly  opens  a 
clear  way,  and  traverses  it  with  the  steps  of  a  giant.  To  have 
composed  an  entire  mass  at  the  epoch  in  which  Palestnna 


66 


THE  J4U81CAL  WORLD 


flourisbedf  without  having  recourse  to  imitation  or  fugucd  coun- 
terpoint, would  have  been  considered  nothing  better  than  an 
imprudent  undertaking,  because  it  must  needs  have  arraigned 
that  wliich  constituted  the  principal  merit  of  the  musician  of  the 
lines.  Besides,  Palestrina  could  hardly  have  been  insensible  or 
averse  to  that  style  in  ivhich  he  was  educated.  We  shall  not 
therefore^  be  astonished  to  find  in  Pope  MarceUus*s  **  Mass" 
the  fugued  counterpoint  as  well  as  imitation,  notwithstanding 
the  obstacles  which  these  must  have  thrown  in  the  way  of  his 
accomplishment.  But  the  manner  in  which  he  has  triumphed 
Qver  these  difficulties,  and  the  faculty  of  invention  he  has 
employed  in  thia  work,  equal  at  least  to  his  learning,  must 
alwaya  excite  our  surprise  and  warmest  admiration.  We  are 
astonished,  upon  hearing  this  mass,  to  perceive  how  the  illus- 
trious lAaster  has  been  able  to  give  to  his  composition  a 
character  of  angelic  sweetness,  by  traits  of  harmony  bioad  and 
simple,  in  opposition  to  the  fugued  importations  rich  in  artifice, 
and  coqaequeptly  giving  birth  to  a  variety  in  style  before  un- 
knPWQf  These  fugued  entries,  for  the  most  part,  brief  and 
(contained  in  a  few  notes,  are  disposed  in  such  a  manner  that 
tiie  words  can  be  always  heard  with  the  greatest  ease.  With 
regard  to  the  composition,  to  the  purity  of  the  harmonies,  to 
the  art  exhibited  in  making  the  different  parts  combine  in  a 
simple  and  natural  manner,  in  distinguishing  the  {Hirtioular 
](inds  of  voices,  and  malting  six  parts  progress  with  al)  the 
foinbinations  of  science,  in  the  small  space  of  two  octaves  and 
H  l)alf~tra|I  is  beyond  praise  :  and  considering  the  era  in  which 
it  was  comppsedf  the  mass  of  Pope  Marcellns  may  be  truly 
^onsiderrt  a  great  e^brt  of  genius. 

ifQ  k9  eoniimM$d.) 


"W  BB     AWISIVISS. 

^fffsni  x\t  €rcrmaii  of  €rotl^e. 

{Cwiiimedftom  page  SS.) 
PART    I CHAPTER  XVM, 

OmuAf  bearing  some  one  depart,  went  to  the  window  in  time 

{>  see  the  bae^  of  Edward.  She  thought  it  strange  that  he  lef^  the 
ouso  without  seeing  her,  or  wishing  her  a  good  morning.  She 
became  uneasy  and  more  and  more  thoughtful,  when  Charlotte 
took  her  for  a  fonff  walk,  and  talked  on  ull  sorts  of  subjects,  but,  as 
if  designedly,  did  not  mention  her  husband.  She  was,  therefore, 
still  more  struck  when,  returning  home,  she  found  the  table  laid 
out  with  only  two  ooven* 

We  do  not  like  to  miss  oven  trifles  to  which  we  have  grown 
secuftomed,  but  it  is  only  in  important  cases  that  such  a  loss  gives 
as  pain.  Edward  and  the  Captain  were  wanting.  Charlotte  had 
tor  the  first  time  since  a  long  period,  arransfed  the  dinner,  and  it 
seemed  to  Ottilia  as  if  she  was  displaced.  The  two  ladies  sat 
opposite  to  each  other ;  Charlotte  spoke  quite  unconcernedly  about 
the  Captain^s  departure,  aud  of  the  small  hopes  that  existed  of 
seeing  him  soon  again.  One  thing  consoled  Otdlla  in  her  present 
eondition,  and  that  was  the  belief  that  Edward  had  ridden  after 
bis  friend,  to  accompany  him  for  a  short  distance. 

But  when  they  rose  from  table,  they  saw  Edward's  travelling- 
carriage  under  the  window,  and  when  Charlotte  asked,  somewhat 
angrily,  who  had  ordered  it,  she  was  answered  that  it  was  the  valet, 
who  was  going  to  pack  up  something  else.  It  required  all  Ottilia's 
«elf-possessiou  to  conceal  her  pain  and  her  surprise. 

Tne  valet  entered,  and  asked  for  his  master's  drinking-cup,  a  few 
silver  spoons,  and  several  other  articles,  which  to  Ottilia  seemed 
(0  signify  a  more  distant  jouroey>-a  longer  absenoe.  Chariotte 
drily  refused  his  recjuest,  and  said  that  she  did  not  know  what  he 
meant,  as  he  had  himself,  under  lock  and  key,  all  that  belonged  to 
his  master.  The  cunning  man,  who  was  really  only  trying  to  speak 
with  Ottilia,  and  on  that  account  to  get  her  out  of  the  room  on 
some  pretext  or  other,  was  obliged  to  excuse  himself,  and  adhere 
•to  his  request,  which  Ottilia  was  willing  to  grant.  Charlotte, 
however,  still  refused,  the  ralet  was  ibroed  to  depart,  and  the 
wrrisge  foUedoff.  | 


It  was  a  frightful  moment  for  Ottilia*  she  could  nac  uoderstand 
it,  she  could  not  conceive  it ;  but  thus  much  could  she  feel-^that 
Edward  was  torn  from  her  for  a  conside  able  time.  Charlotte  Iblt 
for  her  position,  and  lefl  her  to  herself.  We  do  not  venture  to 
describe  her  pains — her  tears ;  her  sufferings  were  infinite.  She 
only  prayed  God  that  He  would  help  her  through  this  dav ;  sho 
endured'the  day  and  the  night  also  ;  and  when  sho  came  to  herself, 
she  thought  she  had  acquired  another  nature. 

She  had  not  collected  herseif,  she  hud  not  resigned  herself,  but, 
after  so  great  a  loss,  she  still  existed,  and  had  yet  more  to  dread. 
Her  immediate  fear  upon  her  return  to  consciousness  was,  that  after 
the  departure  of  the  men,  she  herself  might  be  removed,  for  she 
knew  nothing  of  the  contents  of  £dward*s  letter  by  which  her 
residence  with  Charlotte  was  secured.  Nevertheless  she  was  in 
some  measure  calmed  hy  the  conduct  of  Charlotte,  who  endeavoured 
to  occupy  her,  and  did  not  readily  allow  her  to  quit  her  side  ;  lor 
although  she  well  knew  thiit  words  will  not  c£F"ct  much  against  a 
decided  passion,  she  also  knew  the  power  of  deliberation  and  self* 
consciousness,  and  on  this  account  discoursed  on  many  subjects 
with  Ottilia. 

Thus  it  \ias  for  Ottilia  a  great  consolation  vihen  Charlotte  inten- 
tionally made  this  wbe  observation.  **  How  livelv  is  the  gratitude 
of  those  whom  we  calmly  help  over  the  difficulties  produced  by 
passion.  Let  us  joyfully  and  clieerfnlly  set  about  the  work  which 
the  men  have  left  unfiuisbed.  Thus  we  shall  most  agreeably  look 
forward  to  their  return,  while  by  our  moderation  we  preserve  and 
advance  what  their  violent  and  impatient  nature  miuht  destroy.'' 

<*Now  you  speak  of  modeiation,  my  dear  Aunt,'*  said  Ottilia; 
*'  I  cannot  com  eal  from  you  how  I  am  struck,  by  the  want  of  that 
quality  in  men,  especially  with  respect  to  wine.  Often  1  ave  I 
been  iiained  to  observe,  that  clear  understanding,  prudence,  regard 
for  otheis,  gracefulness  and  amiability  aro  lost,  even  for  manj 
hours,  and  "that  instead  of  all  the  good,  which  an  ezeellent  roan  is 
able  to  prod  use,  mischief  and  confusion  have  threatened  to  bre^k 
in.  How  often  VMy  this  bavo  occasioned  the  most  violent  resor 
lutions." 

Charlotte  agreed  with  her,  but  did  not  continue  the  conversation, 
as  she  felt  that  even  on  this  point  Ottilia  was  only  thinking  of 
Edward,  who,  not  in  general,  but  oftener  than  could  be  wished, 
was  wont  to  increase  bis  pleasures,  his  loquacity,  his  activity,  by 
an  occasional  glass  of  wine. 

It  Charlotte's  remark  had  recalled  the  men,  and  Edward  espe- 
cially, to  the  mind  of  .Ottilia,  she  was  still  more  struck  when 
Charlotte  spoke  of  an  approaching  marriage  of  the  Captain  as  of  a 
thing  perfectly  certain  and  veil  known,  for  this  aave  matters  a 
turn  quite  different  from  that  which  she  had  been  led  to  expect  bv 
the  former  assurances  of  Edward.  All  this  increased  Otulias 
attention  to  every  expression,  every  sign,  every  action,  every  step  of 
Charlotte.  Ottilia  had  become  sharp  and  suspicious,  without 
being  aware  of  it. 

In  the  meanwhile  Charlotte,  with  her  adute  perception,  pene- 
trated into  the  detail  of  her  whole  afiairs,  working  with  her  own 
clear  aptness,  and  compelling  Ottilia  constantly  to  join  with  her. 
Without  uneasiness,  she  reduced  her  household  expenses.  Nay, 
when  she  looked  closely  into  matters  she  considered  an  event 
produced  by  passion  as  a  sort  of  fortunate  dispensation.  For,  in 
the  way  they  had  hitherto  gone,  they  might  easily  have  strayed 
into  the  boundless,  and  for  want  of  mature  consi^ieration  might,  by 
their  over- urgency,  have  compromised,  if  not  destroyed,  the 
condition  of  their  valuable  propert j^. 

'the  works  for  the  park  already  in  progress  she  did  not  interrupt. 
She  rather  allowed  that  to  proceed,  which  might  form  a  fuundai  00 
for  future  improvements,  hut  even  this  was  for  a  particular  objicl^ 
namely,  that  her  husband,  on  his  return,  should  find  enough 
occupation  to  amuse  him. 

While  engaged  in  these  labours  and  plans,  she  could  not  sufiL 
ciently  praise  the  conduct  of  the  archil ect.*  Thn  lake,  in  a  short 
time,  lay  extended  before  her  eyes,  and  the  newly-made  bardts 
were  planted  and  covered  with  turf  in  an  elegant  and  various  style. 
All  the  rough  work  of  the  new  house  was  finished,  all  that  was 
necessary  for  its  preservation  was  provided,  and  a  ittop  was  made 
at  hat  p<iint  where  the  work  might  be  pleasantlv  recommenced. 
Thus  occupied,  she  was  calm  and  ebeerful.  Ottilia  only  scen.ed 
so ;  ibr  in  the  whole  work  she  regarded  nothing  hot  the  signs 


THE  MUSICAL  WORLD. 


fiV 


, ^ ^ . — f  f 

Nevertheless,  her  hopes  of  seeioar  this  day  were  not  always  equally 
vivid.  Doubt  and  uneasiness  were  always  whispering  around  thu 
good  girl's  soul. 

A  roal  open  agreement  with  Charlotte  was  now  not  to  b« 
restored.  Indeed  the  positions  of  these  two  ladies  ware  widolv 
diflTerent.  If  all  remained  as  it  was,  anil  they  turned  into  the  tnie(l 
of  legitimate  life,  Charlotte  was  a  gainer  with  respect  tq  prpiMin| 
felicity,  and  a  joyful  prospect  with  the  future  was  opened  to  hcr« 
Ouilia  on  the  contrary  lost  all— we  msiy  well  say  all, — fpr  she  had 
first  found  life  and  joy  in  Edward,  and  in  the  present  situation  she 
felt  an  infinite  void  of  which,  at  an  ear-ier  period,  she  bad  hardly  a 
conception.  For  a  heart  which  seeks,  feels  that  -  something  is 
wanting ;  a  heart  that  has  lost  has  the  sense  of  a  privation. 
Desire  is  transformed  into  impatience  and  indignation,  and  «. 
female  mind,  although  aocostomed  to  wait,  may  step  oot  oiP  it^ 
circle,  become  active  and  enterprising,  and  do  something  towardf ' 
its  happiness. 

Ottilia  bad  not  given  up  Edward.  Indeed,  how  could  she, 
although  Charlotte,  against  her  own  conviction,  was  cunning  enough 
to  assume  as  a  decided  possibility,  that  a  friendly  calm  rclatioii 
might  be  established  between  Ecfward  and  Ottilia.  Hew  often  at 
night,  when  she  had  locked  herself  in  her  room,  did  she  kneel  down 
before  the  open  chest,  and  look  over  the  bink-day  presentf,  ef 
which  she  had  used,  cut  out,  and  made  nothiug.  How  often,  el 
sunrise,  did  the  dear  girl  hasten  out  of  the  house  in  wbiph  she  )is4 
once  found  all  her  happiness,  iqto  the  open  air,  which  once  did  not 
suit  her^  She  did  not  even  like  to  remain  on  dry  land.  Jumping 
into  the  boat,  she  rowed  into  the  middle  of  the  lake.  Then  she 
would  draw  out  of  her  pocket  a  book  of  travels,  allow  heieelf  to  be 
rocked  by  the  waves,  read,  and  fancy  herself  in  a  foreign  eoontryt 
where  she  always  found  her  friend.  She  bad  always  reiiiaiot4 
near  to  his  heart,  and  he  to  her's. 

(  To  be  eontinufidJ^ 
VTo 
triLnslatiol 


whether  Edward  would  return  or  Dot.  In  this  consideration  she 
alone  found  interest. 

On  this  account,  an  invitation  to  whicb  the  peasant-boys  were 
invited,  and  the  object  of  which  was  to  keep  in  order  the  new 
spacious  park,  was  particulariy  welcome.  Edward  had  already 
entertained  the  notion.  A  gay-coloured  uniform  was  made  for  the 
boys,  which  they  put  on  in  the  evening,  aflcr  giving  themselves  a 
tborogQl)  waahing.  The  wardrobe  was  in  the  eaatle,  the  superin- 
tendeoce  pf  it  being  entrusted  to  the  most  careful  and  intelligent  of 
the  boys.  The  architect  conducted  the  whole,  und  before  people 
were  aware  of  it,  all  the  boys  had  a  certain  destination.  They 
were  found  to  be  well-trainea,  and  went  through  their  duties  not 
without  something  of  military  manoeuvre.  Certainly,  when  some 
■iiiehed  along  with  their  pruning-books,  knife-blades,  rakes,  little 
spades,  hatchets,  and  brooms — when  others  followed  with  baskets  to 
remoTO  weeds  and  stopoa*  and  ptbera  again  drew  the  huge  liron 
roller  behind — they  formed  a  very  pretty  agi^aoable  procession,  in 
whicb  the  architect  observed  an  elegaut  series  of  attitudes  and 
occupations  for  the  frieze  of  the  summer-house.  To  Ottilia,  on  tho 
other  hand,  the  whole  appeared  only  a  kind  of  parade,  which  was 
soon  to  greet  the  master  on  his  return. 

This  prompted  her  to  receive  him  with  somethinc:  of  a  similar 
kind.  For  some  time  attempts  had  been  made  to  encourage  the 
girk  of  the  village  in  knitting,  sewing,  spinning,  and  other  female 
eecopatioQs,  and  these  virtues  had  increased  since  the  adoption  of 
the  regulations  to  preserve  order  and  cleanliness  in  the  village. 
Ottilia  always  assisted,  but  more  accidentally,  according  to  oppor- 
tunity and  inclination.  She  now  thought  to  make  the  matter  more 
perfect  and  consequent ;  but  it  is  impossible  to  get  a  chorus  out  of 
a  number  of  girls,  as  one  can  out  of  a  number  of  boys.  She  fol- 
lowed the  dictates  of  her  own  good  sense,  and  without  explaining 
herself  quite  clearly,  she  only  endeavoured  to  inspire  every  one  of 
the  girls  with  eUachsBent  to  her  homa,  her  parents,  and  her  brothen 
and  sisters. 

With  many  this  succeeded — only  against  one  little  lively  girl  was 
the  con^plaint  constantly  made  that  she  was  without  talent,  and  at 
home  would  do  nothing  whatever.  Ottilia  could  not  be  angry  with 
the  girl,  who  was  particularly  fond  of  her,  coming  to  her,  and  walk- 
iapr  or  mnntng  with  her  whenever  permission  was  granted.  Then 
the  child  was  active,  cheerfol,  and  unwearied,  the  attachment  to  so 
be««|iful  a  laistress  seaming  an  actual  requisite.  At  first  Ottilia 
only  tolexmted  the  child's  society,  then  she  became  fond  of  her, 
until  at  last  they  were  inseparable,  and  Nancy  accompanied  her 
mistress  everywhere. 

Ottilia  often  walked  to  the  garden,  and  was  delighted  to  see  how 
ail  was  thriving.  The  season  for  berries  and  cherries  was  drawing 
to  a  close,  and  Nancy  particularly  liked  the  fhiits  of  the  later 
giOA'th*  When  occupied  with  the  other  fruits,  which  promised  so 
Mcli  a  dop  for  the  autumn,  the  gardener  eonstantly  thought  of  his 
master,  and  n^ver  without  wishing  him  back.  Ottilia  liked  to  listen 
to  the  good  old  man.  He  perfectiv  understood  bis  business,  and 
l^ever  lefi  off  talking  to  her  about  Edward. 

When  Ottilia  expressed  her  delight  to  see  the  grafts  thriving  so 
Well,  tho  gardener  answered  doabtingly,  **  I  only  wish  that  my 
master  may  live  to  take  much  pleasure  in  them.  If  he  were  here 
tfaia  autumn,  he  would  see  what  valuable  spebies  haTO  been  in  the 
sastlergardea  since  the  time  of  bis  father.  The  present  oMltiTators 
of  Uwl  are  not  so  n^uch  to  be  relied  on  as  the  Carthusians  were.  In 
the  catalogue  we  find  nothing  but  fine  names.  One  grafts  and  rears, 
and  at  last,  when  the  fruit  comes,  it  turns  out  that  it  was  not  worth 
while  for  such  trees  to  stand  in  the  garden." 

Most  frequently,  nay,  nearly  as  often  as  he  saw  Ottilia,  this 
ihHhful  servant  asked  when  his  master  would  return.  And  when 
Ottilia  ooold  pot  tell  the  old  man,  he  let  her  see,  with  a  melancholy 
all*  that  be  thought  she  would  not  trust  him,  and  most  painful  to 
ber  was  the  feeling  pf  uncertainty,  which  in  this  manner  was 
forced  npon  her.  Nevertheless  she  could  not  separate  herself  from 
these  plantations.  What  they  bad  partly  sown  and  entirely 
planted  together,  was  now  In  full  blossom,  and  scarcely  required 
anv  other  attendance  than  that  of  Nancy,  with  her  watering-pot. 
With  what  sensations  did  Ottilia  watch  the  later  flowers,  which 
BOW  began '  first  to  display  themselves,  and  the  brilliancy  and 
folmft  vi  vbieh  would  beam  forth  and  show  her  afieotion  and 
gntitttde  on  Edward's  birth-day,  which  she  often  hoped  to  celebrate. 


nrevent  mlfUDdtntandinff  it  may  b^  stated,  that  thi  Coiqnkht  pf  Ikto 
>a  belong  solely  to  Uietrislator;         ^   "  ^      w^.^rrrnr 


SONNET. 

MO.  XIX. 

ttDTPUS. 

Thot;  say'st  that  to  each  other  we  are  nought ; 
But  fh>m  thy  hetrt  that  scntenoa  nevor  oame« 
That  heart,  which  for  his  mildest,  gsntlfst  flfme 

^vs  as  his  purest,  holiest  altar  sought. 

No, — ^by  a  thousand  signals  I  am  taught, 
Soft,  furtive  signs,  too  delicate  for  namt. 
That  to  each  other  we  remain  the  same. 

Bound  by  those  links  that  long  ago  wen  wiouglitKi 

And  what  thou  art  to  me,  love,  I  will  say : 
The  one  soft  beam  that  gilds  a  cloudy  sk^. 
The  one  mfld  star  that  views  a  stormy  sea. 

The  one  regret,  if  life  should  ebb  away. 
The  one  bright  dream  that  gives  a  hint  of  Jey« 
The  one  belqv'd — And  what  am  I  to  thes  f 


N.fl- 


QRAMATIC  INTELLIGENCE. 

P9.UB1Y  Lans. — Of  the  succesalul  deb^  of  Mr.  TravafHp 
the  new  tenor,  which  occurred  oil  Thursday  nightf  we  ahaU 
speak  at  length  in  oujp  next  number.  For  the  present  it  must 
suffice  that  be  chose  the  part  of  Ferdinand,  in  Donfsetti'a 
Favaritet  lor  his  debiitt  pne  which  though  **  bridling"  wit]^ 
yoeal  difficulties  (as  the  Po^t  has  it,)  is  not  unsuited  to 
the  display  of  those  qualifications  for  which  \iX&  voice  an4 
method  are  remarkable.  Mr.  Travers  exuhs  in  a  tenor  voice 
of  great  purity  and  delicious  quality,  which  wantf 
nothing  but  the  refinement  of  cultivation.  This  will  coma 
in  time,  Mr.  Travera  is  given  somewhat  to  hyperbole, 
which  ia  the  fault  of  all  our  singers  who  have  visited  Italy, 
but  he  has  so  much  of  the  right  sort  of  feeling,  and 
such  an  evidence  of  earnestness  in  all  he  doeS|  that  the 
exaggeration  is  forgotten  in  the  contemplation  of  the  better 
points  of  his  style.  But  of  all  this  we  must  defe)  speaking 
fully  till  our  next.     The  English  version  of  The  Favorite^ 


as 


THE  MUSICAL  WORLD. 


produced  for  Mr.  Templeton  some  years  ago»  is  the  same 
vhich  was  revived  on  Thursday  night.  The  other  characters 
were  sustained  by  Miss  Homer,  Miss  Collett,  Messrs.  Borrani, 
Stretton,  Morgan,  and  Homcastle.  The  scenery  and  appoint- 
ments were  striking  and  picturesque,  and  the  opera  is  alto* 
gather  got  up  wi&  ezodlent  intentions.  Signor  Schira's 
appointment  as  director  of  the  orchestra  is  likely  to  be  highly 
beneficial ;  the  band  is  evidently  improving.  Nor  must  we 
omit  to  praise  the  manner  in  which  the  choruses  were  sung, 
an  evidence  of  the  excellent  training  of  Mr.  Tully,  the  chorus- 
master.  Mr.  Travers  was  encored  in  the  ballad  of  the  fourth 
aet,  and  called  on  at  the  end  of  the  third  and  fourth  acts,  on 
boUi  of  which  occasions  he  brought  on  Miss  Romer  to  share 
the  honours.  The  success  of  the  new  tenor  was  unequivocal. 
The  house  was  well  filled.  For  further  particulars,  see  our 
next  week*!  number. 

Hatmarkst.— On  Thursday  a  juvenile  night  was  given  at 
this  theatre,  the  performances  comprising  She  Stoops  to 
Conquer^  and  The  InvUible  Prince.  The  house  was  exceed- 
ingly crowded  and  the  extravaganza  seemed  to  give  unqualified 
delight  no  less  to  the  juvenile  portion  of  the  audience  than  to 
the  more  mature.  The  new  comedy,  by  Dion  Bourcicault,  is 
entitled  The  School  for  Scheming.  The  green-room  gossip 
speaks  of  it  in  the  highest  terms  of  praise. 

PBiKCxa8's.«-A  new  two-act  drama»  entitled  The  King  of 
the  Brigandif  was  produced  at  this  theatre  on  Thursday 
evening  with  very  equivocal  success.  The  piece  is  not 
entirely  devmd  of  interest,  but  the  characters  were  altogether 
unsuited  to  the  actors.  Mr.  Compton,  who  performed  the 
chief  personage,  was  never  less  happy  than  on  this  occasion. 
His  humour  was  entirely  lost,  and  he  seemed  to  have  but  a 
¥agufr  notion  of  the  part  he  represented.  The  drama  is 
evidently  a  translation  firom  the  French,  but  seems  to  haVe 
suffered  considerably  in  its  transfer  into  English.  We  have 
seldom  witnessed  at  this  house  a  production  of  less  merit. 
The  curtain  fell  on  The  King  of  the  Brigands  with  some 
slight  manifestations  of  approval,  which,  however,  were  coun- 
teracted by  symptoms  of  disapprobation.  The  majority 
of  the  audience  took  no  part  whatsoever  with  either  side,  and 
as  far  as  we  may  judge.  The  King  of  the  Brigands  appeared 
to  have  died  a  natural  death.  We  are  sorry  to  record  [the 
ill-Buooess  of  the  drama.  The  management  of  the  Princess's 
is  seldom  guilty  of  producing  anytlmig  so  indifferent.  The 
piece  received  every  benefit  that  could  be  conferred  on  it, 
firom  excellent  scenery  and  appropriate  dresses.  The  illness 
of  Miss  Bassano  prevented  her  from  appearing  in  Anna  Bolena 
during  the  earlier  part  of  the  week.  She  again  played  last 
evening  to  a  crowded  audience.  «We  are  much  gratified  at 
finding  the  public  take  so  much  interest  in  our  fair  English 
vocalist.  Miss  Bassano's  performances  continue  to  be  the 
great  source  of  attraction  at  the  Princess's. 

Ltcxux.— A  most  excellent  farce  was  produced  at  this 
house  on  Monday  night  and  met  with  the  most  decided 
success.  It  b  ci&ed  The  Wigwam,  and  the  scene  is  laid  in 
America  among  a  tribe  of  the  Indians.  There  is  something 
irresistibly  droU  in  the  part  played  by  Keeley.  Let  our 
readers  only  imagine  the  inimitable  *'  Bob"  in  the  character  of 
a  true  cockney,  taken  prisoner  by  the  wild  woodsmen  and 
made  to  become  a  hero  of  their  tribe,  under  the  name  of  the 
**  Little  Buffalo,"  and  they  will  have  some  notion  of  the 
piece.  The  Wigwam  was  received  with  roars  of  laughter. 
Mr.  Shirley  Brooks  is  the  author. 

SuBRXT. — A  new  melodrama  of  the  true  fire-red  school, 
was  produced  at  this  house  during  the  week  and  was  suc- 
cessful.   It  is  called  Rabg  Rattler ;  or,  the  Scamp's  Progress. 


The  Surrey  folk  received  the  drama  with  immense  cheers.  We 
thought,  some  time  since,  that  Macready  had  driven  out  this 
dass  of  productions  from  the  theatre ;  we  now  find  that  what 
he  effected  was  merely  a  temporary  expulsion  of  these  plays« 
and  that  they  have  returned  back  with  redoubled  force.  Well, 
the  people  must  be  gratified,  we  suppose,  and  their  inclination 
must  be  studied. 

Fkbnch  Flats. — On  Monday  last  we  saw  for  the  first 
time  a  delightful  little  vaudeville,  entitled  Lomselte ;  or,  la 
Chanteuse  des  Rues.  In  tbe  midst  of  the  heavy,  melodramatic, 
murderous  atmosphere  we  are  now  breathing  at  the  St. 
James's,  it  is  really  quite  refreshing  to  see  something  that 
comes  within  the  bounds  of  possibility,  to  feel  a  sensation  of 
calm  affection  and  enjoy  a  little  quiet,  easy  wit  and  honest 
excitement,  without  the  chance  of  being  laughed  to  scorn  the 
next  moment  for  our  susceptibility.  The  first  scene  reminds 
us  of  the  Champs  Elgs^es  of  a  summer's  evening ;  we  have 
the  decorations  of  the  front  of  a  cafi^  with  the  usual  tables 
and  chairs,  all  green,  and  specimens  of  Parisian  beer,  of 
which  such  enormous  quantities  are  engulphed  in  this  city 
during  the  summer  months  as  would  make  a  coal-heaver  stare 
with  astonishment.  We  here  find  C^sar  (M.  Dom^),  and 
Louisette  (Mile.  Clarisse),  standing  on  a  bench  singing  **  the 
loves  of  the  great  lady  and  the  handsome  httssar"  to  the  air  of 
Berat's  '*  0  toi,  ma  eompagne  fid^le^^*  in  alternate  couplets. 
The  effect  is  pleasing.  Mademoiselle  Clarisse  doing  her  part 
excessively  well,  andM.  Dumdry,  who  is  no  singer,  supplying 
his  want  of  musical  knowledge  by  a  grotesque  which  pleased 
us  more  than  a  more  artistiod  execution  would  have  done. 
At  the  conclusion  of  the  duet  a  collection  is  made  and  the 
receipt  turns  out  to  be  a  few  pence,  two  five  firank  pieces  and 
two  billets-doux,  demanding  an  interview  and  making  oflfera 
of  wholesale  love,  splendid  furniture,  the  dream  of  all  Parisian 
Grisettes^  lands,  country  seats,  &c.  &c.  But  the  young  lady 
is  not  to  be  caught,  she  has  a  lurking  attachment  for  Ctfsar» 
who  accompanies  her  on  the  double  bass,  which  he  returns  a 
hundred  fold  by  the  most  devoted  affection  and  humble 
adoration.  C6sar  having  been  despatched  to  order  some 
dinner,  the  first  interview  takes  place— it  is  with  a  young 
fashionable^  as  he  is  styled  in  the  programme,  a  M.  Jules  de 
Lanzy ;  this  young  gentleman,  who  has  already  captivated  the 
heart  of  Floreska,  a  quondam  street-singer  and  for  the  present  a 
figurante  at  the  Opera,  lays  his  fortune  at  the  feet  of  Louisette, 
who,  after  a  slight  hesitation,  accepts  with  the  intention  of 
substituting  her  former  friend  in  her  place.  M*  C^sar,  who 
has  overheard  the  whole  of  the  conversation,  is  horrified 
at  the  duplicity  of  his  mistress,  but  is  easily  calmed  by  her 
explanation  of  the  trick.  The  next  lover  now  appears^  but  is 
received  by  C^sar ;  he  explains  to  him  his  plans  on  Louisette^ 
talks  of  a  villa,  ten  thousand  ducats  a  month,  Milan,  in  short 
C^sar  gets  into  a  tremendous  rage,  and  pummels  and  shakes 
the  poor  Italian  most  unmercifully ;  luckily  Louisette  arrives 
in  time,  and  an  explanation  takes  place ;  the  Italian  is  no 
seducer,  he  is  tbe  manager  of  the  Opera  at  Milan,  and  charmed 
with  the  accomplishments  of  the  young  street-singer,  makes 
her  an  offer  of  an  engagement  at  lus  theatre  with  a  iumdsome 
salary.  This  is  of  course  accepted,  and  in  a  quarter  of  an 
hour  an  appointment  is  made  to  start  for  Italy  ;  the  manager^ 
who  has  no  occasion  for  Cesar's  services,  hurries  off  Louisette 
to  the  post-chaise,  and  C^sar,  who  sees  a  carriage  in  the  distance, 
starts  with  his  luggage,  double  bass,  and  guitar,  in  pursuit, 
and  is  soon  on  the  road  to  Orleans  in  company  with  M.  Jules 
de  Langy  and  Floreska,  who  has  taken  the  place  of  Louisette. 
The  second  act  passes  at  Milan ;  we  are  at  the  eve  of 
Louisette's  cMft,  the  theatre  is  crammed,  the  manager  full  of 


THE  MUSICAL  WORLD. 


69 


hope  in  tbe  powers  of  the  dehaiante^  to  whom  he  has  given  a 
sound  musical  education;  the  young  lady  is  awaiting  the 
■amnions  to  appear,  when  an  organ  is  heard  in  the  street 
phiying  the  identical  air  which  she  used  formerly  to  sing 
heroelf — she  immediately  recognises  the  minstrels,  who  are  do 
other  than  our  friend  C^sar  and  Floreska,  who  on  being 
abandoned  at  Orleans  by  Jules  de  Langy  on  his  discovering 
his  mistake,  have  joined  their  fortunes  and  migrated  into  Italy 
in  the  hope  of  discovering  their  lost  companions.  The  betrayed 
is  also  at  Milan  and  piqued  at  the  ill  success  of  his  en- 
deavours, gets  up  a  cabal  and  hisses  Louisette  on  her  deb^. 
The  talents  of  the  young  singer  have,  however,  made  a 
favourable  impression  on  the  Grand  Duke,  and  the  caballers 
have  been  arrested  and  thrown  into  prison.  Louisette,  who 
is  however  tired  of  Italy  and  of  being  the  pseudo-wife  of  M. 
Saltarelli,  the  manager,  accepts  an  engagement  offered  for 
Bordeaux,  chooses  C6sar  for  her  husband,  and  thus  winds  up 
as  neat  a  piece  as  we  have  seen  for  many  years.  The  parts 
were  all  well  played,  particularly  those  by  Mile.  Clarisse  and 
M.  Dnm^ry .  The  latter  is  a  most  useful  actor  and  occasionally 
displays  great  humour  and  originality. 

Le  Barhier  du  rot  d^Arroffon  "  was  also  played  for  the  first 
time  in  England,  the  success  of  it  was  not  doubtful,  considering 
we  had  M.  Frederick  Leni&itre  for  the  hero.  It  is  written 
principally  to  show  his  wonderful  tragic-comic  powers,  and  on 
that  account  is  well  worth  seeing ;  but  the  plot,  if  there  be 
any,  is  so  confused  in  our  minds  that  we  despair  of  being 
able  to  trace  it.  We  shall,  however,  give  a  broad  outline,  in  as 
few  words  as  possible.  The  King  of  Arragon,  Alphonse,  has 
lesoWed  to  carry  of  Paghita,  affianced  to  Perez,  the  king's 
haiher,  and  Woved  by  Torreno,  a  muleteer.  A  conspiracy 
is  at  work  to  dethrone  the  king,  odious  to  his  subjects  on 
aocoontof  his  vices,  which  is  joined  by  Perez,  on  his  dis- 
covering that  it  is  the  king  who  has  canied  off  his  future 
bride.  In  a  transport  of  jealousy  and  madness,  the  barber  has 
undertaken  to  cut  the  monarch's  throat,  but  his  courage  fails 
him  at  the  critical  moment,  his  hand  trembles,  and  the  king 
fhrther  disturbs  his  resolution  by  making  him  a  marquess. 
The  eonspirators  break  into  the  palace,  the  king  flies  to 
rq[>nlae  them,  and  in  the  confusion  forgets  Paghita,  who  escapes 
to  the  mountains  through  the  instrumentality  of  Perez.  The 
disturbance  being  quelled,  the  monarch  returns ;  but  finding 
the  lurd  flown,  lus  suspicions  attach  upon  Perez.  The  king's 
confessor,  who  was  one  of  the  conspirators,  fearful  of  detection, 
resolves  to  be  beforehand  with  the  others,  and  reveals  the 
whole  of  the  plot.  Alphonse  now  resolves  to  have  vengeance  on 
his  barber — ^and  in  an  excellent  scene,  at  least  as  for  as  M. 
LemAitie's  acting  went,  he  resolves  to  share  him,  to  do  him 
honour.  The  poor  barber  gives  himself  up  for  lost,  when  he  is 
relieved  by  the  arrival  of  the  Princess  of  Castillo,  Isabella,  to 
whom  Alphonse  is  about  to  be  married.  In  favour  of  the  general 
nerjoictng,  the  king  grants  a  pardon  to  all  concerned,  marries 
Paghita  to  Torreno,  but  decrees  that  the  monk  and  the  barbet 
shall  ever  after  live  together— the  monk  to  impose  any  pen- 
nanee  he  may  choose,  but  the  barber  to  shave  the  monk  every 
morning.  M.  Lem&itre  as  usual  convulsed  the  house  with 
laughter ;  his  shaving-scene  especially  was  excellent,  from  the 
finely  expressed  mixture  of  fear,  respect,  and  hatred.  The 
part  of  the  King  was  well  played  by  Mr.  Langeval,  and 
Mile.  YalUe  looked  exceedingly  pretty  and  interesting  in  the 
part  of  Paghita,  and  acted  with  truth  and  earnestness  and  a  fund 
of  natural  sentiment.  On  Wednesday  we  had  the  Ecok  de» 
Maris  already  noticed,  and  the  L'Anberpe  des  AdreU. 

J.  DE  C         'B. 

M.  Lemtftre  has  twice  appeared  as  Robert  Macaire  in  the 


drama,  L'Auberge  des  Adrets.  This,  if  not  one  of  the  greatest, 
is  decidedly  one  of  the  most  extraordinary  of  the  actor's  parts. 
His  performance  is  a  miracle  of  ease,  natural  grace,  and  self- 
possession.  The  p*ece,  as^  performed  at  the  St.  James*s 
Theatre,  is  nearly  worthless^  and  Lemditre  is  the  Atlas  that 
supports  the  whole  weight  of  the  interest  upon  his  shoulders. 
It  is  hardly  possible  to  convey  by  words  a  notion  of  the  whim, 
humour,  and  drollery,  with  which  LemiUtre  invests  the  cha- 
racter of  Robert  Macaire.  From  the  moment  he  comes  on 
the  stage  until  he  quits  it  the  house  is  one  continued  roar  of 
laughter.  His  dress  in  itself  is  enough  to  excite  mirth  in  the 
most  phlegmatic  gravity.  And  then  his  important  swagger  in 
the  beggar's  attire,  his  manner  of  using  the  tattered  pocket* 
handkerchief  and  the  old  creaking  snuff-box,  his  caricaturing 
the  Ethiopian  singers  when  he  uses  a  warming-pan  for  a  banjo, 
his  burlesque  of  the  dance  in  Faust,  his  deportment  to  the 
Gens  darmes,  in  short  every  portion  of  his  performance  is  a 
proof  of  that  artistic  power  that  meditation  superinduced  on 
genius  an  alone  effect.  To  one  whose  heart  has  been 
thrilled  a^  the  performance  of  Frederick  I^roAitre  in  the  Dame 
St,  TropeZf  his  acting  in  Robert  Macaire  must  convey  the 
most  vivid  astonishment.  To  behold  the  great  tragic  artist 
stepping,  as  it  were,  from  out  the  line  of  actiug  that  nature 
seemed  to  have  marked  out  for  him,  and  assuming  the  very 
antipodes  to  that  style  with  equal  power  and  effect,  is  no 
small  matter  of  wonder,  even  in  this  age,  when  versatility  in 
the  performer  is  by  no  means  an  nnusual  qualification. 
Of  all  the  actors  we  have  overseen  Frederick  Lemiitre  the  best 
realizes  our  abstract  notion  of  a  great  tragedian  and  a  great 
comedian  united  into  one  person. 

ADELAIDA.  — - 

[The  following  verses  have  been  written  to  the  music  of  the 
celebrated   song  by  Beethoven,  with  a  view  to  their  vocal 
exprestton  rather  than  their  rythmical  precision.] 
LoNtLT— sadly  I  wander  by  the  silent  river 
Where  the  whispering  myrtles  in  the  moonlight  quiver, 
Murmering  fondly  o'er  tliis  dearest  name  for  ever— 

Adelaidal 
On  the  trembling  streamlet  the  stars  are  gleaming^ 
From  Its  azure  breast  thy  joylit  eyes  are  seemiag 
On  mine  to  be  beaming— 
1  behold  thee  1    Am  I  dreaming  f 
Adelaidal 
On  the  stream  is  the  violet-heaven  reclining? 
Or  thine  eyes,  are  they  shining? 

Adelaidal 
SoftF-4ow  BBurmurs  along  the  woods  are  tree piag, 
Kv'ry  flower  lifts  up  its  head  from  sleepiog. 
Nearer  floating— now  coming—quiclily  fleeting— 
Tis  the  echo  of  Heav'n's  far  choir,  repeating 

Adelaidal 
Though  this  life  will  fleet— this  voice  be  hushed  for  ever« 
My  heart  the  grave  can  silence  never-^ 
From  this  heart  each  night  will  spring  a  flower. 

Throbbing  with  the  passion  of  your  lover. 
Moonlight  wooing  by  Love's  power 
On  every  leaf  unfolding  this  word  you  will  discover— 
Adelaidal 
l/mdon^  Jan.  38,  1847.  Dion  Bouecicault. 

ORIGINAL  CORRESPONDENCE. 

7^  tUs  Kdttar  of  the  '*  Mutical  ^orld.'' 

MA  DA  MB   SCHWIBSO. 

Si  a,— 'Can  yon  favour  me  with  the  address  of  Madame  Bchwiesob  a 
pianist,  whose  Concert  you  noticed  about  three  weeics  ago  as  bavlna 
Uken  place  at  the  Princess's  Concert  Rooms.    Yours,  &c., 

A  SUSSCKIBBR. 

P.S.  Should  you  be  unable  to  supply  me  with  this  information,  per* 
haps  you  will  do  me  the  kindness  to  give  it  pttbHeity  in  your  columns,  as 
it  probably  may  meet  the  eyes  of  some  one  acquainted  witi)  the  My. 


76 


THE  MUSICAL  WORLD. 


REVIEWS  ON    MUSIC. 

**  Album  ef  Danee  Music,"  for  the  Pianoforte,  1847.— R. 
CocKi  &  Co. 

Thb  composers  who  have  contrihuted  towards  the  contents 
of  this  volume  are,  Labitzky,  Camille  Schubert,  Strauss, 
Redler,  Hilmar,  and  Goria.  Of  these  the  three  first  are  well 
known  and  highly  popular ;  the  next  two  we  never  heard  of 
before ;  the  sixth  and  last  has  some  reputation  in  Paris  as  a 
pianist.  Camille  Schubert  has  contributed  a  set  of  *'  Five 
New  Polkas."  They  are  certainly  five,  though  not  indis- 
putably new.  But  how  can  newness  be  expected  when  accent 
and  rhythin,  and  measure  and  time,  and  character,  and  what 
not,  aiie  compelled  to  be  invariably  the  same,  cut  out  of  a 
pattern  which  must  serve  for  all  eternity  ?  Still  M.  Schubert's 
polkas  are  exceedingly  pretty,  and  sparkling,  and  moreover 
essentially  danceable.  The  three  first  are  decidedly  the  best. 
The  fourth,  which  is  entitled  La  plus  Coquette,  is  rather 
stifiT  and  prudish  ;  and  the  last,  which  is  christened  La  plus 
JoUt,  less  pretty  than  any  of  its  companions.  M.  Labitzky 
has  wiped  out  the  adage  ex  nihilo  nihil  fit  from  the  book 
of  truth,  by  making  (op.  180)  a  very  lively  and  rhythmical 
set  of  quadrilles  from  such  scraps  of  tune  as  he  could  dig  out 
d  Verdi's  opera  of  Attila.  But  M.  Labitzky  is  a  man  of 
parts,  and  knows  his  trade,  as  he  needs  must,  to  make 
quadrilles  out  of  the  somniferous  strains  of  GKiiseppe  Verdi, 
^mposer  of  that  very  extraordinary  opera,  Nahucco.  The 
Bmestiner  Polka  of  M.  Hilmar  is  a  well  marked  tune,  easy 
to  perform,  and  brilliant  in  effect.  The  celebrated  Johann 
Stratifts  has  contributed  his  op.  195.  A  set  of  waltzes  called 
Die  Unbedeutenden,  in  his  most  agreeable  style.  The  fency 
of  this  writer  is  postlively  inexhaustible.  The  Robert  Bruce 
Quadrille,  on  favourite  Scotch  airs,  is  a  favourable  specimen  of 
the  talents  of  M,  Redler.  The  tunes  are  judiciously  selected, 
and 'the  arrangement  is  simple  and  irreproachable*  The 
Caroliner  Polka  is  a  much  more  acceptable  present  from  the 
popular  Labitzky,  than  the  quadrille  from  Verdi's  Attila,  Here 
the  times  being  his  own,  are  really  excellent.  There  could 
have  been  little*  doubt  of  Labitzky's  being  a  better  melodist 
than  Veidi ;  but  if  there  had  been  two  opinions  on  the 
subject,  a,  ooraparison  between  the  quadrilles  in  question 
(where  the  tunes  are  by  Verdi)  and  the  polkas  in  question 
(where  the  tunes  are  by  Labitzky),  would  have  set  the  matter 
right,  without  room  for  hesitating.  Camille  Schubert  has  con- 
tributed a  brilliant  and  animated  set  of  waltzes  called  Les 
Triomphales  (op.  100),  which  he  has  appropriately  dedicated 
to  '^son.vmi  M.  Robert  Cocks,"  the  spirited  publisher.  The 
composition  and  dedication  together  suggest  the  notion  of 
talent  paying  homage  at  the  shrine  of  enterprise.  In  his 
quadrilles,  "  Ld  Harpe  D*Erin,**  M.  Redler  has  set  out  by 
^PFPpr^atiug  to  himself  ap  idea  from  the  ballet-mnsic  in 
Atiber's  Gustave.  This  is  in  the  first  figure.  TThe  other 
figures  consist  of  fricassees  of  old  Irish  melodies,  more  or  less 
happy — ^less  happy  when  deviating  from  the  originals,  and 
more  happy  when  sticking  to  them  notaiim,  bnt  never  quite 
happy  altogether.  M.  Goria's  **  Madiedjda"  is  entitled  a 
third  original  mazurka ;  the  originality  may  he  traced  to  the 
nomenclature ;  elsewhere  it  is  untraceable.  The  Vienna  Rail- 
road Polka  of  Labitzky  is  inimitable,  and  makes  a  dashing 
finale  to  one  of  the  capitallest  albums  of  dance  music  which  we 
ever  stumbled  over  during  our  ramblings  among  the  lanes, 
ftlleys,  fields,  hills,  and  valleys  of  musical  dedications  to 
Terpsichore. 

POREIQIi  INTELLIGENCE. 
DuspviTt   Jan.   15^— Madame  Schroedet  Devrient,  who 


for  some  time  has  been  residing  quite  secluded  in'  the  small 
town  of  Rochlitz,  in  the  Saxon-Swiss,  and  had  almost  been 
forgotten,  on  the  lOth  instant  made  her  re-appearance  on  our 
stage,  in  her  favorite  character  of  Romeo,  in  Bellini's 
opera  of  Romeo  and  Juliet,  with  immense  success.  The 
management  has  re-engaged  her  for  several  years,  to  the 
great  satisfaction  of  the  public.  Although  she  may  not  he  so 
great  a  singer  as  in  those  days  when  she  was  wotit  tp  c^xrf 
the  audience  away  by  astonishment  and  enthusiasm,  she  il 
still  the  Schroeder,  the  Siddons  of  the  German  stage. 

Berlin.— (Fro'«  the  Berlin  Figaro.) — A  talented  young 
pianist,  Mr.  Ignatz  Gibsone,  has  arrived  here  from  London. 
The  communications  from  London,  Brussels,  and  the  Rhenish 
towns  on  the  concerts  of  Mr.  Gibsone,  drew  the  attention  of 
seeing  the  excellent  artist  appear  amongst  us.  England  showfi 
now  with  such  talents  as  Litollf,  Balfe,  Wallace,  Lord  West** 
moreland,  Horsley,  Bishop,  Sloper,  Macfarren,  Parish  Alvars, 
Bennett,  Jewson,  Ilolmes,  Hatton,  flowers,  Cohan,  &c.,  that 
in  music  it  is  well  qualified  to  rival  with  other  liiations. 

(From  the  Vassische  Gazette.) — Ernst's  second  concert  in 
the  Koni&rsstadtcr  Theatre  v.  as  in  some  respects  even  more 
brilliant  than  the  first,  as  the  pieces  choseu  for  performance 
disclosed  more  particularly  the  characteristic  peculisritSes  of 
the  great  violinist.  The  first  performance  was  a  grand  con^ 
certo  by  Bazzini,  in  which  Ernst  displayed  an  uncommon 
degree  of  brilliant  mechanism.  The  author's  last  work,  the 
*'  Paganini  Rondo,"  contains  very  characteristic  and  elt  ganl 
subjects,  developed  with  tasteful  orchestral  accompaniment,  o^ 
which  the  Papagenp  figure  (Zauberflote)  vies  with  the 
principal  ai^^  brilliant  violin  passages.  The  '*Carnaval  of 
Venice,"  by  Ernst,  although  not  new  to  us,  gave  us  agdn  thie 
utmost  pleasure.  The  concert  was  diversified  by  the  appear- 
ance of  a  pianist  from  London,  Mr,  Ignatz  Gibsone.  He 
played  an  original  Polka,  which  was  varied  extemporaneously! 
Although  we  did  not  discover  any  new  ideas  in  its  construc- 
tion, with  the  exception  of  an  interesting  change,  where 
the  left  hand  takes  the  theme  of  the  right  hand,  opposite  4 
chromatic  scale,  still  the  young  artist  deserves  every  praise* 
His  right  hand  disclosed  much  grace,  which  gave  his  p'l^ying 
a  lively  colouring.  Altogether,  however,  he  seems  to  requirp 
the  energy  of  expression. 

(From  the  Prussian  Journal,  December  14th,  1846.)— 4- 
young  English  pianist,  Ignatz  Gibsone,  performed  between 
the  acts  (in  Ernst's  second  concert)  an  original  theme  with 
variations  of  his  own,  and  obtained  by  his  neat,  tasteful,  and 
perfect  execution  of  diis  equally  brilliant  and  effective  corn* 
position,  deserved  applause.  A  third  concert  is  announced 
by  Mr.  Ernst,  on  which  occasion  he  intends  to  perform  hi| 
Grand  Solo  on  the  Piraia,  (Op.  19)  dedicated  to  the  ^ing  of 
Hanover. 

PROVINCIAU 

LivBRPooL. — Miss  Whitnaii,  the  spirited  and  popular  caterer  for 
the  lovers  of  sonir,  providrdon  Monday,  an  excellent  trsat  in  theTksatee 
Royal,  Wtiliamson-square,  on  which  ocGSsiQa  we  were  intro4fiocd>  for  th( 
tint  tiiot*,  to  the  celebrated  yocaltst,  Madame  Anna  Bishop,  of  the  grand 
theatres  Rome  and  Palermo,  and  prima  donna  of  the  Theatre  San  Carlo^ 
at  Naples.  The  other  singers  were  Miss  Whitnall  herself,  (who,  we 
regretted  to  observe,  was  indisposed,  and,  indeed,  appeared  coaiivjr  te 
the  advice  of  her  medical  attendanU,)  Miss  Kathleea  FitswiUUm,  Mr.  0. 
W.  King,  of  the  Theatre  Royal,  Drury-lane»  ^fid  Mr.  Corn,  of  the 
Nobility's  Concert,  Dublin.  The  first  part  comprised  Wallape's  trio. 
"  Turn  on  Old  Time,"  which  was  efifectively  sung  by  Miss  Whitnall  and 
Messrs.  King  and  Corri,  although  it  was  evident  that,  in  addition  to  Mist 
Whitnall'a  indisposition,  Mr.  King  ^as  Ubouriog  under  a  sevene  €q\iL 
•M  adame  An  ha  Bishop  appeared  next,  and  gave  a  iiecitative  and  Cavatina 
from  Ugo»  arrai)^  by  Donizetti,  with  thrilling  effect.  Her  nef  t  j^iece, 
in  this  part,  a  Reciutive  and  Cavatina  from  Meyerbeer,  was  howtver  a 


aas 


l-HE  MUSICAL  WORLD. 


n 


movt  pkasing^—- indeed  a  splendid  effort,  wonderful  in  eiecntion  ted 
faultless  in  taste.  The  tones  were  throughout  clear  and  bell  like ;  and 
in  her  subdued  notes  more  sweet  than  those  of  any  vocalist  we  remember 
to  have  heard.  But  for  the  compassion  of  the  audience  this  piece  would 
have  been  encored.  Mr.  D.  W.  King  gave  "•  Forth  I  wander,"  from 
Beethoven,  with  great  judgment.  We  have  already  mentioned  that  he 
seemed  to  be  suffering  from  cold,  which  evinced  itself  strongly  in  this 
piece.  His  voice — a  tenor — is  evidently  a  fine  organ,  well  trained ;  and, 
when  in  better  health,  we  expect  to  find  in  him  a  fine  singer.  Mr.  Corri 
sang  *•  As  I  view  those  scenes"  very  finely,  and  afterwards  volunteered 
an  Irish  ballad,  in  the  room  of  a  duet  in  which  Miss  Whitnall  was  to 
have  taken  a  part.  In  this  he  received  an  encore.  Miss  Kathleen  Fits- 
william  was  encored  most  beaitily  in  "  Barge  of  the  Bonny  Sea."  This 
talented  young  lady  is  rapidly  becoming  a  favourite.  The  gems  of  the 
evening  consisted  of  "John  Anderson  my  Jo,"  (sung  by  Madame  Anna 
Bishop,  and  encored,)  and  "  On  the  Banks  of  Guadalquiver,"  by  the 
same  lady.  Both  were  delightfully  and  wonderfully  sung,  and  encored 
of  course.  The  latter  songs  of  this  part  we  could  not  stay  to  hear  The 
house  was  thinly  attended.  Amongst  the  visitors  we  noticed  his  wor- 
ship  the  Mayor,  John  Shaw  Leigh,  Esq.,  and  other  influential  parties.— 
lAverpool  Siandord, 

LivBBPOoL.—- Tlie  far-famed  vocalist,  Madame  Anna  Bishop,  made  her 
first  appearance  at  the  Theatre  Royal,  Liverpool,  at  Miss  Whitnall'a 
concert,  on  Monday  evening.  The  Mayor  having  patronized  the  per- 
formance, was  present  with  a  party,  as  also  were  John  Shaw  Leigh,  Esq , 
and  several  other  families  of  distinction  ;  but  the  house  was  thinly 
attended,  and  the  reception  given  to  Madame  Bishop  was  not  of  the  most 
enthusiastic  description.  She,  however,  greatly  won  upon  the  audience 
by  tb«  talents  which  she  displayed  in  the  course  of  the  evening,  and  was 
encored  in  the  ballad,  "John  Anderson  my  Jo,"  Lavenu's  ballad,  '*  On 
the  banks  of  Guadalquivir,"  and  in  the  Chansonette  Francaise,**  Je  suis 
la  Bayadere.'*  Her  voice  has  some  notes  of  a  richly-melodious  character; 
her  treatment  of  it  is  that  of  the  perfect  artist,  study  and  discipline 
having  enabled  her  to  overcome  the  greatest  difficulties,  and  her  style  is 
unexceptionable.  Miss  Whitnall  had  not  recovered  from  her  severe 
indisposition,  and  the  indulgence  of  the  house  was  requested  for  her  by 
Mr.  Roxby,  but  she  got  through  what  she  had  to  do  in  a  manner  that 
«M  highly  creditable  to  her  tact  and  taste.  •'  The  Singing  Lesson," 
and  "  The  Meeting,"  in  one  of  which  she  was  to  have  sung  with  Mr. 
Corr^  and  in  the  other  with  Miss  Kathleen  FitzwilUam.  were  withdrawn, 
but  Mr.  Corri,  who  acquitted  himself  well  in  Bellini's  "  As  I  view  now 
those  scenes,"  volunteered  a  duet  solus,  "  Mother,  he's  going  away," 
which  took  the  fancy  of  his  hearers  so  much  that  its  repetition  was 
demanded.  Mr.  D.  W.  King  laboured  under  a  severe  cold,  and  conse- 
quently sang  to  great  disadvanUge.A  Miss  Kathleen  Fitzwiiliam  was  very 
warmly  and  deservedly  encoted  in  the  only  two  songs  which  she  had  to 
slnr,  ••  Barge  of  the  sunny  Sea,**  a  pleasing  gondolier  by  her  brother, 
Mr.  E.  Fitzwiiliam,  and  the  Irish  ditty, "  Erin,  my  country."  Mr.  Joseph 
Robinson  accompanied  all  the  songs,  except  those  of  Madame  Bishop, 
when  Mr.  Bovhsa  took  his  seat  at  the  pianoforte.  The  two  overtures, 
"  Fra  Diavolo"  and  "  PJduardo  e  Chrisiino"  were  cleverly  led  by  Mr. 
Aldridge,  and  well  played  by  the  band.— /.u'tfrpoo/  Expriss. 

LivBRPOOL.  —  Last  night  Madame  Anna  Bishop  performed  at  the 
Theatre  Royal  in  Baife's  opera  of  The  Maid  ofArtM,  one  of  the  earliest 
Of  that  composer's  efforts,  and  including  in  it  the  "  The  light  of  other 
days,"  with  some  additional  songs,  introduced  on  its  revival  at  Drury 
Lane  last  season,  and  several  alterations.  She  sang  the  music  allotted 
to  her  with  exquisite  effect,  and  was  very  warmly  applauded,  carr>'ing 
with  ber  the  entire  sympathy  of  the  audience,  especially  in  the  airs, 
•'  Ob,  what  a  charm,"  "  Oh,  beautiful  night,"  and  in  the  finai^»  a  very 
brilliant  and  difficult  piece  of  mwic.^^Liverpool  Esepress, 

Shrewsbury.— fisv-tm  a  CorrespondenL)— On  Wednesday,  Jan.  20, 
Madame  Bi*hop  displayed  her  supreme  artistic  singing,  and  the  capa- 
Ulitiea  of  her  mi^nificent  voire,  in  the  Music  Hall  of  the  town.  She 
was  received  with  the  greatest  applause,  and  gave  unmixed  pleasure  to  a 
highly  respectal^e  audience.  She  was  assisted  by  Mr.  Corri,  from 
Birmingham,  who  sang  several  songs.  M.  Bochsa  accompanied  on  ihe 
pianoforte,  and  exhibited  his  skill  in  a  fantasia  on  the  harp.  Mr 
Hiies  opened  the  concert  by  playing  the  "  Zauberflote  "  overture  on  the 
organ,  and  afterwards  introduced  a  slow  movement  from  one  of  Haydn's 
s)niphonies  at  the  commencement  of  the  second  part. 

Dublin.— The  oratorio  of  Sampson  was*  during  the  lifetime  of  its  im- 
mortal  composer,  made  the  medium  through  which  a  public  charity 
annually  received  those  funds  that  fed  the  hungry  and  a'^sisted  the 
destiiate ;  and  selections  from  his  oratorio  of  Joshua,  brought  forward 
wi.h  a  similar  object  last  evening  at  the  Ancient  Concerts,  served  to 
realise  a  large  sum  for  the  relief  of  the  present  existing  distress,  executed 
as  his  fine  work  was  with  all  the  varied  resources  of  the  society.  The 
attendance  on  this  occasion,  when  good  offices  to  others  became 
^th  «reat  personal  pleasure,  proved  both  fashionable  and 


crowded,  and  the  whole  of  the  arrangement*  were  mo9t«iipctiv<u  Hi« 
Excellency  the  Lord  Lieutenant  and  the  Ladies  Pon^onby  arrived  at  half- 
past  eight,  and  were  attended  by  the  stewards  to  the  front  of  the 
gallery,  where  seats  were  set  apart  for  their  accommodation ;  and  the 
Lord  Chancellor,  the  Lord  Chief  Justice,  the  Lord  Mayor,  the  Hon.  and 
Yen.  the  Dean  of  St.  Fiatrick'a,  had  also  places  set  apart  for  them  in  Xkn 
gallery.  The  music  of  Joshua  was  given  with  a  precision  and  just  ap« 
preciation  of  the  composer's  meaning  that  would  have  reflected  deserved 
reputation  on  any  society,  the  orchestra  being  complete  and  admirably 
in  hand,  while  the  choruses — forcible  but  not  crude,  earnest  but  not 
coarse— poured  forth  a  rich  volume  of  sound.  Tlie  opening  chorus,  **  Ya 
sons  of  Israel,"  was  an  illustration  of  tl\||Kemark,  and  mofe  specially 
the  exquisitely  consitructed  one  with  .solo,  "  To  long  Posterity,"  (n  which 
the  hushed  motion  of  the  waters,  as  they  stood  for  a  time  upraised  before 
rolling  back  in  trembling  masses,  at  a  word,  was  conveyed  with  ex- 
cellent truth,  to  which  the  bold  rush  of  harmony  that  succeeded  told 
with  increased  beauty  by  reason  of  the  contrast.  The  solos  were  sung 
by  Miss  Byrne,  Miss  Searle,  and  the  Messrs.  Robinson,  Smith,  Geary, 
and  an  amateur,  Mr.  Stanford.  This  gentleman  gave  the  air  "  Shall  f 
in  Mamre's  fertile  plain"  with  such  purity  of  style,  and  admirable  rich- 
ness of  voice,  that  it' at  once  called  for  an  encore,  in  which  the  Lord 
Lieutenant  and  the  Ladies  Ponsonby  joined.  Miss  Byrne,  in  the  ^x  of 
Pergolesi,  had  to  repieat  ihe  second  part,  and  her  round  contralto  toneS| 
aided  by  her  careful  and  steady  manner  of  executing  the  music,  well 
justified  the  compliment.  The  whole  concert  gave  the  utmost  satis- 
faction, from  the  unity  and  general  effect  evidenced  in  every  department, 
and  Mr.  Joseph  Robinson  condocted  with  his  wonted  skill  and  tact/-* 
Saunden'  News  Letters,  Jan.  22. 

Dublin. — We  understand  the  following  circular  has  been  forwarded 
to  the  Members  of  the  Anacreontic  Society. — '*  (Committee-room,  112, 
Grafton- Street,  4th  January.  1 847,)— Sir— The  committee  being  of 
opinion  that,  in  the  present  state  of  unpreoedented  distress  which  so 
universally  prevails  all  over  this  country  they  would  best  consult  fh« 
feelings  and  wishes  of  the  members  of  the  Anacreontic  Society,  \^ 
proposing  that  the  Society  should  suspend  its  meetings  for  the  present 
season,  whereby  the  members  would  be  at  liberty  to  apply  to  the  relief 
of  their  poor  suffering  fellow-countrymen  the  sums  which  they  have  been 
in  the  habit  of  contributing  to  the  fnnds  of  this  society,  a  groat  p«n  of 
which  would  be  withdrawn  irom  this  country  by  foreign  artists,  whoip 
it  would  be  necessary  to  bring  over  for  the  society's  public  poncerts^ 
These  views  of  the  committee  liave  been  communicated  to  mainy  of  the 
members  residing  in  Dublin,  who  have  expressed  their  entire  approval  of 
the  proposition ;  and  I  am  now  instructed  to  acquaint  yon  tliat  it  hat 
been  resolved  that  the  meeting  of  the  Anacreontic  Society  do^nd 
rdjourned  to  the  usual  time  for  commencing  their  concerts  in  November 
next;  a  decision  in  the  propriety  of  which  the  committee  hope  for  your 
concurrence — 1  have  the  honor  to  be,  sir,  your  obedient  humble  servant, 

"S.  J.  Pioorr,  Sec/' 

IVII8CELLANEOUS. 

Thb  Messrs.  Distin,  assisted  by  Miss  Amelia  HiU,  gwir%  % 
second  concert  on  Monday,  at  the  Lecture  HAllt  Ghreenwich* 
The  room  was  attended  by  nearly  seven  hundred  people. 
There  were  several  encores  during  the  evening,  among  which 
we  may  name  two  glees  by  Messrs.  H.  W.  and  T.  Distin,  a 
trumpet  solo  on  the  Sax- horn,  several  morceaux  by  the  Distill 
Family  on  the  Sax«Tubas,  and  Miss  Hill,  in  Benedict's  pretty 
song,  •*  I  am  thine."  On  Thursday  the  Messrs.  Distins  per» 
formed  at  the  Town  Hall,  Birmingham.  They  appear  to-day 
at  Leamington;  February  Ist,  at  Coventry.  On  February 
3rd  they  are  engaged  at  Cambridge,  and  on  the  following  day 
they  will  appear  at  Oxford  with  Madame  Bishop.  On  the 
5th  they  are  engaged  at  Greenwich ;  on  the  8th  at  Hanley  \ 
on  the  9th  at  Burslem;  lOth  at  Longton;  11th  Newcastle- 
under-Tyne^  12th  Stoke;  15th  Hackney;  18th  Stoke  New- 
ington  ;  19th  Horns,  Kennington,  &c.  &c. 

Madamb  Anna  Bishop,  according  to  her  engagement 
with  Mr.  Simpson,  sang  last  Monday,  the  18th  instant, 
at  Lichfield;  on  Tuesday  she  repeated  at  Birmingham, 
before  a  crowded  house,  the  Jfaid  of  Artois^  assisted 
by  Mr.  W.  D.  King,  of  Drury  Lane.  On  Wednesday  she 
sung  at  Shrewsbury;  and  on  Thursday  she  perfonned  at 
Birmingham,  for  the  first  time,  the  whole  opera  of  La 
Bonfmmbula.  Madame  Anna  Bishop's  success  in  the  beaotilul 


72 


THE  MUSICAL  WOBLD. 


part  of  AnUna,  was,  if  possible,  greater  than  in  the  Maid  of 
ArtoxB.  After  the  first  cavatina,  **  Dearest  companions/'  the 
fair  vocalist  received  three  rounds  of  applause,  and  all  through 
the  opera  the  enthusiasm  was  general.  The  celebrated  rondo 
finale  was  of  course  encored,  and  notwithstanding  her  immense 
exertions  and  fatigues  of  the  week  the  prima  donna  of  England 
warbled  it  in  a  delicious  manner.  On  Friday  she  performed 
the  Maid.  Saturday,  the  23rd,  she  made  her  first  appearance 
before  a  Manchester  audience  since  her  return  from 
abroad,  at  a  grand  concert  in  the  Free  Trade  Hall. 
Madame  Anna  Bishop*8  reception  baffles  all  description ; 
the  applause  was  so  deafening,  and  so  prolonged,  that 
she  remained  several  seconds  without  being  able  to  sing,  and 
it  was  easy  to  remark,  from  the  emotion  evinced  by  the  great 
artist,  that  she  felt  much  gratified  by  that  hearty  wehome. 
When  silence  was  restored,  she  began  her  first  song  from  A}o^ 
aa  arranged  ior  her  by  poor  Donizetti,  who  was  so  partial  for 
the  talent  of  our  countrywoman,  and  the  applause  was  inces- 
sant. It  would  be  too  long  to  detail  Uie  ovations,  the 
vociferous  cries  for  having  all  the  songs  repeated,  the  three 
cheers  given  to  the  songstress  every  time  she  came  in  the 
orchestra.  Sufiice  it  to  say,  that  her  triumph  was  complete, 
and  that  when  she  stept  into  her  carriage,  after  the  concert, 
the  members  of  the  Manchester  Choral  Harmonic  Institute, 
who  had  sung  during  the  concert  two  glees  very  effectively, 
gave  her  a  last  tremendous  cheer.  Mr.  Weston,  the  able  con* 
ductor,  acquitted  himself  of  the  task  with  great  judgment  and 
discernment.  Messrs.  W.  D.  King  and  Corrie  were  the  other 
vocalists.  Madame  A.  Bishop  is  to  sing  at  Liverpool  on  Mon- 
day, the  25th. — Morning  Post 

Ml.  F&Ei>BMCK  Webster,  stage  director  of  the  Theatre 
Royal  Haymarket,  has  been  appointed  Professor  of  Elocution 
to  the  Royal  Academy  of  Music.  ' 

Madame  Vestris. — ^This  popular  actress  has  been  fulfill- 
ing a  farewell  engagement  for  the  lost  month  at  Liverpool,  and 
on  Friday  evening  she  took  leave  of  the  people  of  that  town  in 
the  following  characteristic  address :— >"  Ladies  and  Gentlemen 
; — I  appear  before  you  to  say  farewell,  and  that  in  its  moat 
painfiil  shapes  a  long  and  last  farewell.  My  health,  rather 
than  my  inclination,  believe  me,  induces  this  apparent  sudden 
step  Were  I,  indeed,  as  old  as  some  good  people  have  been 
pleased  to  fancy  me,  I  ought  to  have  retired  years  ago,  not 
only  from  the  mimic  scene,  but  from  the  stage  of  life  itself. 
The  truth  is  that  having  been  long  before  the  public,  and, 
owing  to  the  kindness  of  that  public,  conspicuously  so  at  an 
earlier  age  than  is  usual,  not  being,  I  believe  I  may  venture 
to  assert,  quite  superannuated.  After  this  you  will,  perhaps, 
expect  me  to  tell  you  what  my  age  really  is,  but  I  claim  the 
privilege  of  my  sex,  and  leave  that  highly  important  question 
still  open.  It  becomes  one  who  has  enjoyed,  both  as  an 
actress  and  a  manager,  a  share  of  public  favour  and  applause, 
such  as  is  accorded  to  few,  to  submit,  without  a  murmur,  to 
those  afflictions  which  are  itke  lot  of  many.  Great  as  has  been 
the  favour  I  have  obtained,  it  has  been  nowhere  greater  than 
in  this  flourishing,  opulent,  and  liberal  town  ;  and  I  beg, 
therefore,  to  offer  to  its  numerous  representativea  here  present 
my  humble  and  heartfelt  thanks.  How  long  I  may  yet 
perform  in  London  is  uncertain,  but  my  health  at  present 
not  permitting  me  to  undergo  the  continual  fatigues  of 
travelling  professionally^  I  have  come  to  the  determination  of 
closing  my  country  accounts  altogether.  Before  I  depart, 
however^  allow  me  on  retiring  from  business  to  recommend 
to  your  cordial  support  my  junior  partner.  He  has  secured 
for  himself  my  good  will,  and  has,  I  trust,  entitled  himself  to 
yoiirs.    It  is  he,  therefore,  who  will  in  future  undertake  the 


travelling  department.  Let  me,  then,  express  my  earnest 
hope  that  the  liberal  patronage  you  have  for  so  many  years 
extended  to  myself,  will  be  steadily  continued  to  my  husband. 
Ladies  and  Gentlemen,  I  most  respectAilly  and  most  gratefully 
bid  you  farewell."  Madame  Vestris  was  bom  March  1,  1796. 
She  was  married  in  1813,  when  only  sixteen  years  old,  to 
Armand  Vestris,  the  principal  dancer  at  the  King's  Theatre, 
where  she  made  her  deM  as  Proserpina,  in  Winter's  opera 
'*  II  Ratto  di  Proserpina,"  July  20,  1815 ;  so  that  she  has 
been  nearly  thirty*two  years  on  the  stage.  Charles  Mathews 
was  born  in  1802. 

Exeter  Hall. —  The  Creation  was  performed  on  Tuesday 
evening  by  the  members  of  the  Sacred  Harmonic  Society*  for 
the  second  time  this  season.  The  vocalists  were.  Miss  Birch, 
Mr.  H.  Phillips,  and  Mr.  Lockey.  The  performance  on  the 
whole  was  superior  to  that  of  the  previous  week.  The  singers 
acquitted  themselves  with  great  effect.  Miss  Birch  sang  very 
finely ;  her  delivery  of  "  O,  thou,  for  whom  I  am,"  was  ex- 
ceedingly impressive,  and  was  altogether  the  best  specimen  of 
vocalisation  we  have  heard  from  this  lady  for  some  time.  Mr. 
Lockey  was  no  less  happy  in  the  portion  of  the  oratorio 
allotted  him.  He  was  encored  in  **  In  native  worth,"  which 
he  rendered  with  great  feeling  and  expression.  Mr.  H. 
Phillips's  singing  the  music  of  Raphael  in  the  Creation  is  too 
well  known  to  demand  any  comment  here.  The  choruses 
Were  well  sung  thioughout,  and  the  oratorio  was  ably 
conducted  by  Mr.  Surman.  The  band  did  its  duty  most 
efficiently,  and  the  numerous  obligato  passages  for  the  various 
instruments  were  excellently  played.  In  the  popular  song, 
*'  On  might}  pens,"  we  were  much  pleased  with  the  flute 
accompaniment  of  Mr.  Card,  one  of  the  oldest  and  most 
experienced  of  our  orchestral  performers,  who  has  Won  yeaiB 
of  honourable  fame  at  the  Philharmonic,  the  Opera,  and  the 
great  provincial  festivals  in  the  capacity  of  primo  flouts. 
Nev^r  did  this  excellent  artist  play  with  more  po  nt  and 
judgment  than  in  the  Creation  on  Tuesday  night,  and  the 
fact  was  remarked  by  many  connoisseurs  of  the  instrument 
who  happened  to  be  present. 

Mb.  Allcroft  has  announced  his  Grand  Annual  Misoella- 
neons  Concert  for  Tuesday  next.  This  concert  generally 
constitutes  one  of  the  best  musical  entertainments  of  the  early 
London  season. 

Mr.  Williak  Dawson,  pupil  of  Mons.  Tolbeeque,  gave 
an  evening  concert,  at  the  Manor  Rooms,  Stoke  Newington, 
on  Monday  last,  the  18th  inst.  The  vocalists  engaged  were, 
Miss  Ellen  Lyon,  Miss  Cubitt,  and  Madame  F.  Lablache, 
Mr.  Hobbs  and  Signor  F.  Lablache.  Instrumentalists, 
Messrs.  Richardson,  Dawson,  and  Dumon.  The  concert  com- 
menced with  Paer's  effective  Terzetto,  "  Si  dira,"  admirably 
rendered  by  the  Misses  Ellen  Lyon  and  Cubitt,  and  Signor  F. 
Lablache.  Miss  Ellen  Lyon,  who  posses  a  rich  and  pure 
soprano  voice,  gave  Donizetti's  cavatina,  L*Amor  Suo^  with 
brilliancy,  and  gained  the  applause  she  justly  merited.  The 
encores  were  numerous,  amoni^st  which  were  Miss  Cnbitt  in 
'*  Homage  to  Charlie ;"  Madame  F.  Lablache  in  a  pretty  ballad 
of  Finley's  ;  and  Madame  and  Signor  F.  Lablache  in  *'  Singa 
tanti  complimenti."  Mr.  IV-^on  interpreted  a  solo  of 
Mayseder's  with  skill.  !.C«>ns.  Dumon  accompanied  the  vocal 
pieces  with  tact  and  ability,  and  the  concert  appeared  to  give 
universal  satisfaction  to  a  highly  select  audience. 

M.  Panofka. — In  our  review  of  the  Opera  prospectoa 
last  week,  ^e  omitted  to  mention  the  engagement  of  this 
highly  esteemed  musician,  whose  services  have  been  secured 
by  Mr.  Lumley,  in  the  capacity  of  general  superintendent  of 
the  artistic  interests  of  Her  Majesty's  Theatre.     M.  Panofka 


THE  MUSICAL  WORLD. 


T8 


unites  to  integrity  and  zeal  the  talents  und  general  knowledge 
of  the  subject  which  eminently  qualify  him  for  the  post*— and 
we  only  echo  the  words  of  our  esteemed  friend,  Stephen 
Heller,  in  applau<Ung  the  discretion  Mr.  Lumley  has  evinced 

the  engagement. 

Sacebo  Haeuokic  Socibtt.— Handel's  Dettingen  Te 
Deum,  which,  since  its  performance  has  been  discontinued  at 
the  festival  for  the  benefit  of  the  Sons  of  the  Clergy  at  St. 
Paul's  Cathedral,  is  rarely  heard  in  London,  will,  with  a 
selection,  be  performed  at  the  next  concert  at  Exeter  Hall  on 
the  18th  February.  Mendelssohn  and  Spohr  are  both  expected 
during  the  present  season,  which  promises  to  be  unusoally 
brilliant. 

Thb  Madbioal  SociETY.-^^The  One  Hundred  and  Sixth 
Anniversary  of  this  Society  was  celebrated  in  the  Freemasons* 
Hall,  on  the  2tst  instant.  Lord  Saltonn  (who  had  travelled 
from  Scotland  expressly  for  the  occasion)  in  the  chair; 
supported  by  Lord  Oxford,  Lord  H.  Paget,  Sir  Andrew 
Barnard,  and  about  a  hundred  amateurs  and  professors  of 
music.  The  following  compositions  were  sung  after  dinner, 
under  the  direction  of  Mr.  Turle,  organist  of  Westminster 
Abbey,  by  sixteen  cantos,  twelve  altos,  sixteen  tenor:!,  and 
twenty-eight  basses ;  totalt  seventy-two. 
"  Non  Nobis  Domine," 

"  Bow  thine  etr." W.  Bvrd,        1590. 

"  Sweethntrt  arise/' T.  Walkbb,    1600. 

"  Sweet  Plulomel," J.Ward,        1613. 

*' Now  tune  the  vioV  (encored)  .        .        .    G.  Caimo,       1560. 

"  When  ChloriB  heard,"  (encored)       .        .        .    J.  Wilbvs.     1598 
**  Sweet  honey-micklAg  bees,"  (encored)      .        .    T.  Wilbtk,     1598. 

**  Betti  fin  qui  le  pene/' L.  Marzmsio,  1670. 

*'  April  is  in  my  mistress*  face/'  •       •        .    T.  Morliy,    1594. 

"^  Dainty  white  ^ri/' A.  Ricci,        1570 

"  Hard  by  a  chrystal  fountain/'  .        .        .    G.  Crock,       1580. 

"  Who  prortiate  lie/' T.  Batbsoit,    16C0, 

Finale— "  The  Waits/' J.  Saviu.s,     1660. 

The  honorary  secretary  of  the  society,  Thomas  Oliphant, 
Esq.  was  absent^  owing  to  a  domestic  affliction,  bat  the  noble 
chairman  did  not  forget  him ;  his  health  was  drank,  and  his 
zeal  and  exertions  on  behalf  of  the  society,  were  duly  ac 
koowledged.  The  health  of  the  former  president.  Sir  John 
Rogers,  Bart.,  was  given  and  heartily  responded  to.  We 
scarcely  need  add  ^t  the  reception  of  the  gallant  Lord 
Saltonn  was  quite  enthusiastic. 

Lord  Saltouh  has  consented  to  preside  at  the  One 
Hundred  and  Ninth  Anniversary  of  the  Royal  Society  of 
Musicians,  which  will  be  celebrated  on  the  1 9th  of  April,  on 
tiM  nftoal  extensive  scale. 

Ths  Latx  Mr.  Kxarns.—* It  is  in  contemplation  to  get  up 
a  concert  for  the  benefit  of  the  widow  and  numerous  family 
of  this  lamented  artist,  who  have  been  left  in  very  indigent 
circumstances.  Sir  George  Smart  has  consented  to  act  as 
chairman  of  a  committee  of  professors,  and  Signor  Costa  will 
conduct  the  performance. 

Casiho  db  Yenisb. — The  proprietor  of  the  eBtablishment 
in  Holborn,  where  the  promenade  concerts  and  balls  are  held, 
has  become  the  principal  manager  of  the  entertainments. 
Qfattan  Cooke  the  conductor,  and  Blagrove  and  Putsy  leaders 
of  the  concerts. 

Mr.Tbavbbs«  the  tenor  singer,  who  has  made  his  deb^ 
at  Dniry  Lane  Theatre,  is  a  cousin  of  Miss  Romer,  and,  it  is 
stated,  that  he  is  to  be  married  te  a  daughter  of  the  ei-devani 
Miss  Chester. 

Thb  Melodists. — The  social  meetings  of  the  Melodist 
Club  where  resumed  on  Thursday,  when  about  forty  persons 
dined  at  the  Freemason's  Tavern,  B.  R.  Colebell,  £sq.j  M.P., 
in  the  chair*  Several  glees  were  sung  by  Messrs.  King,  Horn, 


Francis,  Parry,  H.  Gear,  Genge,  Kench,  £.  Taylor,  MacUn 
Atkins»  &c.  &c.  Solos  on  the  claiinet  and  concertina  were 
excellently  performed  by  Lazarus  and  9.  Blagrove.  A 
brilliant  &ntasia  was  played  on  the  pianoforte  by  Mr.  G. 
Kiallmark  and  the  evening  past  off  most  harmoniously.  The 
prize  offered  by  W.  Dixon,  Esq.  for  a  cheerful  song,  to  be 
sung  and  accompanied  by  Mr.  Hatton,  will  be  awarded  at  the 
next  meeting  of  the  club  on  the  28rd  of  February. 

Vocal  CoNcsRTs.-^It  is  reported  that  these  concerts  will 
be  resumed,  but  nothing  has  been  finally  settled  yet  Misa 
Birch,  it  is  said,  will  not  continue  as  one  of  the  directors* 

Crosby  Hall. — The  Fourth  Concert  of  Sacred  Music* 
under  the  direction  of  Miss  Mounsey,  took  place  on  Wednesday 
evening.  The  principal  singers  engaged  for  the  occasion  were 
Messrs.  Lockey  and  Machin,  and  the  Misses  Steele  and 
Cubitt.  Miss  Mounsey,  as  usual,  presided  at  the  organ«  and 
performed  a  solo  between  the  parts.  The  programme  com* 
prised  a  selection  from  the  works  of  Boyce,  Preyer,  Hasse, 
Galliard,  Handel,  h  aydn,  Kalliwoda,  Pei^olesi,  Bach,  Schicht, 
Vogia,  Otto  Nieolai,  Mendelssohn,  and  Weber.  The  concert 
terminated  at  an  early  hour  and  the  room  was  well  filled. 
Press  of  matter  hinders  usfrom  entering  into  further  particulars* 

Mario. — This  accomplished  tenor  is  stated  to  be  the  sou  of 
General  di  Candia.  Mario,  who  was  bom  at  Cagiiari,  in  1816, 
was  educated  amongst  the  king's  pages,  at  the  Royal  Academy 
of  Turin,  and  subsequently  became  an  ofiicer  in  the  Pied- 
montese  guard.  From  his  early  youth  he  was  passionately 
fond  of  music.  On  his  arrival  in  Paris,  in  1836,  the 
manager  of  the  Academy  Royale,  whose  curiosity  was 
excited  by  the  enconiums  lavished  in  private  circles  on  the 
young  amateur,  took  an  opportunity  of  hearing  him  sing,  and 
immediately  offered  him  an  engagement,  which  Mario,  after 
much  hesitation,  accepted.  This  greatly  irritated  his  father, 
who  spared  neither  entreaty  nor  commands  to  hinder  his 
son  from  embracing  the  career  of  a  public  singer.  Mario, 
however,  persisted  in  his  resolution,  but  so  far  yielded  to  the 
general's  wish  as  to  consent  to  let  his  Christian  name  alone 
appear  in  the  bills. 

Mr.  T.  p.  CooKR.«-It  is  rumoured  that  this  favorite  act^r, 
having  recovered  from  a  long  and  serious  illness,  is  about  to 
occupy  the  stage  boards  for  a  season  before  hu  final  retire- 
ment. The  respective  managers  of  Drury  Lane  and  the 
Princess's  have  made  Mr.  T.  P.  Cooke  most  liberal  offers. 

Madamb  Ddlcxek. — ^What  does  the  musical  critic  of  the 
Chromele  mean  by  the  following  t—<^oni/fi^  Chroniele^ 
Jan  28)—"  Pianists  of  every  clime  visit  this  country  from 
season  to  season,  but  after  a  sojourn  here  of  some  years, 
Madame  Dulcken  is  also  heard  with  unalloyed  gratification, 
a  sure  evidence  of  a  poetical  temperament  and  of  unahated 
energies"  [O.  J.  and  ••  The  Trunkmaker  "  might  perhaps, 
by  putting  their  heads  together*  explain  the  meaning.] 

Princess's  Concert  Room. — An  entertainment  was  given 
in  the  above  room  on  Tuesday  evening,  by  Mr.  Wilson,  in 
aid  of  the  Scotch  Poor  in  the  Highlands.  The  room  was 
exceedingly  crowded,  many  of  the  Seotch  in  London  having 
flocked  to  the  concert  room  to  tappoit  s  favorite  singer  in  his 
amiable  endeavour  to  assist  his  countrymen.  Mr.  Wilson's 
reception  was  most  flattering,  and  his  vocal  efforts  throughout 
the  evening  obtained  great  applause.  His  *'  Allister  M'Allis* 
ter,"  was  the  most  successful  hit  of  the  concert*  Mr.  Land 
presided  at  the  piano  as  usual. 

A  Concert  was  given  on  Wednesday  evenirg  for  the  benefit 
of  Mr.  Le  Jeune,  at  the  Marylebone  Institution,  EdwardV 
street.  Several  songs  and  pieces  were  sung  by  the  Misses 
Stuarty  FiiBwelly  and  the  Miwea  Blisa  and  Ellen  Lyon*  ^  The 


"■  -'y^' 


7* 


THE  MUSICAL    WORLD. 


latter  mentioned  young  ladies  pleased  tnucli  by  their  duet 
•inging.  Miss  Stuart  has  a  good  voice,  and  sung  "  Love  and 
Language^**  from  The  Bondman,  very  effectively.  A  duet  for 
pianoforte  and  violoncello  was  effectively  performed  by  Mr. 
Charles  Le  Jeune  and  a  gentleman  with  whom  we  were  un- 
acquainted.— {From  a  Correspondent,) 

AtfctutfT  Jkrusalim. — This  interesting  model  of  the  city 
on  which  pro&ne  and  sacred  history  has  accumulated  more  of 
interesting  and  serious  association  Uian  on  any  spot  of  that 
ancient  world  which  has  bequeathed  us  so  many  a  lesson  of 
wisdom  and  of  life,  is  now  exhibiting  in  Piccadilly.  As  a 
wonderful  work  of  patience  and  ingenuity  it  is  well  worthy  the 
inspection  of  the  curious;  but  its  chief  interest  will,  of  course, 
depend  upon  the  reverent  feelings  With  which  the  Christian 
wiU  naturally  peruse,  if  we  may  be  pardoned  the  expression, 
the  localities  of  that  blessed  soil,  hallowed  by  the  footsteps  of 
Him  whose  sufferings  on  the  cross  purchased  Him  redemption. 
Here  we  may  follow  step  by  step  that  touching  drama,  in 
which  the  pwte  and  guiltless  blood  of  the  Man  who  was  God 
iealed  the  inestimable  gifts  of  man's  salvation.  Here  is  that 
temple  in  which,  yet  a  child,  His  heavenly  wisdom  held  grey- 
haired  man  in  wonder.  Here  the  streets  in  which  He  taught, 
and  in  M-hicli  miracle  after  miracle  appealed  in  vain  to  an  un- 
believing race.  Here  the  Mount  of  Olives,  where  He  wept 
over  the  coming  fate  of  Jerusaleih.  Here  the  garden  of  the 
passion,  and  here  the  Via  Dolorosa,  and  here  Calvary.  We 
know  no  public  exhibition  more  fit  t6  attract  ax;d  more  capable 
of  meeting  and  fastening  public  attention.  Its  success  is 
thoroughly  deserved. 


TO   COnRESPONDCNTS. 

A  PiAVOrovLTt    Playbr.— *•  Le  jeu  ne  vaut  pas  la  chandclle  ;** 
•    sides  the  article  is  a  very  clxtmsy  translaiion  from  a  JV«icA  paper. 


ADVERTISEMENTS. 


WARREN^S 
30  GUINEA  COTTAGE  PIANO-FORTES 


ARE  NOW  SELLING  AT  THE 

ManufjACtory,  71,  Leadenhall  Street^ 

{Bemowdfrom  1  ai^  2,  Livergool  Street,  JBishopsgate  Street,} 
TheM  Instruments  are  well  manufactured  of  the  best  seasoned  wood,  FINE 
TOLiTTONE  AND  OOOD  TOUCH,  A  two  yenrs  warranty  jdven  with  each  hwtru- 
-  TAB  -     -----    -    ~         .         .    ,  .     -      . 

^  "^PRoSt  AND  QUICK 'B^ 


SHE 


inent,    EOTABLlStfED  TWENTYONB  YEARS,    The'  only  house  in  London 
where  a jrood  sottiid  jnstrument  can  be  obtained  at  the  above  low  price,  (for  cash 
Only).    81 
^OHN  WABtlBN,  71,  LeadenliaU  St.,  opposite  Aldffate  Pvanp 


WSt.  attd  Madame  O.  A.  MACFARREN 

Bes  to  iaibrm  thfir  friends  and  the  Public,  that  they  have 
REMOVED  TO 

5»i  YOB&  tammAom  EsaaMT's  paex. 


HISTORICAL 
IQXETSR 


CONCERTS, 
HALL. 


THE     SECOND     CONCERT 

(Of  a  Series  of  foor)  illiutrattTO  of  the  History  ot 

engli»6  Focal  ilttu»tc, 

WILL  BE  HBLD  ON 

MONDAY   BVBNZNG,    FlQBRt7AttT   8, 

At  which  will  be  pref  ented  specimens  from  the  music  of  RoasRii,  HtJM^intEYB, 
Wias,  Lock,  Blow,  CaBioRTON,  RitADiNO,  and  PuaCBLt. 

Principal  Vocal  Perforwters : 

MISS  RAINFORTH,  MISS  DOLBY, 

MR.  LOCKEY,        MR.  W.  H.  SEGUIN,       and       MR,  MACHIN. 

THE   CHORUS 

Will  consist  of  the  Mbmbers  of  Mr.  Hullah's  Upper  Sinoino  Schools, 

and  the  Orchestra  of  Mr.  Willy's  Concept  Band. 

A  NEW  ORGAN  has  been  erected  by  Mr.  Robson  expiessly  for  these  concerts. 

•tieketB : 

Area 2«.  Od.— For  the  three  concerts &t,Od. 

Western  Gallery 3    6 For  the  three  concerts 8    0 

Reserved  Seats 7    0 Forthe  three  concerts  ......17    a 

May  be  had  of  Mr.  Parker,  Publisher,  445,  West  Strand;  and  of  the  principal 
Music  Sellers. 


Just  PnbUshed  by  R.  MILLS,   140,  New  Bond  Btrettt, 

No.  4   OP   GERMAN   SONGS> 
"HOFPNWNO;»> 

THE  POETRY  BY  SCHILLEft,  THE  ENGLISH  WORDS  »Y  DMU. 
MUSIC  BY  HENRY  WYLDE,  Associate  ot  the  Royal  Academy. , 

Also,  by  the  same  Author,  (first  Sonata  dedicated  to  C.  POTTER^ 

"RHAPSODY,'* 

BOOK    OF    GERMAN    SONGS. 

In  ike  Press — '*  Capricet*  for  the  Piano-forte, 


FOR  COUBHSi  C0LD6|  IRRITATION  OF  TRE  THROATi  MOARSilKSSi 

&c. 

PECTORAL     EMULSION, 

Prepared  strictly  accordinfc  to  the  formula  of  a  distiufniisbed  Physician  in  Psrls, 
This  preparation  having  enjoyed  f^eat  celebrit]^  for  many  years  on  theContinent, 
as  well  as  underg^oin;  a  trial  for  some  time  in  private  practice  in  this  country,  is 
ROW  introduced  to  the  public  as  the  most  agreeable,  efficacious,  and  speedy  cure 
fbr  the  above  affections,  relievins- the  most  obstinate  Coughs  in  a  few  hours.  To 
Singers,  Professors,  and  Public  Speakers  ft  will  be  focmdinTahiable. 

PREPARED  ONLY  BY 

TURNER   AND   SPRATT 

English  and  Foreign  Chymists.  7,  TICHBORNE  STREET,  Haymarket. 
in  Bottles  at  is.  l^d.  and  2b.  Od.  each.— Importers  of  French  Jujubes  and  Syrnpt. 


MEDIOAI.  GALVANISM. 

HORNE,  THORNTHWAITE.  &  WOOD,  Saocessors  to  E.  Palmbr,  198,  Nei*  - 
gate.Etreet,  in  submitting  their  improved  KLECrRO-GALVANlC  MACHINE?, 
beg  to  state,  that  they  have  availM  themselves  of  the  discoveries  of  De  la  Rive» 
Faraday,  Smee,  and  others,  by  which  they  are  enabled  to  construct  a  coil  with  all 
the  required  intensity  and  quantity  of  electricity  tor  medical  use,  thereby  effect* 
ing  both  a  saving  of  expense  and  trouble  to  the  invalid,  and  placing  in  hie  hands 
an  effective,  f)owerful,  and  simple  instrument,  that  may  be  excited  at  a  nuuutfe's 
notice,  and  without  trouble.— Price,  ^Z,  3s. ;  dZ.  10s.;  and  d:$.  5s. 

PHILOSOPHICAL  APPARATUS.— Every  description  of  AppontUE  osinected 
with  Chemistry,  Hydraulics,  Hydrostatics,  Pneumatics,  Frictional  and  Voltaic 
Electricity,  Electro-Magnetism,  Electro-Metallurgy,  Optics,  (including  the  jWb- 
solvinff  Views,  Photoirraphy,  &c.)  manuilsctured  and  sold  by  Home,  i  homthwaite 
and  Wood,  successors  to  Edward  Falmer,  123,  Newgate  Street,  London. 

Foreign  orders,  enclosing  a  remittance  or  order  for  payment  in  Loadoii, 
prompily  attended  to. 


DR.    STOLBERG'S   VOICE    LOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removing  all  affections  of  the  throat,  strongly  rvcommendeA  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thioats. 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop: — 

««  Dear  Sir,— I  am  happy  to  say  that  all  I  have  hetid  reflpectMir  ^^^ 
efficacy  of  Dr.  Stolberg's  celebrated  Lozenoe  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nighily  at  the  Theatre),  I  took 
several  of  the  Lozengfs,  and  my  voice  was  very  clear,  and  my  throat '^ite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BlSHoP." 

"  18th  November  184«— Jermyn  Street." 

Barclay  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churdiyard ; 
W.  Edwards  and  Newbery  and  Sons,  St  Paul's  Chuichyardt  Sanger,  aad 
Dietrichsen  and  Hannay,  Oxfbrd-street ;  and  veOaL  hv  aU  resoecuble 
Chymisu  in  ihe  Kingdom. . ,  Digitized  by  Vj\J  ij  V  IC 


THE  MUSICAL  WORLD. 


76 


JULLlEN'S     ALbUM 

FbR  1847, 

A  most  baantital  Ohristmu  Prasest,   K^w  yaat's  CMA,  . 
aad  BtrMuias. 


M.    JULLIEN 

9w  thf  hmipr  to  •nnoonce  that  bit 

M0SXGAIi    AKHUAIk    FOR    1847 

la  now  Publiihed,  ftiti  ii  liy  ili»  tbo'bwt  work  ot  the  kind  diat  has  evet 
appearfld  i  cooCahis  no  ton  than 

tMlltTV    PitCeS    OF    VOCAL 

AND 

FOUltYfeEN   or   lAJ^tRUMENTAL 

The  greater  yaxi  of  which  have  never  before  been  publUhed,  the  copnigbta 
liaving  beeB^Kprehoae^l  ezpieeslj  for  this  work,  at  an  Immense  cost^  with  the 
▼lew  of  reoderinff  it  immeaaareably  superior  to  any  of  its  predecessors. 

Tift  BortiOA  wMeh  hM  alnad^  appeared  eomprise  those  pteees  only  whose 
decidea  success  has  induced  M.  TvLittv,  tit  the  teqtiest  of  nomeroos 
influential  patrons,  to  inclodtf  theoa  ih  this  Seleotfon^ 

Thf  Illustrations,  in  addition  to  the  elaborately  executed  Coyers,  Title,  and 
Dtdltttion  pages,  Include 

TWO   KiiONZFIOEMT   VtSWS 

OF   THE 

Sttteriot  of  Ccibetft=(^atliett  tri^eatre. 

The  obe  taken  during  the  brilliant  scene  exhibited  In  that  splendid  arena  of 
the  occnrion  of  M.  JULLIEN'S  GRAND  BAL  MASQUE;  the  other  a 
VIEW  OP  THE  THEATRE  TAKEN  DURING  THE  CONCERTS, 
die  gronpJng  of  the  figures  in  both  Views  exhibiting  the  audience  in  a 
'         dt  •!        —  —  -      .  .      .  .  .     .     , 


•nee  l^fis-Jike  and  elegant  To  those  who  have  ristted  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  It  will  convey  an  Accurate  idei  of 
the  gmigeooa  scene. 

A   BPLEHDIOLT-COLOtjtlKD 

PORTRAIT 

of  the  celebrated  Danseuse, 


hk  the  admiitd  Pat,  LA  CASTIG  LIANA. 
Al^   ORIGINAL   8tBJ£#r9 

■•THE     FOBTTJITE     TELLEE," 

Illnstrating  Baker's  beautiful  Ballad  of  that  name. 

ThfJrhole  of  this  department  of  the  ALBUM  has  been  under  the  active 
mapmMt&Hodt  6f  J.  BRAKDABD,  Esq.,  whose  pencil  only  iias  been 
eoaployed  in  its  production. 

Nothing  more  heed  be  said  in.  fiivour  of  this  AtBUM,  and  iii  proof  of  its 
««if  enptrioriiff  over  all  others,  than  to  call  attention  to  the  names  of  the 
Cmirwul&rs,  where  will  be  found  the  principal  talent  in  Europe:  viz. 

RO<«INI,  VERDT,  DONIZETTI,  RUBINI, 

ROCH-ALBERT,  HCELZRtL,      GOLDBERG,  SCHIRA, 

SCHULZ,  8T(£PEU         DUPRBZ,  JOSE  G0MI8, 

MASARNAU,  MARATZEK,   BALFE,  JULLIEN, 

HATTON,  BARRET,         ALBXATIDBR  LEE,  KCENIG, 

KNIGHT,  BAKER,  FARMER,  LINLET, 

LAKE,  FIT^BALL.      MOULD.  ^  HURRBY, 

FOREST,  ALBERT  SMITH,      DESMOf^D  RYAN,      &c. 

It  tiAl^lh^  hk  pfocchred  that  In  addition  td  «he  latest  eomposltiona  of  the 
beat  English  Compoaars,  Ibo  ALBUM  will  contain  some  of  the  newest  and 
■Mat  popvlv  MoductSoM  of  I  tidy,  Germany,  France*  Spain,  &c.,  a  careful 
adectioq  of  whioh  has  been  made  from  those  works  ^that  are  now  attracting 
the  attention  ot  the  Continental  diletantL 

Frio  ISt.  akd  £l*  1b. 
ROYAL   CONSERVATORY  OF    MUSIO 

214,  Bsqsnx-Stbssxj  A2n>  45|  Ema-SXREET. 


lift  ^^mvmct  Compang, 

No.  6}   St;  JAMES'S    STREET, 

bODtOOl^.. 


Dnuteee. 


Dbreetore, 


Henry  Pownall,  Esq. 
Claude  Edward  Scott,  Esq. 


Sir  A.  Brydges  Henniker,  Bart. 
B.  Pond  CaiibeU,  Esq.,  M.F. 

CaAia«AN|  Lieutenant  Colons  Lard 

Arthur  Lennox. 
DBPOTy-GnainMaN,  T*  C.  Grangdr, 

John  AsUbumer,  Esq.,  M.D. 
T.  M.  B.  BAtard,  Esq. 
PUUf)  P.  Blytb,  Baq. 

Bankert^  Sir  Claude  Scott,  Bert.,  and  Go. 
SoiieiUrSf  Messrs.  Davies,  Son.  and  Campbetl. 

Assurances  on  the  hvH  of  persons  in  every  station  of  life  and  every  part  of  the 
world,  rnnted  on  a  plan  wbich  combines  the  utmost  amoxmt  of  benefit  to  the 
families  ot  the  assured  at  deaths  with  evenr  attaiaab^  s^vantac^e  dearimg  life, 
which  the  system  Of  Life  Assurance  is  capatiAf  of  aflordlnr. 

It  afferds  iwfect  ascinity  is  a  subscribed  Oapttal;  whiah.ruaranteea  the  pBompt 
settlement  of  every  claim,  with  participating  and  non-participating  rates  on  the 
lowest  scale,  especially  fbr  terihi  of  yearl. 

The  Assorpd  can  anticipate  or  obtain  the  advance  of  the  ftill  amount  of  tlie 
Policy,  on  fpLving  approved  available  security  Ibr  a  certain  number  oi  annual 
payments,  as  explained  by  the  Prospectus. 

Every  facility  is  afforded  to  persons  assurinf:  the  Uvea  of  others,  ^  afe  tt  t^der 
such  Policies  elfectual  securities. 

A  new  plan  of  eradaal  or  aocumnlatite  Aaauranc^,  partieaiaily  adapted  fot 
younf  lives,  and  fbr  sack  as  cannot,  without  inconvenience,  undertake  tlie 
paymedt  of  a  fixed  premium,  secnrinjr  at  once  provision  in  case  of  premature 
dettth,  and  an  accumulating  fond,  available  durinr  life,  should  occasion  require. 

Aw^umaa,  ENPowMmrrs,  AnvAUCBS,  and  Loahs,  on  Ubeml  tenns« 

Detailed  Prospectuses,  with  forms  of  Proposal,  and  every  information,  may  be 
had  on  application,  either  personally  or  by  letter,  at  the  COm|:any's  (JfBeea. 

The  usual  commisaion  to  ^solicitors  and  Agenta. 

H.  D.  Datknport,  Seereiary, 


XNnn  Broadmodi  Bsq<i  M4P* 

Sh- James  Carmichael,*Bm; 

Charlea  FaMbrotb^,  M.,  AMtrtUO. 

William  TulToh  Frale'r,  laq.  * 

John  Gardineri  Eaq« 

Aardn  Aaher  Ooldsntid,  Esq. 

Heorv  WiUiam  PownaU,  Esq. 


ROYAL    ITALIAN    OPERA,    COVENT    GARDEN. 

the  nobility,  gentry,  and  nubUc  are  respcctfhlly  informed,  that  the 

Will  Open  the  Unit  l^eek  in  AprU» 

For  tha  performance  of  the 

LYRIOAL   DRAMA 

On  a  Bcale  of  efficiency  in  every  department  never  befbro  attempted  In  this 
country. 

THE    BALLET 

Will  include  the  names  of  the  most  celebrated  artists.   TheproapectuBforthe 
arrangement  of  the  season  will  be  issued  in  due  course.    Mr.  Beale,  Director. 
January  9th,  1847' 


The  Messbs.  ASH  BY  and  HARDING, 
Tenor  and  Baritone^ 

(P'ormerly  pupiU  of  Siomok  UuBBi-Wo^f  of  Her  Mcujetty't  Theatre), 
B^  to  inform  their  Friends  and  Pupils,  that  th«y  have  returned  from  the 
Provinces  for  the  season,  and  are  now  ready  to  reinme  their  profeaaional  dntiea 

in  tofin. 

aa,  Alfrtd  Stroet,  Btdford  Sqnare. 


NEW   SONGS 

AND 

PIANOFORTE     MUSIC, 

Particularly  adapted  for  Tea,ch%ng* 

PIANOPORTt    MUSIC.  ^ 

Gema  of  Bali^s  opera,  the  Bondman,  arranged  by  Cbarlea  W.  Glovtt      ..    SO 
''They  say  there  Is  some  distant  land,"  from  the  Bondman,  by  w.  C.l    j   e 

Pantasiaon  •«Bolnmn6deUafflc»riai'*fromBeUiuurio,b^  ..SO 

•' Mdodie  AUemande,*' op.  147,  ditto         SO 

<*Betourau  Chalet,'*  air  national,  op.  MA,  ditto  SO 

"LaSerenadV'bp.  146,  ditto  SO 

The  favourite  air '*  Lucy  Neale,"  arranged  by  Chanlieu         2   0 

Ditto  "VaPeoalaro,"  ditto JO 

"Peatal,"  by  Bimbault,  (very  easy)  .10 

« Lucy Neale»" ditto, ditto       ^v.       ••     4  ••       ••    i    • 

The  celebrated  •♦  Bridal  Polka,**  (4th  edition.)  Sdlo  tad  Duet,  each . .       . .    fc  0 

SO'MGS. 
«Dffeamon,  yodA; hearts,"  byBporle;  a  |ray  mdody,  with  a  very  nm  ^  ^ 

accompaniment,  and  pleaaioff  words:  (third  edition) |   0 

"Thelrish  Kmigjant,"  words  by  Udy  Duflterbi,  music  by  Barter  . .    f   0 

<*  In  th6  Greenwood  Tree,*'  as  suD|r  hy  Miss  Steele,  music  by  B.  Richarda   t   6 

Dltto.asaDuet  ..       u  ,^  •*    !  5 

•*  Go,  memory  go."  one  of  the  ftvonriteaonfs  from  the  Bondman,  Balfe  ..2   0 
"Th«y  say  there  ia  some  diataat  land,"  sang  by  Mr*  Harrtem       ••       ..3   0 


«  Sweet  Spring,"  song,  G.  A.  Macfsrren 


my,"  ■way,  M,  A»  MWniMTCB ill* 

oHAPTsxoi,  50,  MBw  BOND  flmaaT/^ 


fU^ 


l^^ 


fKe  foUowinf  Otttline  of  the  ArranfferoenU  for  the  Setfon  1847,  is  respectfully  submitted  to  the  Nullity,  patrons  of  the  Open,  and  to  tke  P^Ho,  -  It  fo 
presented  with  the  oonfldetit  hope,  that  the  successAil  exertions  madf  to  secure,  under  ciroumstsnces  of  peculiar  difflcultf ,  a  Conpany  atfll    I       $ 
more  worthy  of  the  first  Theatre  in  Europe*  and  of  its  distinguished  Patrons,  will  ensure  the  co  ntinnation  of  their  rapport 

^  lEngcgcments  for  4e  ^ptn. 

MAD«-«-'-     JENNY     L  I  N  D, 
MAD«-    DEL   CARMEN    MONTENEGRO,  MAD«-«-^    SANCHiOLii 

Xadllt.  FAQIANI.   akd    Xadwoao  BOXdkRI,  TheContnlti,    Mftdll*.  VIBTTI,   and    XadU«.  0A&IA   NASOIO, 

'  AKD  *  ' 

MADAME     CASTELLAN. 

SIC.    PRASCHINI,    the  great  Tenor  of  Italy,    And  the  fayorite  T^nor,    SIC.     C  A  R  D  O  N  1^ 

SlOi  SUPERCHI,       ^  mr.BOMWA,     amt.  comaut,  SIC.   R   LABLACHE, 

The  celehrated  Basso  Cantante  • 

HERR     STAUDICL,        and        SIC     LABLACHE* 

In  addition  to  the  above,  arrrangements  are  pending  with  81k.  OOIkBTTI,  of  fhe  ItsUan  Open  at  TMrii. 
That  orsat  Cohpobeii,    THE     CHEVAUIER     ME  Y.  E  R  B  E  E  R,    has  arranged  to  visit  this  Conntvy  to  bdaffouttlM 

<^    k    m    ^        ©1        SDLlifllE,  - 

The  prindoal  Parts  in  the  CAMP   DB   SILESIE.  by 

MADLLE.     JENNY     UIND and  SIQ.    FRASOHINI.      -    • 

THE     CELEBRATED      DR.     FELIX     MENDELSSOHN     BARTHOLDY* 

Will  likewise  visit  England,  and  produce  an  Opera  expressly  composed  for  Her  Mi\jesty's  Theatre,  the  Libi«tto»  founded  on 

TWE    TEMPEST 

OF  SHAKESPEARE  t    WRITTEN  BY  M.   SCRIBE.  r 

MiBAiTDA  MadUo.  J«i«NY   LIND.         |  Caliban Rarr  WtAjmWkJM.  ' 

VBftOiirANO 8tc.   aA.R1>0NT.  |  Panspaao My.  tiABIUkCRB. 

It  fslikeirtso  annoonccd  with  great  satisfiiclion,  that  Signor  Verdi,  having  ree^vered  from  his  severe  illness,  hu  expressly  oompoMd  ftc  this  TbaaiN^  • 

new  Opera,  of  which  the  plot  is  founded  on  the   ROBBBR8  of   80RILLBB. 

Bosiiai*s  Opera  of  BOBBRT  BBUOB,  Istely  produced  at  the  AcmdiwOe  iSsf  afo,  has  also  heea  eecved. 

Mm4bm.  CUlflTBl«1.A V,  8AHOHIOU, *  MONTBNBaBOt  Slvnorl  O4RB0MI,  80PBBORI,  * rBASORZWI, wiH appear bdbft  Eairtec 
M  ADI>t-C.  J  ENN  Y    Li  N  D.  whose  engsfrement  commences  in  March,  and  extends  until  the  end  of  the  Season,  will  appear  iaimediately  altar  Baiter, 
ivir^ii,^  vf=fi^.^T     v-ii^w-i  Director  of  the  Music  and  Cofiductor,  M,  BAItFS. 

In  addition  to  the  above,  SEVERAL  OPERAS.  n»w  to  this  Conntrv,  will  be  prodnced.  and  the  f^n^rMliv  win  be  selected  tnm  the  Ci^-iPawvrM  of 
MOZART,  GIMAROSA,  ROSSINI,  DONIZETTI.  MRRCADANTB,  BELLINI,  Itc. 
Hie  strictest  attention  has  been  paid  to  all  the  d^ails.  eo  that  an  ensemble  may  he  presented  perfect  in  all  its  parte. 
.  A  HUMBIIOU8  ORCHESTRA,  of  the  most  dUtineaUhed  ulent  and  power,  has  been  selected  from  some  of  the  best  orchestras  of  Bmope,  eoabioad 

with  former  meritorious  Artistes  of  the  Establishment 
THE  CHORUS  has  been  chosen  with  the  greatest  care  from  luly,  Germany,  and  England,  and  will  comprise  upwards  of  EIGHTY  PSRFORIf  BRS. : 

(.  ATTan dements  for  the  Ballet! 

MAD«-«-«  CARLOTTA  ORIS   I, 

MAD"-"-*    LUCIUE     GRAHN,  and  MAD>->-k     CERITOa 

In  addition  to  which,  an  Engagement  has  been  made  with 

MAD"-"    CAROLINE    ROSATI, 

'  (Of  La  Soala,  at  Milan;  and  other  great  Theatres  of  Italy;)  who  will  make  her  First  Appearance  on  the  First  Night  of  the  Season  in  a  N£W 
Ballet,  expressly  composed  and  arranged  for  her  by    IM.     PAUL     T  A  C  L I O  N  i . 

MAD"-^'      WAUTHIER,  MADAME   PETIT  STEPHAN; 

MADLUE.   HONORE.  MADLLE.   EUiSS   MONTPQRT, 

'      MasdllM.  TRBVBKOT,      JULIBN,       L'AMOXrBBUZ,        BMILE,       FANNY     PA8GALB8,      mad      BBBTtlf. 

MADLur.     CAROLINE     BAUCOURT. 

In  cooaeqaenoe  of  the  enthusiastic  manner  in  which  this  eminent  Artiste  was  received  last  season, '  hopes  are  eotartaiiied  that 

MADLL6.         TAGLJ^ONI 

May  be  induced  to  appear  for  a  limited  number  of  perlbrnumces. 
M.   8T.   UEON,      M.   D'ORj      M.   COSSELIN,  K.  BZ   maTTIA,      Wy.  VBHATBA^      X.  •OOftXBti 

M.     PAUUTACLION  and  M.     PERROT. 

Composer  of  the  Billet  Mnsic  -   •    SIC.    PUGNI,  Principal  Artist,   -   -    MR.    MARSHALL.    . 

^**    '^      SoSfMaitredeBaUet,    .   -    X.     GOgBBH-K. _Reghsenr  de  U  Dsnse, '  -   -   X.     BBTIT. 

AK   ORIOINAL   GRAND    BALLET   will  be  produced,  written  ezpresshr  for  Her  Mijesty's  Theatre,  by  the  celebrated  Poet 

BBNRZ     BBZNB,    ona  subject  selected  from  the  Old    LEGENDS   OF    OBBKAMY:    and  also 

A  1$9W%\  and  Foatteal  BaBat,  for  the  snbject  of  which  the  Establishment  is  hidebted  to  the  kindnessof  a  mats  tatd  dUtingttUked  PcsUm,  enttOed  BaBBXA. 

TBS    «SLSBBATED      FAS        IS)  H        (f^  W  A  'inS^  IS  AND  IPAS        DISS      I^SISSSISS 

Will  be  revived ;  and  an  entire^  new  DiverHtsenuntf  introducing  another   O  R  A  N  D     PA  8 '« 
By  X,  VBBBOT.  which,  uniting  all  the  peculiar  attractions  of  the  Poi  des  DUtses,  and  Pa#  de  Qu^tre,  will  present  a  novel  feature  of  itiiking 
■  originality,  and  will  combine  the  talent  of  all :  to  be  entitled 

LA    (GOMgf IE5IL]Li\;'TI.(DH. 

THB  SUBSCRIPTION  WILL  OONMST  OF  THE  SAME  NUMBER  OF  NIGHTS  AS  LAST  SEASON. 


TH 


E       THEATRE      WILL       OPEN      IN      THE       MIDDLE       OF      FEBRUARY* 

When  will  be  produced,  for  the  first  time  at  Her  Majesty's  Theatre,  DONIZETTPs  admired  Opera  of  LA    FAVORITA; 
In  whidi   61  Q.     OARDONI      and      81  Q-     8UPEROHi    will  auke  their  Urst  appearance  in  thiaOouitry;  and  an 
ittMly'  MBW    BALLET,   by  M.  PAUL  TAGUONI ;  in  which  M  A  D  L  L  £•     OAROLINE     ROSATI    wffl  appear. 


Printed  and  PnblisheiU  for  the  Proprietors,  at  the  "  Nassau  Stetm  Prcas.>»  by  William  SraNCSa  JoHifsoir,  flO,  St.  Martinis  Lane,  in  the  parish  of  St. 
Martift'sIntbePMds,  in  the  County  of  Middlesex;  where  all  commvnioations  for  the  Editor  are  to  be  addressed  poet  paid.  Kobehadof  G.|^pitaa«Bcaa 
Stiaet,  Soho;  8tiaate»  PataraDater  Kowi  Wisebeart,  Bobiini  and  aU  BookaeUnk-Situdfty*  J«nuuryBMh»l$47. 

"      ;  ,   •  ^        .  Digitized  by  \^UOy  It: 


(PUBLISHED    BVBltY    SATURDAY   AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Ttrms  of  tuteeHvttoa,  ptr  Annvm,  l«a.  SUmped ;  Ifts.  Utestainiped  |  to  b«  fonrardtd  1»]r  ncnmj  Ord«r  or  Fotago  fttoaipo 
to  iho  PobUshtr,  W.  8.  Johaaon,  "NtMmmu  8tM»  Preos/'  CO,  St.  Xavtia'o  taM,  Olunrter  Ov«so<. 

bT  io  tntitlod  to  oa  Aamtoolom  to  an  Amwua  OoacTt,  on<  »  Pteea  of  Mnoig,  (r»gqlT  iff^oio  ofaio)  MoatMy. 


Na  6.— Vol.  XXIL 


SATURDAY,  FEBRUARY  6,  1847. 


CPRICB   TUUBBPRNCk 
1  STAMPED,  POURPKNd 


NOTICE. 

Our  Subscribers  are  this  week  presented  with  four 
addiiitmal  pages  of  matter  gratis.  Press  of  news  will 
oceasianaUy  incline  us  to  adopt  this  course,  which  we 
trust  will  be  confonnable  to  the  pleasure  of  all  our 
readers. 

THE  ROYAL  ITALIAN  OPERA. 

Tr«  managemoit  of  this  establisihment  has  issued  its 
prospector,  which  just  reached  us  in  time  to  allow  of  our 
briefly  commenting  on  its  contents.  We  have  already  dis- 
costed  the  question  of  opposition  involved  in  the  origin  of 
the  Covent  Garden  speculation,  often  and  lengthily  enoiigh 
to  put  our  readers  in  possession  of  our  views  of  the  matter. 
The  fta^ti  qso  of  the  two  institutions  understood,  it  remains 
tor  us  to  chronicle  the  promises  of  either  for  the  coming 
^  season  of  rivalry.  The  programme  of  Her  Majesty's  Theatre 
was  eontidoradin  No.  4  of  The  Musical  World.  Let  us  now 
see  what  the  Royal  Italian  Opera  has  to  offer  as  a  counter* 
BttraetioD  to  so  magnificent  a  prospectus. 

To  begin,  then,  the  epoch  for  opening  the  theatre  is  fixed 
ibr  the  first  week  in  April  -^How  this  can  be  effected  is  as  yet 
a  riddle  ;  but  that  it  will  be  effected  may  be  surmised  from 
the  fiict  that  no  Jess  than  one  thousand  workmen  will  be 
employed  during  the  whole  of  next  week.  What  has  already 
been  done  is  extraordinary  enough,  •  considering  the  short 
space  of  time  that  has  elapsed  since  M.  Jullien  left  the 
venerable  edifice  at  the  mercy  of  the  wielders  of  saws  and 
hammers.  Even  now  the  chaos  of  8cafft)lding  and  plastering 
is  melting  into  an  intelligible  form,  and  the  embryo  amphi- 
the^^  is  perceptible  through  the  rotst.  like  the  phantom  of  a 
gigactic  horse-shoe.  So  that  we  have  little  doubt  that  the 
overtoie  will  be  played  in  the  first  week  in  April— let  us  hope 
not  on  April  fool's-dfiy. 

Next  to  the  period  for  commencing  business,  the  prospectus 
announces  th«  intention  of  the  management  to  produce  in  the 
course  of  the  season  operas  by  Cimarosa,  Mozurt,  Rossini, 
and  Meyerbeer,  varied  by  the  lighter  effusions  of  Bellhai, 
Doniaetti,  Mercadante,  and-  no,  his  effu&ions  are  by 

no  means  light,  the  heavy  abortions  of  Maestro  Guiseppe 
Yerdiy  whose  popularity  is  a  severe  satire  on  the  musical  taste 
of  the  day.  The  operas  are  to  be  produced  **  on  a  scale  of  the 
most  per  o't  ensemble** — of  course  :  what  would  be  thought  of 
a  prospectus  that  said  anything  else  ? 

And  now  for  the  arti>ts  engaged.  To  begin  with  the  vo- 
calistti  in  other  words  the  ehevaujs  de  Bataille  of  the  new 
establishment.  *  Prime  Donne  :^Mad.  Grisi,  Mad.  Persiani, 
Mad.  Ronconi,  Mtslle.  Steffanoni.  Do  our  readers  vrish  to 
know  anything  about  the  two  first  i    We  opbe  not  i  but  if 


they  do  we  can  only  say  that  the  world  has  long  acknowledged 
them  as  unrivalled  in  tlieir  specif  styles.     Of  Mdlle.  8te3a« 
noni  we  have  to  state  that  she  comes  with  a  great  reputation 
from  La  Scala^  at  Milan,  and  that  it  will  be  her  firstmppear* 
ance  in  this  country.     Of  Mad.  Ronconi  we  cannot  speak  in 
terms  egregiously  encomiastic ;  du  reaie  she  has  been  here  be- 
fore, but  produced  no  effect  that  has  stood  recorded  upon  the 
face  of  history.     Besides  these,  Mad.  Antonictta  Mollidgii 
(also  from  La  Scaia)^  Mdlle.  Amalia  Linari,  and  Mdlle.  Lui* 
gina  Bellini — about  whom,  knowing  .nothing,  we  can  say  no* 
thing — complete  the  list  of  prime  donae,  against  which  wt 
have  only  one  demurrer,  viz  :  the  absence  of  a  name  as  great  as 
any  and  greater  than  most  of  those  enumerated,  that  of  Mdne* 
Pauline  Viardot  Garcia,  whom  Germany  acknowledges  as  t^e 
rival  of  the  celebrated  and  much-talked-about  Jenny  Lind 
herself.  Here  we  think  the  Covent  Garden  directors  committed 
an  oversight,  and  permitted  Mr.  Lumley— who  as  our  readers 
know  has  secured  Jenny  Lind — to  out-general  them.    But  to 
the  eoniraUit  of  which  the  list  is  meagrein  quantity  and  doubt* 
ful  In  quality.     These  are  confined  to  two : — Stgnoca  Albonit 
from  the  Seala  at  Milan,  and  the  Imperial  Theatre  at  Viennat 
and  Mdlle  Corbari.     The  first  (who  is  the  only  Signora  in 
the  catalogue)  has  a  sort  of  floating  reputation  that  cozes  from 
time  to   time    out    of  the  adiposity  of   Italian   carnivals, 
whether  deserved  or  not,  we  cannot  pretend  to  determine. 
The  last,  the  pretty  and  gentle  Corbari,  though  not  to  be  cited 
as  *'  a  great  gun,**  has  been  frequently  apostrophised  eulogip- 
tically  in  these  pages  ;  and  as  frequently  have  we  thrown  the 
mantle  of  our  influence  over  her  tender  form,  to  protect  her 
from  the  rough  blast  of  the  Chronicle  Boreas,  who  will  now 
have  to  blow  hot  instead  of  cold,  the  poor  victim  of  his  hurxi- 
canos  having  gone  over  to  the  other  side.     This  for  him,  how- 
ever, will  not  be  a  difficult  task — experience  has  endowed  Um 
with  the  power  of  turning  about  glibly,  four  or  five  times  during 
one  moon. 

The  tenore  are  strong,  and  will  press  hard  the  contending 
phalanx  at  Her  Majesty's  theatre.  The  principal  is  Sigaor 
Mario,  on  whom  Las  fallen  the  mantle  of  Rubini,  and  who 
wields  the  sceptre  of  Donzelli,  and  wear  and  wield  them 
both  he  must  until  some  one  more  worthy  shdll  come  to  snatch 
them  from  him ;  a  fact  which  we  trust  we  may  live  to  see,  aa 
we  have  a  strong  desire  to  arrive  at  a  greep  old  age  before  we 
are  gathered  to  our  fathers.  The  second  principal  is  Signer 
Salvi,  who  was  much  and  justly  lauded  during  a  season's 
visit  to  this  country,  some  three  years  ago,  and  of  whose  pro* 
gress  the  critics  of  St.  Petersburgh  are  loud  in  eulogy.  Then 
there  is  a  Signor  Tulli  (from  the  San  Carh,  in  Naples),  and 
a  Signor  Emmanuele  Slano  (do.  do  ),  as  to  the  merits  of  whom* 
one  and  the  other,  we  are  wholly  in  the  dark. 

The  bassi  bariitmi  again  are  strong,  in  proof  of  which  we 
have  but  to  cite  the  famous  Tamburini,  who  needs  jiQiiuther 

•     Digitized  by  VjnjOvTtr 


v78 


THE  MUSICAL  WORLD. 


zecommendation  than  his  luiine  brings  with  it,  and  who  will 
ifestolPe  MozartV  Don  Juan  onc6  tnote  to  the  London  Opera 
boards;  and  to  keep  him  company  Giorgio  Ronconi,  who, 
though  he  did  by  no  means  render  jastice  to  himself  when  he 
performed  at  Her  Majesty's  Theatre,  has,  if  we  may  credit  the 
untied  voice  of  Italy  and  France,  won  for  himself  since  a  fame 
that  any  artist  might  envy. 

The  ba»9i  projondi  are  Signor  Marini,  (from  the  Scaht  the 
San  Carlot  and  the  Imperial  Theatre  at  Vienna),  Signor 
Angelo  Alba  (from  Madrid),  and  Signor  Polonini  (from 
Vienna).  All  three  are  new  to  this  country,  atid  Marini  is 
tlie  only  one  of  the  three  whose  fame  has  reached  us.  He  is 
repotted  to  possess  a  magnificent  voice,  and  extraordinary 
sulogittms  have  been  lavished  on  his  histrionic  powers  in  the 
lopera  seria ;  but  it  is  also  incumbent  on  us  to  state  that  many 
i^ho  have  heard  him,  complain  of  his  occasionally  uncertain  into- 
nation. Time  will  show,  and  then  we  shall  be  enabled  to  judge 
for  ourselves  of  the  truth  or  fallacy  of  what  Rumour  has  been 
•0  busy  in  circulating. 

But  the  hassi  are  not  done  yet ;  we  have  another  department 
tepresented  in  the  Covent-Garden  list: — the  bassi  comici. 
The  deputies  for  this  arrandisaement  (to  use  the  style  of  French 
parliamentary  language)  are  Signor  Pietro  Ley  (from  the 
Theatre  Royal  in  Madrid)  of  whom  we  never  heard  before, 
and  Signor  Agostinc  Rovere  (from  Naples,  Milan,  Vienna,  and 
St.  Petersburgh),  an  artist  of  high  celebrity  in  his  genre. 
These,  as  well  as  the  three  bassi  profundi,  will  make  their 
first  appearance  in  this  country  at  the  Royal  Italian  Opera. 

The  next  penonage  of  the  dramatis  persome  signalised  in 
the  prospectus  is  Signor  Michael  Co8ta«  director  of  the  music, 
eomposer,  and  conductor.  The  qualities  of  this  gentleman  for 
'  his  post  are  incontestable.  As  a  conductor  of  Italian  operas 
he  has  not  his  superior.if  indeed  his  equal,  in  Europe.  Nature 
and  education  have  marvellously  fitted  him  for  such  a  post ; 
hey  have  endowed  them  with  quickness  and  facility,  a  sensi- 
tive temperament,  and  a  wonderfully  acute  ear;  with  everything, 
in  short,  but  that  higher  sort  of  intellectual  capacity  which  the 
works  of  the  great  German  masters  demand  of  him  at  the 
•  eoncerts  of  the  Philharmonic  Society,  and  fail  to  find.  An 
idditional  interest  attaches  to  the  name  of  Sigror  Costa  in 
this  particular  prospectus,  since  he  alone  has  been  the  cause 
of  the  opposition  to  Her  Majesty's  Theatre  and  the  conse- 
quences thereof,  which  without  him,  it  is  hardly  necessary  to 
•ay,  for  those  who  have  considered  the  subject,  would  have 
been  morally  and  practically  impossible. 

The  orchestra  is  another  immense  feature  in  the  Royalltalian 
Opera  prospectus.  In  the  following  list  of  eighty  performers 
our  readers  will  perceive  the  names  of  the  great  majority  of 
the  late  orchestra  of  Her  Majesty's  Theatre,  who  have  boldly 
preferred  speculation  under  the  standard  of  Signor  Costa  to 
certainty  under  that  of  Mr.  Lumley.  Whether  they  have 
acted  rightly,  justly,  and  wisely,  or  the  opposites,  our  readers 
'  have  hi^  full  time  and  opportunity  to  consider  :— 


THE  ORCHESTRA. 


Pirat  Tiolins  (fifteen)  :— Meurs.  Sainton,  H.  Blagrove,  Willy,  A.Qriesbacb, 
■      las,  Mellon,  Patey,  Zerbini,  *"  ^  ' 

en):— M«MT8  Ella,  Newshai 
^'ton,  U.  Westrop,  H.  Orie»bach,  J.  Jay,  Peny,  Manhall,  W.  Blagruyej 


rurac  Tioims  ^nneen;  : — messra.  sainion,  n.  Diagroye,  winy,  A.vjnesimcn, 
Watkina,Caac,Thirlwall,  B.  Thomas,  Mellon,  Patey,  Zerbini,  Browne,  Gof. 
frie,  and  Hill.  Second  viol*ns  (fourteen):— Masars  Ella,  Newsham,  W /Thomas, 


Betts,  Kelly,  Boit,  and  Wilking.  Tenors  (ten) :— Measra.  Moralt,  Hiil, 
Altept,  Lyon,  Glanville,  Thomaon,  Hann,  Wealake,  Truat.  and  It  Bberoye : 
Vloloncelloa  (ten):^Measra.  Lindley,  Lucas,  Hatton,  Lavrnn,  W.  L.  Philipa, 
Hancock,  Hauamann,  W.  Loder,  Goodban,  8nd  Guest  Double  -  Bnasea 
(nin«):— Mesara  Anfoaai,  Howell,  Caaolani,  Griffltha,  Severn,  Praiten,  Cum- 
Mn  le,  Caatell,  and  WandreUn.  Harp  :--Mr.  G.  Perry.  Flutea :— Measra. 
Ribat  and  De  Folly,  ('hoes:— Measra.  Barret  and  Nicholaon.  ClarimeU: 
— Meaara.  Laxarusand  Booa£.  Bas»oons:— Measra.  Baumanii  and  Keating. 
^pfLit—Maaais.  Piatt,  Jarrett,  C.  Harper,  and  Rae.  Trumpets:— Measra. 
T.  Harper  and  Uandley.  Trombooea  fMeaaw.  Cioii,  Smithiea,  and  Hsstey. 
Opfa|filS&s-lf.1?koip««.  I>nii)Di:-Mi;Chipp.^TiiaDgle:-Mi.Lcamaii. 


faaaa-Dhim:  — Hr.    Hqrtim.    Milital7   Band  :— that  of  the    C#lda(ieam 
Guirda  under  the  dhrectita  of  Mr.  Giodirey. 

To  rival  this  orchestra  will  be  a  difficult  task  for  Her 
Majesty's  Theatre  to  effect.  That  Mr.  Lumley  will  spare  no 
exertion,  howeven  we  know  to  be  the  &ct ;  how  far  he  may 
sueoeed  remains  to  be  seen. 

The  chorus,  the  principal  members  of  which  are  also 
seceders  from  Her  Majesty's  Theatre*  the  prospectus  assures 
us  will  be  *<  powerful  and  numerous."  The  chorus-master 
Signor  Bonconsiglio,  (who  will  be  able  to  offer  good  advice,  if 
he  belie  not  his  name)  and  the  prompter,  Signor  Montemsi, 
are  both  unknown  to  this  country.  We  should  have  preferred 
seeing  an  English  artist  in  the  former  department.  It  would 
have  been  sounder  policy  on  the  part  of  Signor  Costa,  and 
surely  there  are  plenty  of  our  musicians  quite  adequate  to  such 
a  post.  An  organ  has  been  constructed  by  Messrs.  Pliffht  and 
Son.  especially  for  the  theatre  ;  and  to  the  experienced  hands 
Messrs.  Grieve  and  Telbin  will  be  entrusted  the  preparation 
of  the  scenery.  In  Mr.  Marshall,  however,  Mr.  Lumley  has 
secured  a  formidable  opponent  in  this  particular  department. 
Signor  Maggioni  is  constituted  poet  and  translator  of  the  libretiu 
in  contradistinction  to  whom  Mr.  Lumley  has  secured  Signor 
Jannettif  whom  we  omitted  to  mention  in  our  notice  of  the 
programme  of  Her  Majesty's  Theatre.  Both  are  clever  men 
and  fully  capable  of  the  situation. 

The  ballet  must  be  shortly  dismissed.  The  announcement 
of  the  engagements  is  preceded  by  the  following  sentence, 
which  should  be  printed  in  letters  of  gold :—  "  No  diverUssc 
fiunt  wiU  be  suffered  between  the  acts  of  an  opera,** 

The  engagements  for  the  ballet  consist  of  MdUe.  Dumilatre, 
Mdlle.  Plunkett,  Mdlle.  Fuoco,  Mdlle.  Badema.  Mdlle.  Bertin 
(from  Vienna),  and  Mdlle.  Neodot  (from  Madrid).  The  first 
three — Dumilatre.  Plunkett,  and  Fuocc«*are  well  known  to 
our  audiences,  and  are  all  but  first-rate  d  inseuses  ;  the  fourth, 
Baderna.  has  just  made  a  successful  d^biU  at  Druiy  Lane, 
elsewhere  recorded  in  our  pages  ;  of  the  other  two,  Bertin  and 
Neodot,  we  either  know  or  can  recollect  nothing.  The  draw- 
back to  this  list  is  the  absence  of  any  one  name  absolutely 
first-rate  in  ability.  True,  it  is  added,  that  engagements  are 
pending  with  Mdlle.  Adrianopoli  (of  whom  we  never  heard) 
and  Mdlle.  Fanny  £llsler  (one  of  ^e  greatest  dancers  in  the 
world)  ;  but  these  be  but  hopes,  which  may  eventually  die, 
and  become  despairs.  The  male  dancers  include  the  cele- 
brated M.  Petipa  (from  the  Aeademt^  Royale\  Mon.  Gonde 
(from  Madrid),  of  ^.hom  we  know  nothing ;  M.  Ferdinando 
Croce  (from  Milan),  who  debuted  successfully  with  Badema ; 
M.  Delferrier  (from  the  Academe),  of  whom  we  know  nothing ; 
and  M.  Auguste  Mabille  (from  do.),  of  whom  we  know  no 
more-  Besides  these,  a  band  of  coryphees,  whom  we  dismiss 
with  the  names :— Mdlles.  Auriol,  De  Melitse,  Celeste  Step- 
han,  Delechaux,  Duval,  Levallois,  Rita  Pereda*  Amal,  Anna 
Monroy,  and  the  following  favourite  English  ballerines : — 
Mdlles.  Genge.  Haitley.  Bamett,  Kendall,  Rose  Cohen,  Laura 
Maurice,  Chester,  Marsten,  L.  Paris,  C*  Paris,  MaskeU,  Lee, 
Kirby,  E.  Clair,  Brown,  R.  Wright,  Clifford,  Ward,  &c.  &c.  ad 
ififinitum.  (N.  B.  We  mention  these  young  ladies  individually; 
least  by  omitting  one  of  their  names  we  might  offend  an  ad- 
mirer.) The  maitres  de  ballets,  M.  Albert  (from  Paris)  and  M. 
Blasis  (from  Milan),  are  both  well  known  and  deitervedly  re- 
puted. The  leader  of  the  balht^  Mr.  Alfred  Mellon,  is  a 
meritorious  Knglish  artist,  who,  for  some  years,  was  leader  of 
band  at  the^Adelphi  theatre.  Mr.  O'Bryan,  the  regisseur  de  la 
danse,  is  an  excellent  artist,  and  what  is  as  good,  a  first-rate 
man  of  business.  Of.  the  ballet-composer,  M.  Alessandro 
Curmit  we  know  nothing;  but  we  suppose   we  must  be 

Digitized  by  CiOOg It: 


THE  MUSICAL  WORLD. 


79 


ndsfied  that  he  oomes  (vide  prospectus)  from  the  San 
Carlo*  Again,  we  should  have  preferred  to  see  an 
BogUshman  in  this  place.  It  woald  have  been  better 
policy  on  the  part  of  Signor  Coeta,  and  there  are  plenty 
capable  of  the  task.  The  '*  premih'e  artiste  eottumikre^^*  is 
Mr«  £.  Bailey,  whose  celebrity  has  not  yet  reached  us.  But 
Le  Vcrrier's  planet*  Neptune*  only  reached  us  lately — so  we 
live  in  hopes. 

That  the  Theatre  is  being  reconstructed  under  the  direction 
of,  and  from  designs  by,  Signor  B.  Albano,  our  readers  well 
know.  Of  this  engagement  we  do  not  approve,  hdvins[  little 
faith  in  any  Italian  quality  but  that  of  taste.  ''  The  decora- 
ikmf  af^e  executed  by  Mr.Ponsonby,  and  the  furniture  is  chief fy 
of  British  manufacture."  This  satisfies  us  well  enough  :  we 
fike  anything  native,  even  an  oyster.  The  management 
states  that  it  **  has  happily  secured  the  artistic  skill  of  Signori 
Ferri  and  Veradi,  to  embellish  the  ceiling  and  to  prepare  anew 
drop-scene."  The  management  would^  we  think,  have  been 
still  more  happy  in  having  secured  the  services  of  Mr.  Stanfield 
or  Mr.  Roberts.  At  least  that  is  our  way  of  thinking ;  though 
we  know  notling  about  Signori  Ferri  and  Veradi,  who,  for 
aught  we  can  cite  to  the  contrary,  may  be  remarkably  clever 
personages. 

No  mention  is  made  of  Mr.  Beale's  office  in  the  establish- 
ment ;  bat  we  cannot  refrain  from  saying  that  his  engagement, 
as  general  manager,  is  one  of  the  most  judicious  and  lucky 
steps  of  the  new  company. 

And  now  that  the  two  operas  have  launched  their  pro- 
grammes, let  us  watch,  as  impartial  critics,  which  bears 
itself  the  most  bravely.     Both  have  our  sincere  good  wishes. 


8IV0RI  IN  AMERICA. 

(Fnm  the  New  York  Evening  Mirror,  December  1,  1847.) 

The  CouRiBR. — Gazette  versus  Camillo  Sivori. — The 
portentous  brayings  from  the  hide  of  the  Courier  have  again 
been  heard,  and  the  quality  of  the  voice  is  this  time  unmis- 
takeable.  The  lion's  skin  has  become  ridiculous  ;  eve^  its 
imposing  appearance  cannot  give  dignity  or  weight  to  the 
exquisite  simpleton  it  covers.  The  malicious,  we  had  almost 
said  infamous,  attacks  upon  Sivori  in  the  Courier  and  Gazette 
— or  rather  in  the  Gazette^  for  the  criticisms  in  the  Courier 
a.*e  but  seeond'hand  spun  out  notices  from  the  Gazette — 
these  malicious  articles,  v^e  say,  bear  abundant  evidence  of 
their  having  originated  in  the  job  printing  room.  That  Sivori 
had  his  bills  and  tickets  printed  at  the  Herald  printing  office, 
k  a  sin  never  to  be  forgiven  by  the  Courier,  and  the  fair  fame 
and  honourable  reputation  of  a  stranger,  is  immolated  to 
gratify  a  bitter  spirit  of  revenge  towards  a  third  party.  This 
course  is  ungenerous,  unjust,  and  hardly  consistent  with  the 
character  of  the  gallant  eilitor  of  the  Courier,  We  will  now 
examine  this  spun-out  Gazette  article,  and  show  how  utterly 
unworthy  it  is  of  credence  or  respect.  We  will  show  its 
malice,  its  errors,  and  its  false  quotations  by  inference.  Its 
^  malice  is  evident  in  every  way.  First,  it  now  blames  Sivori 
for  doing  that  which  it  imperatively  demanded  from  him 
before,  and  by  a  curious  sort  of  reasoning  endeavours  to  prove 
tiiat  having  a  large  number  of  excellent  artists  at  one  concert 
is  worse  than  having  none  at  all.  *  This  gathering  together 
of  all  the  artists  in  the  city  is  very  objectionable,  and  does 
not  attain  the  end  in  view.'  What  was  the  end  in  view  ? 
The  article  in  question  says  that  the  concert '  was  got  up 
with  a  lavishnesB  ef  expense,  which  ^owed  the  earnest  desire 
to  please  the  public'  If  the  desire  to  please  was  the  end 
to  be  attained,  suidy  Sivori  was  successful,  for  more 
Hum  fifteen  hundred  parsons  wexe  present,  «id    n  mora 


delighted  and  enthusiastic  auditory  we  have  rarely  seen. 
Its  malice  is  evident  in  the  side  thrusts  and  ooveft  iBsinuatioas 
against  Signor  Rapetti,  and  the  needless  and  ungenerous 
inbult  to  Madame  Ablamowics,  with  which  the  article  closes ; 
it  is  also  shown  in  the  unnecessary  delay  in  publishing  the 
article  and  reserving  it  for  that  time  wheil  it  would  be  etdou* 
lated  to  do  Sivori  the  greatest  injury.  Speaking  of  Sivori's 
performance  of  Sophr's  eighth  concert,  after  giving  it  (hunt 
praise  it  says,  ''  We  know  three  or  four  violin  players  of  no 
very  great  attainment  as  executante,  who  woidd  have  read 
this  concert  in  a  much  better  spirit  than  M.  Sivori."  We 
dare  the  writer  to  name  these  *'  three  or  four  violin  players  " 
who,  not  playing  much,  could  read  such  music  in  better  spirit 
than  Sivori.  He  cannot  do  it ;  the  assertion  was  only  made 
in  order  to  depreciate  Sivori,  but  who  will  believe  such  silly 
twaddling,  unsupported  as3ertions  ?     He  then  says  : — 

"  But  as  if  to  mar  what  good  he  had  achieved  Id  bit  performance  of  it, 
he  introduced  a  cadenta  of  ioterminable  length  and  so  abtordly  imper- 
tinent to  the  compoaitiun,  that  bad  it  poaaeaied  any  eicellenoe.  whkb  it 
did  not,  it  would  have  been  insuiferable  in  that  connection.  Ii  was  per- 
fectly executed,  but  were  Sivori  a  great  artist  he  could  not  have  been 
tempted  to  introduce  It  on  any  consideration.  It  is  tliis  hariequinism, 
or,  as  the  Journal  det  Debate  expressed  it,  '  musical  Quixotism  which 
impels  him  to  go  in  quest  of  adveaturea  on  the  handle  of  his  vioHa;' 
this  feeling— again  we  quote  the  JotamU  dee  I>0Mt— which  makes  him 
'  not  satisfied  with  astonishing  and  moving,  but  rather  fond  of  buffoon- 
ery,' and  which  prompts  him  to  the  '  greatest  excesses,'  it  is  this  which 
prevents  him  from  being,  in  our  opinion,  a  great  artist." 

Spohr  has  written  in  this  concerto  a  cadenza  extending  ovir 
many  lines,  the  greater  part  of  which  was  played  by  Signor 
Sivori,  and  the  trifling  variation  which  he  made,  was  founded 
upon  the  themes  of  the  concerto t  and  could  not  therefore  be 
impertinent  to  the  subject.  The  quotation  which  immediately 
follows  from  the  Journal  des  Debate,  is  not  used  in  that  paper 
in  reference  to  Sivori's  performance  of  classical  music,  as  the 
writer  of  the  Gazette  would,  with  Jesuistical  cunning,  wish 
the  public  to  believe.  We  will  give  the  quotation  entire,  for 
the  benefit  of  the  Gazette  critic,  and  the  public  will  see  how 
the  authority  he  has  invoked,  and  which  he  wishes  the  public 
implicitly  to  believe,  overthrows  every  pretension  the  Gazette 
and  Courier  critic  has,  either  to  knowledge  or  acumen  : 

"  If  it  had  not  been  known  that  Sivori  wot  Paganini^e  jmpil,  it  would 
easily  have  been  suspected  by  the  incredible  boldness  of  his  play,  by  that 
species  of  musi^  Quixotism  which  impels  him  to  go  in  quest  of  adven- 
tures on  the  handle  of  his  violin,  by  the  miyestic  expression  of  his  play, 
the  velocity  of  his  passages,  the  perfection  with  which  he  exe  til«ff  the 
pizgicato  mingled  with  bow -striking,  the  trillo  and  all  the  double  note 
passages.  Nevertheless,  it  is  impossible  to  accept  Paganinl's  violin  on 
the  strength  of  an  inventory.  If  Sivori  possesses  the  qualities  of  his 
master,  he  also  has  his  eccentridties  and  defects.  He  Is  not  satWIed 
with  astonishing  and  moving,  he  is  rather  fond  ef  boifonery)  so  that 
after  executing  the  Prayer  of  Mote*  with  admirable  feeling,  he  passes  on 
to  the  little  after-piece,  and  plays  you  an  interlude  In  which  he  makes 
flute,  hautboy  and  bassoon  converse  together,  and  during  which  It  Is 
difficult  to  preserve  one's  gravity.  Let  this  be  said  without  detraeling 
one  iota  from  the  extnu>rdinary  merit  of  this  violinist.  1  must  even 
confess  that  in  the  midst  of  the  greatest  excesses,  his  play  is  always  full 
of  elegance  and  delicacy.  And  then.  It  is  not  given  to  every  artist,  not 
even  to  the  greatest,  to  joke  in  such  a  manner.  'I  hat  charming  piece  of 
buffonery,  the  Camivat  of  Venice,  has  always  obtained  the  honors  of  an 
encore.  I  do  not  at  all  feel  inclined  to  be  severer  than  the  public.  To 
be  fair,  I  need  only  add  that  bivori  made  a  point  to  prove  in  his  three 
concerts,  that  he  was  familiar  with  the  most  splendid  of  the  productions 
of  the  great  masters,  and  he  played  the  clateical  tontita,  the  duet  and  trio 
of  lieethoven,  and  the  ee^prieiout  eoelutiont  of  Paganini  with  equal 
tueceti" 

Of  what  value  now  are  the  criticisms  (?)  of  this  gentleman 
of  the  Gazette  and  Courier,  when  the  authority  he  cites 
praises  Sivori  upon  every  point  that  he  condemns  him  ?  One 
word  more,  and  we  will  leave  the  *  private  gentldman '  to 
whatever  aalirfaction  he  ean  glean  from  the  ri^icttldtti  position 


80 


THE  MUSICAL  WORLD. 


in  which  he  has  placed  himself.  He  says  that  *  if  Signor 
Rapetti  had  had  the  magnificent  instrument  of  the  other,  he 
would  have  claimed  an  equal  admiration.'  Signor  Rapetti 
played  upon  a  splendid  AmaH  violin  which  Sivori  frequently 
uses  in  public  himself !  The  remarks  which  follow,  about 
three  strings^  low  bridge  and  sounding  post  in  a  certain 
position*  the  private  gentleman  merely  *  ventures,'  he  does  not 
use  them  in  the  form  of  an  accusation.  How  petty,  malicious, 
and  infamous,  are  such  remarks,  when  they  are  only  ventured 
in  the  hope  of  inflicting  an  injury. 

MADAME  BISHOP  IN  THE  PROVINCES. 

(FroM  our  own  Corretpondent,) 

Liverpool^  Febnuarff  8. 
Madam*  Bishop  performed  for  the  last  time  at  the  Theatre 
Royal,  on  Saturday,  the  30th  last,*  in  the  Sonnambtda.  Hav- 
ing previously  heard  Madame  Bishop  in  London,  both  in 
Loretta  and  the  Maid  of  ArtoUt  I  was  led  to  expect  great 
things  from  her  in  Bellini's  delicious  opera,  as  however  fine 
her  performances  were  in  the  above  operas,  I  felt  that  they 
did  not  afford  the  artist  full  scope  for  her  genius.  I  was  by 
no  means  disappointed.  Madame  Bishop  surpassed,  rather 
than  fulfilled  my  utmost  expectations.  Her  Amina  in  the 
Sonnambula  is  a  most  exquisite  representation,  full  of  passion 
and  pathos,  and  exhibiting  to  perfection  the  almost  exhaustless 
reFOurces  of  her  superb  vocalisation.  Her  first  cavatina, 
**  Dearest  Companions/'  the  **  Come  per  me  sereno"  of  the 
Italian  version,  was  deliciously  given.  There  was  hardly  a 
note  which  did  not  derive  a  meaning  in  her  interpretation. 
She  also  gave  the  theme  in  £  flat  in  the  slow  movement  of  the 
second  finale,  exquisitely.  The  theme  comprises  not  more 
than  eight  bars,  yet  such  was  the  effect  she  produced  as  to 
call  forth  immense  applause.  The  rondo  finale,  you  may 
well  imagine,  was  the  crowning  rose  of  the  evening's  perform- 
ance. Its  effects  may  be  simply  told,  by  stating  the  fact  that 
it  was  encored  twice.  It  was  the  most  finishol  specimen  of 
vocalisation  I  have  had  the  luck  to  hear  for  many  a  long 
day.  Madame  Bishop  sang  the  finale  in  the  Italian.  I 
confess  I  did  not  perceive  the  propriety  of  this.  Although 
the  English  words  are  difficult  to  pronounce,  and  sound  harshly 
in  the  ears*  the  introduction  of  Italian  words  into  a  translated 
version  was  so  discrepant  as  to  excite  an  unfavourable  sur« 
prise.  The  audience,  however,  seemed  entirely  to  overlook 
the  heterogeneity  which  fell  somewhat  sudden  on  our  critical 
ears.  Madame  Bishop^was  recalled  when  the  curtain  descended, 
and  was  received  with  most  deafening  apphiuses.  I  was  par- 
ticularly struck  with  the  grace  and  fascination  of  Madame 
Bishop's  manner  in  Bellini's  charming  heroine.  The  part  of 
Amina  seems  absolutely  creatad  for  her,  both  in  its  vocal  and 
histrionic  requisitions ;  or  it  may  be,  that  the  artist,  by  her 

Eiius,  so  involves  herself  with  the  character  as  to  make  you 
I  both  part  and  interpreter  identical.  This  is  the  perfection 
of  art;  and  it  is  this  which  all  great  singers  aim  at,  but  which 
so  few  attain; 

There  is  one  feature  in  Madame  Bisphop's  performances, 
which,  I  think,  is  worthy  of  remark,  and  that  is,  dbe  sings  the 
music  according  to  the  original  score.  You  must  be  aware 
that  this|is  never  the  case  with  our  English  vocalists.  These 
transpose  the  arias  into  all  sorU  of  keys,  in  consequence  of 
which  too  often  the  entire  chan«cter  of  the  music  is  sacrificed. 
Madame  Bishop  having  a  pure  soprano  voice,  sings  the  music 
as  Bellini  wrote  it.  As  we  are  on  the  subject  of  transposition,  I 
must  relate  to  you  an  extraordinary  occurrence  that  took  place 
on  the  night  the  Sonnambuh  was  performed.    Whilst  Madame 


Bishop  was  singing  the  rondo  finale  in  B  fiat,  the  original 
key,  the  chorus,  who  strange  to  say,  had  no  rehearsal  with 
hery  and  thinking  they  should  sing  it  as  they  had  been 
previously  accustomed,  absolutely  sang  their  parts  a  third 
below,  in  F,  and  created  the  most  discrepant  noises 
you  ever  heard.  Think  of  that,  good  master  Editor !  The 
manner  in  which  the  operas  were  produced  for  Madame 
Bishop  was  disgraceful  in  the  extreme.  If  anything  could 
have  marred  the  success  of  the  great  artist,  this  flagrant 
direliction  of  the  management  would  have  done  so.  Think  of 
a  manager,  in  the  present  state  of  musical  matters,  engaging 
a  first  rate  prima  dimna,  without  making  the  least  preparation 
to  perform  the  operas  in  which  she  was  to  appear !  Imagine 
no  artist  of  the  slightest  consequence  engaged  to  support  her; 
(until  Mr.  D.  W-  King  was  engaged  in  her  last  performances, 
a  mere  novice  was  given  her  to  sustain  the  principal  parts, 
and  Mr.  King  from  ^hoarseness  failed  to  produce  any  effect)  ^ 
imagine  a  band  numbering  no  more  than  from  twelve  to  fourteen 
attempting  to  give  effect  to  modern  operas  and  to  accompanying 
elaborate  vocal  displays !  And  think  of  the  effect  of  operas 
performed  at  night  after  one  solitary  and  inefficient  rehearsal  on 
the  day  of  the  performance !  I  am  told,  indeed,  that  although  the 
scores  had  been  transmitted  weeks  since,  the  parts  were  only 
given  out  to  be  copied  forty-eight  hours  previous  to  the 
performance !  The  members  of  the  Birmingham  and  Liverpool 
bands,  it  is  true,  are  excellent  musicians,  but  the  mistakes  and 
procrastination  of  the  manager  left  them  entirely  at  fault. 
What  is  the  result  of  such  misdirection  ?  The  public,  after 
paying  the  due  tribute  of  respect  and  admiration  to  the  ad- 
mirable f^rtmacfonjia,  finding  all  the  managerial  arrangements 
miserably  inefficient,  lose  all  interest,  after  the  first  night  or 
two  in  a  performance  that  otherwise  would  have  been  con- 
tinually attractive.  And  in  this  manner  the  greatest  artistj 
the  most  transcendent  talent  may  be  easily  sacrificed. 

(Extract  from  a  Letter.) 
'*SiB, — Madame  Bishop  commenced  an  engagement  here  for 
six  nights  on  Monday  last,  and  has  been  playiug  daring  the  week 
in  the  **  Maid  of  Arioii^  and  **  SonnambulaJ*  Her  execution  of 
the  part  of  holino  was  beautiful  in  the  extreme,  and  received 
deserved  and  enthusiastic  applause,  particularly  in  the  desert  scene, 
the  music  of  which  she  gsTO  with  intense  pathos.  On  Friday 
evening  she  appeared  as  Amina  in  Sormambuiat  assisted  bv  Miss 
FitzwiUiam,  as  Lisa.  Mr.  King  (El vino),  and  Mr.  Corri  Rodolpbo. 
It  is  almost  impossible  to  describe  the  beauty  with  which  she  gave 
the  openipg  recitative  and  air,  **  Dearent  Companions  i"  it  was 
ezqnisite,  as  also  the  duet  with  Elvino,  '*  Take  now  this  Ring  ;"  but 
in  the  finale  to  the  second  act,  her  lower  notes  were  found  wanting. 
Her  crowning  triumph,  however,  was  the  finale,  '*  Do  not  mingle," 
which  ahe  gave  in  Italian :  it  created  a  complete  furor,  and 
received  a  double  encore.  Mr.  King  appeared  to  be  labouring 
under  a  severe  cold,  which  marred  the  ettect  of  the  air,  "Still  so 
gently ;"  but  on  the  following  evening  he  sang  extremely  well,  and 
received  much  and  deserved  applause.  Miss  FitzwiUiam  gave  an 
excellent  version  of  her  part  as  Lisa,  and  particularly  distinguished 
herself  in  the  cavaUna,  "Sounds  sojoyrul."  We  don't  remember 
ever  seeing  the  part  so  ably  sustained.  Mr,  Corri,  as  Kodolpho, 
sang  the  music  allotted  to  him  very  neatly,  particularly  the  air, 
*'  ^  I  view  these  Scenes.'  His  voice  has  rather  a  harsh  tendenov, 
but  ho  always  sings  in  tune.  The  choruses  were  extremely 
unsteady,  so  much  so,  that  they  called  forth  severe  narks  of 
disapprobation.  Yours  obediently, 

Itiverpoolt  Jan*  dO.  A  SuBscaiBsa." 

On  Wednesday  last,  Madame  Bishop  sang  at  a  concert  at 
Cambridge,  with  brilliant  success.  The  room  was  crowded  to 
suffocation,  and  the  charming  vocalist  was  received  and 
applauded  with  the  utmost  enthusiasm.  Her  ballad  **The 
baoka  of  Guadalquiver,"    and  the  pretty  romance  of  ^\L(l^ 


THE  MUSICAL  WORLD. 


.  81 


Bayadere^**  wen  encored  ivitk  acdamations.  The  concert 
was  given  by  Mr.  G.  Nicholls,  an  excellent  f  autist,  and 
one  of  the  first  performers  in  Cambridge.  All  the  arrange- 
ments were  very  creditable  to  his  taste  and  manage- 
ment. The  Tistin's  family  and  John  Parry,  added  to  the 
attractions  of  the  concert,  and  were  received  with  the  honors 
that  they  never  fail  to  obtain.  The  Town-Hall  has  not  for 
many  years  boasted  so  brilliant  and  fashionable  an  assemblage 
at  a  musical  performance.  Mad.  Bishop  turned  out  a  trump- 
card  for  the  enterprising  concert  giver. 


ANECDOTE  OF  FANNY  ELMLER. 

Iir  Um  Mysiere$  du  Grand' Opera,  wo  read  the  followiog 
anecdoto.  One  eveniDg,  Burst  do  Gun^r,  author  of  le  Diable 
Beiieux  entered  Fanny  EUslcr's  loge^  which  was  guarded  as  usual 
on  tho  outside  by  two  tall  footmeu,  and  entirely  devoid  of  orna- 
ment within,  not  beiogeven  carpetted. 

''^  My  dear  M.  Burat,'  said  Fanny,  'I  am  in  a  terrible  rage.  I 
have  my  pas  to  dance,  and  the  corps  de  balUt  have  stolen  my 
efaalk. 

« •  What,  you  think  so  T* 

**  *  No  doubt  of  it.  I  have  asked  everybody  for  some,  Nathalie 
Rt^ames,  Noblet,  and  her  sister,  and  they  say  they  have  none. 
It  is  a  conspiracy  you  see,  to  binder  roe  from  dancing.  So  now, 
M.  Burst,  you  will  get  me  some  chalk,  will  you  not  ?" 

" '  But  my  dear  lady,  1  don't  know  where  to  go  for  it.* 

*« '  Make  baste,'  replied  the  danseuse.  I  will  pav  whatever  you 
Kke  for  it.  You  have  a  quarter  of  an  hour  before  the  curtun  rises* 
I  iball  expect  you.* 

**  It  was  then  eleven  o'clock,  and  all  the  shops  were  shut  s  M. 
Borat  de  Gurgy  was  highly  embamssed  what  to  do. 

'^  However,  at  last  ho  returned,  bringing  twenty  little  bats  of 
cbslk*  but  looking  anything  rather  than  cheerfuL 

*«  *  Ah  V  cried  Fanny  Ellsler, '  what  do  1  owe  for  it  ? 

*' '  Ten  peiits  verres'  was  the  answer.  *  I  have  been  obliged 
to  go  to  ten  cqfeSf  to  steal  the  chalk  from  the  billiard  tables.' 


SACRED    HARMONIC   SOCIETY. 

The  fourteenth  annual  meeting  of  the  members  of  the  Sacred 
Harmonic  Society,  for  receiving  a  report  from  the  committee 
on  the  proceedings  of  the  past  year,  the  election  of  ofBcers,  &c. 
took  place  at  Exeter  Hall,  on  Tuesday.  There  was  not  a  very 
full  attendance  of  members.  The  report  showed  an  aggregate 
increase  of  forty-five  members  and  subscribers  over  the  num- 
ber of  last  year ;  that  the  number  of  concerts  given  during  the 
year  1846,  was  eighteen,  being  eight  more  than  the  average 
of  the  last  seven  years  ;  that  at  such  concerts  several  of  the 
pieces  performed  were  entirely  new  to  the  public,  several 
oratorios  by  Handeli  Beethoven,  and  Spohr,  had  not  been 
heard  since  1842,  and  that  several  of  the  principal  singers  bad 
not  previously  appeared  at  the  society's  performances.  On 
the  concert  account,  there  was  a  deficiency  of  above  £500,  the 
expenses  being  £3534  2s.  Id.,  and  the  receipts  only 
£3025  9s.  Od.,  leaving  a  balance  of  £508  13a  Id.  charge- 
able on  the  general  funds  of  the  society.  It  appeared  that  the 
principal  deficiencies  arose  from  those  concerts  at  which  new 
works  had  been  performed.  The  property  of  the  society  in* 
vested  in  stock,  on  interest*  in  the  library,  and  in  musical 
instruments,  &c.,  was  stated  at  £2,000.  Some  interesting 
statistical  details  were  given,  from  which  it  appeared  that  the 
ociety  since  its  existence,  had  afforded  to  the  public  the  op« 
portunity  of  hearing  Handel's  "  Messiah  '*  forty-one  times  ; 
—**  Israel  in  Egypt"  seventeen  times ;  ^**  Judas  Maccabeus" 
twelve  times ;  — ''  Samson*'  six  times  f  —  "  Solomon"  seven 
ttmef ;  —  **  Joshua"  fire  times ;  -*  *<  Saul"  four  times ;  *- 


'*  Jephthah"  four  times ;  ^  **  Athaliah*'  once ;  —  '*  Dettingen 
Te  Deum"  once ;  —  "  Jubilate"  once  ;  —  "  Zadoc  the 
Priest"  twice ;  Haydn*s  *'  Creation"  twenty-four  times ;  -— 
*'  Masses"  six  times ;  Mozart's  *'  Masses"  three  times ;  Bee- 
thoven's "Mount  of  Olives"  three  times;  —  "Mass  in  C" 
twice ;  Spohr's  *'  Lsst  Judgment"  four  times  t  Furcell's  Jubi- 
late" cnce;  Mendelssohn's  "St.  Paul"  eight  times;  — 
'<  Lobgesang"  eight  times ;  —  "  As  the  Hart  Pants"  (psalm) 
once ;  —  and  *'  When  Israel"  (psalm)  once.  During  the  last 
ten  years,  the  number  of  concerts  have  been  one  hundred  and 
sixty.  The  number  of  persons  who  had  attended  them  was 
306,670.  The  receipts  for  such  concerts  were  upwards  of 
£37,000,  of  which  sum,  £20,000  had  been  distributed  amongst 
the  musical  profession.  The  report,  in  conclusion,  announced 
the  intention  of  the  committee  to  produce  several  novelties 
during  the  present  season:  viz.,  Handel's  "  Belshazzar ;" 
Mendelssohn's  **  Elijah,"  and  some  of  Spohr's  late  composi- 
tions ;  also,  that  the  two  last  talented  composers  had  been 
engaged  to  conduct  some  of  the  society's  performances. 

Mr.  Reseigh,  in  proposing  the  adoption  of  the  report,  congra* 
tnlated  the  society  on  their  achievements  in  the  cause  of  music 
during  the  last  fourteen  years.  That  congratulation,  was  a  little 
allayed  by  their  present  financial  position  as  regaided  the 
last  year's  operations,  there  being  a  deficiency  of  above  £500* 
He,  however*  could  not  suggest  any  remedy,  but  thought 
their  best  course  would  be,  to  leave  the  consideration  of  tho 
subject,  whether  any  reduction  of  expenditure  could  be  made 
to  Uie  oommitteey  who  kindly  devoted  so  much  of  their  time  to 
the  society's  affairs,  and  who,  he  was  sure^  would  give  it  their 
anxious  consideration.  He  therefore  proposed*  that  tha 
report  and  accounts  should  be  adopted.  The  motion  having 
been  seconded,  was  unanimously  carried,  after  some  observa* 
tions  from  Mr.  James  Taylor,  who  suggested  that  a  larger  num- 
ber of  members  should  be  admitted,  no  increase  having  taken 
place  since  1842  ;  that  several  alterations  were  desirable  in 
tho  orchestra,  which  would  much  improve  the  general  charac- 
ter of  the  performances,  especially  as  regarded  the  aito  singers 
and  second  violins ;  and  that  the  pecuniary  assistance  afforded 
by  the  society,  to  enable  the  musical  studies  of  talented  young 
persons  to  be  prosecuted,  in  cases  where  they  themselves  were 
not  able  to  do  so,  should  be  extended.  Considerable  discus- 
sion ensued  on  a  motion  made  by  Mr.  Cohen,  to  the  effect  of 
urging  the  committee  to  take  measures  to  improve  the  style  of 
the  performances.  He  pointed  out  to  the  meeting  the  severe 
criticisms  which  had  been  made  on  the  glaring  defects  of  exe- 
cution which  were  observable  in  many  of  their  most  frequently 
performed  oratorios,  and  was  persuaded  that  but  little  progress 
had  been  made  for  several  years,  and  that  in  many  points  there 
had  been  retrogression.  He  thought  that  tfae  particular  attention 
of  the  committee  should  be  drawn  to  the  causes  alleged  by  many 
critical  writers,  with  a  view  to  their  remedy,  and  was  certain 
that  by  a  proper  weeding,  and  separation  of  the  bad  elements 
from  the  good,  punctual  attendance  at  rehearsal,  and  increased 
yigilance  on  the  part  of  their  conductor,  leader,  and  organist, 
the  society  would  yet  achieve  the  proud  position  of  tlie  fiist 
association  of  the  kind  in  the  world.  Several  members  urged 
the  necessity  of  some  particular  regulations  on  the  subject  of 
rehearsals,  and  eventually  the  motion  was  withdrawn*  and  a 
resolution  adopted  approvatory  of  a  regulation  of  the  committee, 
circulated  to  the  members  at  the  beginning  of  the  season  of 
1846,  to  secure  that  desirable  object,  and  urging  that  it  might 
be  rigidly  enforced. 

The  usual  votes  of  thanks  to  the  president,  the  officers* 
committee,  assistants,  stewards,  and  leaders  of  the  chorua 
having  been  passedi  the  meeting  broke  up.  j 

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THE  MUSICAL  WORLD. 


THE    RIVAL    OPERAS. 

(J^Wmi   TkB  Spectator.) 

To  jadge  from  tbe  bother  made  by  some  of  the  newspapers, 
one  would  suppose  that  London  were  shaken  to  its  centre  by 
the  war  of  the  rival  Italian  Operas.     Mole-hills  are  magnified 
into  mountains,  and  matters  of  green-room  gossip  are  discussed 
with  the  pertinacity,  if  not  the  dignity,  of  national  quarrels. 
The  M&ming  Chronicle^  especially,  has  been  conspicuous  in 
this  fussy  warfare,  and  has  laboured  as  hard  to  make  out  its 
own  views  of  the  questions  concerned  in  the  engagements  of 
Jenny  Lind  as  it  ever  did  in  supporting  the  diplomacy  of 
Lord  Palmerston.      The  aflkir,  though  scarcely  so  important 
as  that  of  the  measures  for  the  lelief  of  the  Irish,  has  yet  an 
interest  of  its  own ;  and  therefore  we  shall  endeavour  to  tell 
our  readers  in  a  few  words  how  it  stands.   We  mentioned  last 
week  the  interim  programme  issued  by  Mr.  Lumley,  in  which 
he  announces  the  engagement  of  Mademoiselle  Lind  from 
Easter  to  the  end  of  the  season.     The  C^ronic^^  withheld  all 
belief  from  this   announcement,   as   being  contained    in   a 
mannscript,  and  therefore  not  an  official  documeut.     It  was 
then  puUished  in   the  newspapers :  and  still  the  Chronicle 
refused  to  believe  it,  simply  because  it  was  a  falsehood.     Mr. 
Bunn,  it  seems,  has  Jenny  Lmd  under  an  engagement  to  him,  _ 
from  which  he  refuses  to  release  her ;  and  the  Chronicle,  last 
Monday,  began  an  elaborate  article  by  expressing  iu  **  great 
gratification  that  the  preo^  obstacle  to  the  appearance  of  Jenny 
Lind  in  this  country  had  been  removed,  there  being  now  no 
reasonable  doubt  as  to  her  deHt  being  made  at  Drury  Lane 
Theatre  in  due  course,  the  lessee  having  in  the  handsomest 
manner  consented  to  her  nnging  either  tn  Italian  or  German, 
at  her  option.''     And  the  great  gratification   of  the  Whig 
journal  it  founded  on  a  letter  from  Mr.  Bunn  to  Mademoiselle 
Lind  (which  it  quotes),  dated  two  days  before,  and  making 
this  proposal.    Now,  in  talking  thua,  our  good  frien  I  is  either 
stultifying  himself  or  trying  to  stultify  his  readers.     Could 
any  rational  being  believe  for  a  moment  that  Mr.  Bonn  was 
in  earnest  in  making  such  a  proposal,  or  had  the  least  idea  of 
its   benis  accepted?     The  manager  of  an  English  theatre, 
with  an  English  company,  offering  to  engage  a  prima  donna 
to  sing  either  in  Italian  or  German,  at  her  option  ! — we  should 
like  to  see  Mr.  Bunn's  visage  on  opening  a  letter  from  the 
lady,  intimating  her  acceptance  of  the  option  ;  her  choice  of 
Italian  as  her  language,  and  of  Norma  for  her  debut ;  and  her 
intention  of  being  in  London,  to  begin  the  rehearsals,  on 
some  day  in  March  or  April  *.  Does  Mr.  Bunn  mean  to  have 
an  Italian  or  German  ctmpany  ready  for  her  arrival ;  or  is  he 
thinking  of  the  infant  days  of  our  opera  stage,  when  a  Signor 
Valentini  poured  out  his  raptures  in  choice  Italian,  and  Mrs. 
Tofts  responded  to  them  in  downright  English  ?  Does  he 
purpose  that  the  pastsionate  scenes  between  Norma  and  ^oliio 
shall  be  thus  enacted  by  Jenny  Lind  and  Mr.  Harrison? 
But  the  thing  b  too  ridiculous — Mr.  Bunn  never  dreams  of 
such  a  dilemma.     He  knows  that  "  the  Swedish  nightingale" 
ii  coming  o  Mr.  Lumley  ;    and  that  all  he  can  do  is  to  make . 
the  most  of  her  breach  of  engagement  with  him,  either  by 
going  to  law  or  accepting  a  handsome  douceur.  The  Chronicle 
has  k\9o  thought  fit  to  deny  the  truth  of  Mr.  Lumley*s  an- 
nouncement Slat  Mendelssohn  will  visit  England  and  produce 
an  opf^ra,  the  libretto  written  by  Scribe,  on  the  subject  of  the 
Tempeet ;  and  it  quotes  a  letter  from  a  Mr.  Buxton  (a  rousic- 
pul  lisher  in  the  City),  who  volunteers  a  *'  flat  contradiction" 
of  the  statement,  coolly  pronouncing  it  a  "  fJEibrication.'*    This 
witness  proves  too  much — -more  than  he  can  possibly  know: 
To  his  mere  negative  assertion  we  should  venture  to  prefer 
the  previous  affirmative  aaaertioii  of  the  lessee  of  the  Italian 


Opera,  even  though  this  assertion  were  not  (as  it  ie)  confirmed 
by  letters  in  town  from  Mendelssohn  himself. 


BEETHOVEN  aUARTETT  SOCIETY. 

Ths  management  of  this  admirable  musical  institution  has 
devolved  on  Mr.  Scipion  Rousselott  in  consequence  of  a 
late  event  with  which  our  readers  are  sufficiently  familiar. 
It  was  the  wish  of  the  late  lamented  director  of  these  two 
concerts,  that  this  gentleman  should  undertake  the  entire 
conduct  of  the  Beethoven  Quartett  Society  ;  and  agreeable  to 
that  intent,  Mr.  Rousselot  was  appointed  sole  manager  at  the 
latter  period  of  the  past  season.  Mr.  Rous^lot  has  this  year 
taken  the  whole  responsibility  of  the  arrangements  on  himself. 
He  has  issued  his  printed  prospectus,  in  which  we  find,  that 
eight  performances,  as  usual  are  to  take  place,  and  that  the 
meetings  will  be  held  as  heretofore,  in  Harley  Street.  Mr. 
Rou^sebt  holds  out  to  the  subscribers  of  Beethoven  Quartett 
Society  every  advantage  which  its  means  are  capable  of 
procuring.  He  engages  himself  to  provide  for  each  per- 
formance the  best  talent  in  Europe,  as  soon  as  he 
is  secured  against  pecuniary  loss  by  subscriptions,  and 
pledges  himself  that  he  has  not  tlie  remotest  intention  of 
making  the  society  a  source  of  pecuniary  profits.  We  most 
cordially  believe  this.  Mr.  Rousselot  is  a  real  musician  in  heart 
as  well  as  head,  and  would  be  the  last  man  to  degrade  the 
nobQity  of  fine  arts,  by  turning  it  into  a  matter  of  speculation. 
We  wish  well  to  .the  society,  and  are  delighted  that  so  trust- 
worthy a  musician,  and  so  indefatigable  a  labourer  as  Mr. 
Scipion  Rousselot  is  placed  at  its  head. 

CONCERTS. 

Mr.  Dando's  Quartet  Concerts. — ^The  first  of  these  took 
place  on  Monday  evening,  January  25,  in  the  Throne  room, 
Crosby  Hall.     The  following  was  the  programme  : — 

Part  I.-  Quartet  in  F  major,  (No.  36)  for  two  violiiM,  viola,  and 
▼iolonceUo,  Haydn,  Messrs.  Dando,  Gattie,  W.  Thomas,  and  Liicas. 
Aria,  ML«a  Dolbjr,  "  Non  credo  instabiie/'  (Flavio)  UamM.  Quartet  in 
G  minor.  No.  3,  (Op  27)  for  pianofone,  violin,  yioia,  and  vioionceUo, 
Mozart,  Messrs.  Sterndale  Bennett,  Dando,  W.  Thomas,  and  Lucas. 

Pamt  II.— Quartet  in  C  major.  No.  1  of  Op.  U.*^,  (dedicated  to  Mr. 
Charles  Aders)  for  flute,  violin,  viola,  and  violmoello,  5*.  Rie$,  Measra. 
Clinton.  Dando,  W.  Thomas,  and  Lucas,  (first  time  of  public  peiformance 
in  this  country).  Songs,  Miss  Dolby,  "  Auf  dem  Wassei,"  (MS.)  Men- 
deittohn,  tijxd  "The  Shepherd's  Winter  Song,"  Czapek.  Quintet  in  C 
minor.  Op.  104.  (Re-written  from  No  3  of  Op.  1,)  for  iwo  violins,  two 
violas,  and  violoncello,  Beetkoven,  Messrs.  Dando,  Gattie,  W.  Thomas, 
Hiil,  and  Lucas.— Conductor,  Mr.  Sterndale  Bennett. 

The  concert  hegan  at  seven  o'clock,  an  hour  before  we 
anticipated,  the  consequence  of  which  was  our  losing  Haydn'a 
quartet,  Miss  Dolby's  first  song,  and  the  Allegro  in  Mozart's 
quartet.  The  two  movements  of  the  last  mentioned  which 
we  did  hear,  however,  compensated  for  the  loss  Mr.  Stern- 
dale Bennett,  who  in  this  kind  of  music  has  but  few  rivalst 
played  beautifully.  It  is  a  rare  treat  to  listen  to  so  con- 
scientious and  admirable  a  pianist  interpreting  the  undying 
melody  of  Mozart — much  in  the  same  manner,  by  the  way,  if 
we  may  reckon  from  analogy,  that  the  composer  would  have 
interpreted  it  himself.  The  quartet  of  Riesislesa  pretentious 
than  many  works  of  that  over-estimated  musician,  and  the 
more  agreeable  on  that  a7count.  There  is  not  an  original  idea 
in  it  from  one  end  to  tbe  other,  but  it  is  well  written,  the 
subjects  are  flowing  and  simple,  and  the  charm  of  facility 
characterizes  it  throughout.  It  was  exceedingly  well  played. 
Mr.  CliiRon  supported  the  flute  part  vnth  great  devernesa, 
and  the  tones  of  his  instrument  blended  with  those  of  its 
stringed  co-operators  more  completely  and  effectively  than  we 


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83 


could  have  anticipated.  In  fact  we  never  missed  the  presence 
of  a  first  violin,  so  efiicient  was  its  tubed  substitute  in  the 
hands  of  Mr.  Clinton.  Of  Miss  Dolby's  two  songs,  that  of 
Mendelssohn  bore  the  bell,  being  encored  warmly.  True, 
Miss  Dolby  sang  it  charmingly,  exquisitely  indeed — and  true 
it  is  a  charming,  nay  an  exquisite  song — and,  moreover,  (as 
the  Times  informs  us)  it  was  written  by  the  composer  ex- 
pressly for  the  siiiger,  and  by  his  own  hand  copied  into  her 
albom — and  to  conclude,  the  accompaniment,  which  is  lovely. 
was  played  by  Mr.  Sterndale  Bennett — so  that  all  these 
charms  combined  bore  hard  upon  the  song  of  Mr.  Czapek  (J. 
L.  Hatton)  which  immediately  followed,  and  which,  notwith- 
standing^  is  exceedingly  quaint,  pretty,  and  musician-like. 
But  **  Auf  dem  wasser"  made  us  feel  as  it  were  the  influence 
of  the  warm  summer  sunshine*  while  *'  The  Shepherd's 
Winter  Song"  brought  with  it  associations  of  the  bleak 
wintry  wind,  and  Miss  Dolby  is  incontestably  more  summery 
than  wintry— >at  least  if  we  may  judge  by  her  smile.  The 
quintet  of  Beethoven,  Op.  104,  being  an  arrangement  of  his 
early  trio,  attributed  to  his  own  hand  on  grounds  by  no  means 
satisfactory  (on  the  bare  authority  of  a  music  publisher),  we 
did  not  wait  to  hear  it,  not  caring  greatly  for  re-arrangements 
and  remodellings.  Mr-  Dando's  playing,  in  such  of  the  pieces 
as  we  heard,  was  eminently  artist-like,  finished  and  elegant; 
few  indeed  can  excel  him  in  the  quartet-style.  Messrs.  Gattie. 
Hill,  W.  Thomas,  and  Lucas,  were  as  they  generally  are,  all 
that  could  be  desired ;  all  the  most  exacting  connoisseurs  of  their 
special  instruments  could  demand.  On  the  whole  this  pro- 
gramme was  not  quite  so  interesting  a  one  as  we  are  used  to 
expect  from  Mr.  Dando — but,  doubtless,  the  second  concert 
will  make  up  by  more  than  usual  excellence  for  the  small 
deficiencies  of  its  predecessor.  The  room  was  tolerably  well 
filled  by  stannch  amateurs  of  the  right  sort,  who  never  fail 
to  gather  round  Mr.  Dando  at  his  annual  meetings. 

Madame  Dolcken's  Soirees. — The  first  of  these  for  the 
present  season  occurred  on  Wednesday  evening,  Jan.  27,  at 
Madame  Dulcken*s  residence,  in  Harley-street.  The  pro- 
gramme was  as  below  : — 

Fir  IT  Part, — Qulntuor  (A  minor),  Op.  34.  two  violins,  tenor,  vio 
kmoello,  and  contra-bflMO,  Messrs  Willy,  Goffrle,  Hill,  Lucas,  and 
Howell,  Ontow.  Aria,  "  Ah!  si  per  voi,"  Mr.  Manvers  (Otello), 
Jtumm.  Quatuor,  pianoforte,  violin,  viola,  and  violonceUo,  Madanae 
DuUdsen,  Messrs  Willy,  Hill,  and  Lucas  MendelM$okn.  Grand  Aria, '  Si 
k»  sento,"  Miss  Rainrbrth  (Faust),  Spohr.  Grand  Sonata  (in  F),  piano- 
forte  and  Violin,  Madame  Dulcicen  and  Mens.  Sainton,  Beethoven. 

SscoMD  Past. — Grand  Concerto  (Posthumous),  pianororte  and 
orchestra,  Madame  Dulcken,  Messrs.  Willy,  GoflTrie,  Jay,  Hill,  Westiop, 
Hill,  Weslake,  Lucas,  Goodban,  Howell.  Severn,  Wells,  Grattan  Cooke, 
Nicholson,  Lazarus,  Baddely,  Keating,  Hardy,  Jarrett,  T.  Harper,  Good- 
win, &r.,  &c..  Hummel,  German  Song,  *'  Kommt  herbev,"  Miss 
Rainforth  f  first  time  of  performance),  Molique.  Ballad,  "*  *Ti%  sad  thus  to 
fall,"  Mr.  Manvers  (Gipsey's  \A/arning).  Benedict.  Gigue,  for  pianoforte 
(in  F  sharp  minor),  Madan  e  Dulcken,  Handel.  Piece  pour  le  Clavecin 
(iB  A),  Mad«me  Dulcken,  Scarlatti.  Duet,  "  Torn'  a  mi  a  dir,"  Miss 
Rainfonh  and  Mr.  Manvers  (Don  Fasquale)  Damzetii. — Conductor,  M. 
Benedict. 

The  fiubionable  amateurs  and  well-known  professionals,  who 
ordinarily  flock  to  these  elegant  meetings,  a^isembled  in  con- 
siderable numbers  on  the  present  occasion.  Tne  quintet  of 
Onslowy  a  marvellously  clever  and  a  marvellously  uninspired 
composition,  was  most  correctly  and  spiritedly  executed.  We 
have  seldom  heard  Mr.  Willy  play  more  ably,  and  Mr.  Groffrie 
played  up  to  him  admirably.  We  need  hardly  say  how  wt)l 
they  were  aided  by  Messrs.  Hill,  Lucas,  and  Howell.  Suffice 
it,  that  Onslow's  quintet  interested  us  in  spite  of  its  mono- 
tony and  dryness.  The  air  from  Otello  is  hardly  suited  tu 
Mr.  lianvers;  and  we  have  heard  Miss  Rainforth  many  times 
to  more  advantage  in  the  fine  arid  of  Spohr,  ordinarily  one  of 


her  happiest  efforts.       Mendelssohn's  quartette  ne  of  hia 
earliest  works — is  foil  of  beauties  ;  but  we  feel  the  lengthiness 
which  the  papers  have  remarked  in  its  notices  of  these  concert, 
especially  in  the  first  movement,  which  was  taken  much  too' 
slow  at  the  commencement.  In  other  respects  the  whole  ^ciartet  ^ 
was  capitatlv  played  ;  and  in  the  scherzo  Atid  finale,  the  best 
parts  of  the  quartet,  Madame  Dulcken's  briUiant  execution 
was  heard  to  brilliant  advantage.     Beethoven's  captivating 
sonata  was  the  purest  gem  of  the  evening,  both  as  to  the  merits 
of  the  music  and  the  excellence  of  its  interpretation,     Mons. 
Sainton  is  always  at  heme  in  Beethoven,  and  surpassed  himself 
on  this  occasion :  in  Madame  Dulcken  he  found  a  coadjutor ' 
nothing  backward  in  joining  with  him  zeal  for  zeal  and  grace  for 
grace,  at  the  shrine  of  the  mighty  master.     The  concerto  of 
Hummel  is  an  ingenious  and  spirituel  woric,  and  was  eatoei-  * 
lently  played,  albeit  an  orchestra  is  scarcely  at  home  in  a 
drawing-room.     Why  did  Madame  Dulcken  omit  part  of  the 
first  iuUi  ?    It  put  the  composition  out  of  joint,  and  saved  how 
much  time  ? — about  a  minute  !     Molique's  elegant  little  song, 
Kommt  herbey*  was  delivered  by  Miss  Rainforth  with  th^t 
expressive  simplicity  of  style  which  best  interprets  its  metfti-  - 
ing.   The  melodious  ballad,  from  Benedict's  Gipsy's  Warning^  * 
was  also  very  unaffectedly  rendered  by  Mr.  Manvers.     Of 
Handel's  Gigtte,  in  F  sharp  minor,  we  have  spoken  in  our  re- 
view of  Messrs.  Cramer's  recently  published  edition  of  the 
SuUes  de  Pieces.    It  is  unnecessary  to  say  that  in  Madame 
Dulcken's  hands  it  lost  none  of  its  charm.      But  why  did 
not  the  fair  pianist  accompany  it  by  the  superb  fugue  which 
belongs  to  the  same  mite,  instead  of  the  piece  of  Scarlatti,  * 
which  has  little  but  its  brilliancy  to  recommend  it?     We  did 
not  wait  for  the  concluding  duet.  On  the  whole,  the  programme 
was  too  heavy  and  too  long ;   but  where  are  we  to  *ook  for 
perfection  ?     The  second  soirie  is  announced  for  Wednesday 
next. 

Mr.  p.  Ezekibl's  Concert.  —  On  Tuesday  the  large 
room  in  Crosby  Hall  was  crowded  to  excess  on  the  above 
occasion.  Mr.  Ezekiel  is  a  pianist  of  ability,  %nd  the 
artists  he  had  engaged  to  help  out  the  attractions  of  his  concert 
included  some  of  our  most  popular  and  deserving.  The 
vocalists  were,  Misses  Dolby  and  Thornton,  Messrs.  G.  Genge, 
Leffler,  and  John  Parry.  Mr.  T.  Reynolds,  a  young  per* 
former  on  the  harp  was  the  additional  inst'  umentalist,  and  Mr. 
Maurice  Davies  the  accompanyist  of  the  evening.  Mr.  Ezekiel 
performed  the  pianoforte  part  of  Weber's  Concert-stuck, 
without  uny  accompaniment,  a  feat  of  no  ordinary  courage, 
since  in  addition  to  the  intrinsic  difficulties  of  this  brilliant 
composition,  the  performers  had  to  contend  with  the  recollet- 
tions  of  those  amateurs,  who  being  acquainted  with  the  score, . 
were  naturally  on  the  constant  look  out  for  orchestral  effects, 
which  they  constantly  missed.  Nevertheless,  Mr.  Ezekiel 
acquitted  himself  musically,  cutting  away  such  of  the  passages 
as  were  hostile  to  his  progress,  and  by  lopping  and  abbre- 
viating, rendering  the  offspring  of  Weber*s  fiery  genius 
more  amenable  to  the  appreciation  of  the  major  part  « f  the 
audience.  So  much  pleased  were  his  hearers  with  Mr. 
Ezekiel's  playing,  that  they  encored  him  unanimously,  and  in 
retort  he  performed  a  pot  pourri  on  one  of  the  popular  airs 
of  Henry  Russell's  repertoire,  which  took  mightily.  Mr. 
Ezekiel's  second  solo  had  a  similar  effect  on  the  assembly, 
naturally  disposed  in  his  favour,  and  he  was  applauded  **  to 
the  echo."  Mr.  T.  Reynold's,  in  two  harp  solos,  the  one 
whereof  bight  '*  Ar  byd  y  nos,"  the  other  "  Per  Oslef,  or 
Sweet  Melody,"  also  brought  together  frequently  and  noisily. 


•  ^"""^^'^feil^J^uuyit: 


84 


THE  MUSICAL    WORLD. 


the  Croslyan  palms  of  handi.  Among  the  vocal  pieces  were 
several  encores — one  of  Miss  Dolby  in  '*  Ah  quel  Giorno." 
which  she  refused  to  take,  another  for  the  same  charming 
▼octliat  in  Linley's  ballad  "Constance,"  to  which  she 
responded  by  another  balkd  of  the  same  prblifie  tunist, 
half  a  note  lower,  singing  both  quietly  and  expressiyely*  and 
accompanying  herself  in  both  with  rare  taste.  Another 
encore  was  awarded  to  Miss  Thornton,  a  very  unaffected 
singer,  with  a  sweet  and  gentle  soprano  of  moderate  compass, 
in  the  elegant  ballad,  *Mt  is  not  form  it  is  not  face,*'  from 
The  Bwdman^  of  Maestro  Balfe.  The  two  encores  which 
renain  unrecorded  were  for  the  most  composed  and  courteous 
of  side-splitters,  John  Parry,  who  in  the  fairy  romance 
yclept  •*  The  White  Cat,"  embellished  the  humour  of  his 
>tn]Q  with  some  marvellous  exhibitions  of  grotesque 
pianism  ,  and  in*' The  London  Season,"  seasoned  the  jibes, 
and  jeers,  and  saws,  and  instances,  of  the  never-to-be-suf* 
ficiently  apostrophized  Albert  Smith,  with  quips  and  quirks 
and  sparkling  jollity  teeming  spontaneously  from  his  own 
invention.  To  the  first  encore  he  responded  by  his  '*  Matri- 
mony/' a  lyric  homily,  in  which  much  wisdom  lurks  under 
a  motley  covering,  and  to  the  second  by  something  equally 
pungent  and  well-flavored.  To  hear  John  Parry  play  the 
piano  makes  one  say,  '*  If  John  Parry  had  not  been  John 
Parry  he  would  have  been  Sigismond  Thalberg,  but  being 
John  Parry  he  does  not  want  to  be  any  other  he  that 
plays  or  sings."  And  this  involves  a  positive  and  sober  truth. 
An  apology  was  made  for  Mr.  Leffler,  who,  to  the  great  dis- 
appointment of  his  many  admirers,  was  afflicted  with  a  severe 
hoarseness,  and  only  sang  one  of  the  pieces  set  down  for  him, 
Edward  Loder's  quaint  romount,  "  Philip  the  Falconer." 
Mr.  Oenge  was  greatly  applauded  in  three  songs,  especially 
in  the  last,  **  Sally  in  our  Alley,"  a  ballad  which  has  been 
popular  for  some  time.  Mr.  Maurice  Davies  accomplished 
the  duties  of  accompanist  during  the  eveninjr,  and  acquitted 
himself  with  seat  and  indefatigability.  In  Barnett's  **  Song 
of  the  \'e"maid,"  which  was  sung  by  Miss  Thornton  in  a  style 
worthy  of  the  music,  and  in  Balfe's  *'  Icis  not  form,  it  is  not 
face,"  his  acquirements  were  satisfactorily  tested ;  but  in  Miss 
Dolby's  Italian  song,  Mr.  Davies  being  too  anxious,  was  less 
effective  and  correct  than  in  anything  else  during  the  evening 

^rom  i%t  Serman  of  iSotir. 

(CpnttmiedJirMm  pn^t  67-) 
PART    I. CH-^PTCR  XVIIl. 

It  will  be  easily  imagined  that  Mitt'er,  that  strsngcly  active  man 
with  whom  we  are  already  acquiunted,  had  no  sooner  hoard  of  the 
misfortune  that  had  befallen  the  friends,  than  ho  felt  inclined,  with- 
out asking,  to  show  his  friendship  untl  readiaes.*  to  assist.  However, 
ho  thought  it  advisable  first  to  wait  awhile  ;  for  he  knew  but  too 
well,  that  in  moral  dilemmas  it  is  more  difficult  to  aid  educated 
than  uneducated  persons ,  he  therefore  left  them  a  long  time  to 
themsolves ;  but  at  last  he  could  hold  out  uo  longer  and  hastened 
to  seek  £dward,  being  already  upon  his  traces. 

His  way  took  him  into  a  a  pleasaut  valley,  whore  the  water  of  sn 
ever*flowing  brook,  now  meandered,  now  rushed  through  a  green 
piece  of  roeadow-lsnd  planted  with  trees.  Along  the  gentle  de- 
clivities extended  fertile  fields  and  well- condition^  orchards.  The 
villsffes  were  not  too  close  to  each  other  ;  tho  whole  bad  a  peace- 
ful character  and  if  the  separate  paru  were  not  fitted  for  pamting, 
at  any  ra'e  they  seemed  well  sniied  for  the  purposes  of  living. 

A  well-ordered  farm,  wih  a  clean,  modest-looking  house  attached 
to  it,  at  last  met  hu  view.  He  guessed  that  this  was  Edward's 
private  abode,  and  he  was  not  mistaken. 

Of  this  solitary  roan  we  can  say,  .that  in  his  present  state  of 
quial,  he  entirely  gave  himself  up  to  his  pusion,  Imaghiinf  many 


plans,  fostering  many  hopes.  He  would  not  deny  that  he  wished  to 
see  Ottilia  here — to  brin?  her  here — to  allure  her  here.— oay  what 
was  there  lawful  or  unlawful  which  be  did  not  venture  to  think  ? 
n  hen  hb  imagination  wandered  through  all  sorts  of  possibilities. 
If  he  could  not  possess  her— legsUy  possess  hor— he  would  frive 
her  posseraion  of  the  property.  Here  should  she  live  for  herself 
quietly  and  inde(>endoiitly  ;  she  should  be  happy  ;  and  if  a  self- 
tormenting  imagination  carried  him  still  farther,  hsppy  with 
another. 

Thus  did  his  days  float  away  in  a  ceaseless  wavering  between 
hope  and  fear,  between  tears  anil  cheerfulness,  between  projects,  pre- 
parations,  and  despair.  The  s^ht  of  Mittlerdid  not  sstonish  him  ; 
ho  had  long  expected  his  arrival,  and  even  looked  upon  him  as 
rather  welcome.  If  he  considered  him  sent  bv  Charlotte,  he  bad 
prepared  himself  with  all  sorts  of  excuses  snd  delays,  as  well  as 
with  more  decided  proposslfu  But  if  he  hoped  again  to  hear  some- 
thing of  Ottilia,  Mittler  was  as  dear  to  him  as  a  messenger  from 
heaven. 

Edward  was  therefore  feverish  and  out  of  humour  when  he 
learned  that  Mittler  did  not  come  from  them,  but  of  his  own  ao* 
cold  ;  hi«  heart  closed  up.  and  at  first  it  was  impossible  to  open  the 
conversation.  But  Mittler  knew  well  enough  that  a  heart  occupied 
with  love  feel«  a  pressing  necessity  to' utter  its  feelings,  to  pour 
them  out  in  presence  of  a  friend  ;  and  hence  on  this  occasion,  after 
some  desultory  observations,  he  allowed  himself  to  quit  his  usual 
part,  and  play  the  confidant  instead  of  the  mediator. 

When,  in  a  friendlv  manner,  he  had  blamed  Edward  on  account 
of  bis  f^olitary  life,  the  latter  replied,—*'  O,  I  know  not  how  I 
could  pass  my  time  more  sgreesbiy  I  I  am  al  <  ays  occupied-  with 
her — always  in  her  presence.  1  have  the  inestimable  ad vantsge  of 
being  able  to  fancy  how  Ottilia  is,  whither  she  goes,  where  she  stands, 
where  she  reposes.  I  see  her  before  me  doing  as  she  wss  wont — 
makinff  and  undertaking,  and  always  doing  that  which  »  most 
pleasant  to  me.  But  it  cannot  remain  thus  ;  how  can  I  be  happy 
when  at  a  distance  from  her  ?  My  fancy  labours  to  devise  what 
Ottilia  should  d(»  to  approach  me.  I  write  to  myself  sweet  con* 
fidential  letters  in  her  name ;  I  answer  her,  snd  keep  the  papers 
toaether.  I  have  promised  not  to  advance  a  step  farther,  and  I 
will  keep  my  promise.  But  what  restrains  her  that  she  does  not 
turn  to  me  ?  Has  Charlotte  been  cruel  enough  to  extort  from  her 
a  promise,  an  oath,  i  hat  she  will  not  w;ite  to  me,  that  she  will  give 
no  account  of  herself?  It  is  natural — it  is  probable — and  yet  I 
find  it  a  thing  unheard  of,  and  not  to  be  endured.  If  she  loves  me, 
as  I  believe,  nay,  as  I  know  she  does,  why  does  she  not  venture^  to 
fiy,  and  throw  fierself  into  my  arms?  She  should — I  often  think 
she  could  do  that.  When  anything  is  stirring  in  the  ante-room,  I 
look  towards  the  door ;  I  think— 1  hope  that  she  will  come.  Aye, 
and  as  the  possible  is  impossible,  I  fsncy  that  the  impossible 
mus*  become  possible.  At  nisrht,  when  I  wake  up,  and  the  lamp 
casts  an  uncertain  light  through  the  chamber,  then  should  her  form, 
her  spirit,  some  indication  of  her,  float  before  me,  approach  me, 
touch  me,  if  only  for  a  moment,  to  give  me  a  sort  of  assurance 
that  she  was  thinking  of  me — that  she  was  mine. 

"  One  sinele  joy  remains  for  mo.  When  I  was  near  her  I 
dreamed  of  her ;  but  now  I  am  at  a  distance  from  her  wo  are  to- 
gether in  my  dreams ;  and  strange  to  say,  it  was  not  till  I  became 
acquainted  VI  ith  other  amiable  persons  in  tho  neifhlionrhood  that 
her  imsge  appeared,  as  if  to  say  :  *  Look  about  you, — yoa  will 
find  none  more  beautiful,  none  wore  dear  than  I  am.'  And  thus 
her  form  is  blended  with  every  one  of  my  dreams.  All  that  has 
passed  between  us  is  mingled  together.  iNow  we  are  signing  aeon- 
tract  I  and  then  her  hand  and  mine,  her  name  and  mine  extin- 
guish each  other,  are  entwined  with  each  other.  Nor  are  these  de- 
lightful sports  of  fan^y  entirely  free  from  pain.  Often  she  does 
something  which  is  contrary  to  the  high  idea  I  have  of  her,  and 
then  I  first  feel  how  much  I  love  her,  as  my  pin  is  beyond  all 
description.  Often  she  testes  and  torments  me  in  a  manner,  which 
is  anything  but  hers  ;  but  then  her  form  changes ;  her  beautiful, 
round,  heavenly  face,  lengthens  itself,  and  I  find  it  is  another.  But 
still  I  am  tormented — unsatisfied-— distracted ! 

•«  Do  not  smile,  dear  Mittler  ;  or,  if  you  will,  do  smile  !  Oh» 
I  am  not  ashamed  of  this  attachment ;  of  this— if  vou  please  to 
call  it  so— foolish,  nad  passion.  No  I  I  have  never  loved  till  now, 
«»now  I  first  learn  what  love  inqi^nf,^j^jl|J»efore  in  my  ji^  ^  a 


THE  MUSICAL  WORLD. 


8S 


mere  orolude^a  pretence — a'  killing  of  time,  fill  I  know  her — 
loved  her^wbolly^  and  passionately  loved  her.  It  has  been  said 
of  mo*  not  just  to  my  face,  but  often  behind  ray  back,  that  I  am  a 
baosrler  in  most  things.  May  be  so  t  but  I  had  not  found  that  in 
which  I  coold  show  myself  as  a  master.  I  should  like  to  see  htm 
who  conld  excel  mo  in  'the  talent  of  loving.  It  is  indeed  a  sad, 
painfuU  tearful  art ;  but  I  find  it  so  natural  to  me.  so  peculiarly  my 
own,  that  1  shall  hardly  ever  be  able  to  abandon  it." 

In  this  warm,  animated  declaration,  Edward  found  some  relief ; 
bat  every  single  feature  of  his  strange  position  was  t)ronght  plainly 
before  his  eyes ;  and  orercomo  by  the  painful  contest  he  burst  into 
tears,  which  flowed  more  freely,  because  the  confession  had  soft- 
ened his  heart. 

Mittler,  who  could  so  much  the  less  abandon  his  hasty  tempera* 
ment  and  his  immovable  understanding,  since  he  saw  how  far  he 
was  driven  from  the  purpose  of  his  journey,  by  the  painful  out- 
break of  Edward's  passion,  openly  and  in  unmeasured  terms  ex- 
prcssrd  bis  disapproval.  Eawaitl,  ho  sud,  should  display  more 
fortitude,  should  reflect  what  ho  owed  to  minly  dignity ;  should 
not  forget  that  it  was  the  highest  honour  for  humanity,  to  exercise 
•elf-coamand  lo  misfortune  ;  to  bear  pain  with  dignity  and  indifler- 
ence  ;  and  that  this  was  the  way  to  be  prized,  esteemed,  and  held 
vp  as  a  model. 

To  Edward,  excited  as  ho  was,  and  penetrated  with  the  most 
agonising  teelings,  these  words  neceuarily  appeared  hollow  and 
worthless. 

"  The  happy  man,  who  flnds  all  things  pleasant,"  continued  Ed- 
ward "  may  talk  as  bo  pleases  ;  but  he  would  be  ashamed  if  he  saw 
how  insupportable  he  was  to  the  sufferer.  This  unyielding,  com* 
fortable  person,  requires  an  infinite  patience,  but  will  not  admit  an 
infinite  pain.  There  are  cases — ^yes  there  are — when  consolation 
is  despicable,  and  despair  is  a  duty.  A  noble  Greek,  who  knows 
how  to  delineate  lovers,  bv  no  means  scruples  to  let  them  weep, 
onder  the  infliction  of  pain.  He  even  says  as  a  proverb  :  *Men 
abounding  jn  tears  are  good.'  Let  every  one  leave  mo  whose  heart 
18  dry— wfiose  eyes  are  dry.  I  curse  the  happ}  to  whom  the 
anheppy  man  is  only  to  serre  as  a  spectacle.  In  the  most  frightful 
stale  of  mental  and  bodily  angubh  he  u  to  demean  himself  noblv, 
that  he  nay  gain  their  approbaUon— like  a  gladiator  die  with  dignity 
before  iheir  eyes  that  ho  may  gain  more  applause  at  his  departure. 
Dear  Mittler,  I  thank  you  for  your  visit,  but  you  would  do  me  a 
great  fiivour  by  taking  a  turn  in  the  garden  or  about  the  spot.  We 
shall  meet  again.  I  will  endearoortobe  moro  collected,  and  more 
like  yon." 

^  Mittler  wuhed  rather  to  resume  than  to  break  off  the  eonvera* 
tioii,  which  he  could  not  ao  eastlr  renew.  Edward  also  found  it 
qoite  suitable  to  continue  a  dialogue  which  moreover  tended  to 
some  point." 

*' his  true,"  sud  Edward,  **  thinking  this  and  that,  and  talking 
this  and  that  does  no  good  ;  but  nevertheless  our  discourse  has  first 
made  mo  decidedly  feel  what  I  should  resolve,  nav,  what  1  have 
resolved  already.  I  see  before  me  my  present  and  future  Ivfe,  and 
have  only  to  cnooie  between  wretcheclness  and  enjoyment.  My 
good  friend,  do  bring  about  a  separation  which  is  so  necessary,  nay 
which  has  actually  taken  place.  Get  me  Charlotte's  consent, 
which,  for  reasons  which  I  will  not  explain,  ma^,  I  think,  be  ob 
tained.     Go,  my  dear  friend,  remove  all  uneasiness,  make  us  sJl 

Mittler  made  no  answer.  Edward  continned:  ''My  fate  and 
Ottilia's  are  not  to  be  separated,  and  we  will  not  be  destrayed. 
Look  at  this  glass  I  Our  initials  are  cut  upon  it  A  man  in  the  act 
of  reioicittg  flung  it  into  the  air,  meaning  that  no  one  afterwards 
should  drink  from  it,  and  that  it  should  be  dashed  to  pieces  against 
the  rocky  soil.  Nevertheless  it  was  caught  1  haye  bought  it  back 
at  a  high  price,  and  now  I  daily  drink  from  it,  daily  to  conyince 
mysell!,  that  all  the  relations  decreed  by  Fate  are  indissoluble." 

"  Alas!  Alasl"  cried  Mittler,  **  what  patience  I. most  have  with 
my  friends  I  how  I  am  met  by  superstition,  which  I  detest  as  the 
worst  thing  that  can  enter  the  mind  of  a  roan.  We  play  with  pre- 
dictions, forebodings  and  dreams,  and  thus  giye  an  importance  to 
mere  ever^-day  life.  But  when  life  itself  becomes  important,  and 
all  is  moving  and  roaring  around  us,  then  those  spectres  oidy  render 
the  stom  moie  fcarf  oL" 

**In  this  nncertainty  of  life,"  cried  Edward^  ''when  we  are 


wavering  between  hope  and  uneasiness,  do  leave  the  h^Mtrt,  which 
wants  lorae  consolation,  a  polar-star  to  which  it  may  look,  if  it 
cannot  steer  by  it" 

'*  I  would  put  up  with  it,"  returned  Mittler,  ''if  any  consistency 
were  to  be  hoped,  but  I  have  always  found  that  no  one  pays  re« 

Sard  to  the  warning  signs,  but  that  the  attention  is  exclusively 
irected  to  those  which  promise  and  flatter,  aud  that  for  those 
exclusively  there  is  a  lively  faith." 

As  Mittler  found  he  was  now  completely  drawn  into  the  dark 
regions,  where  the  longer  he  remained  the  more  uncomfortable  he 
felt,  he  moro  readily  yielded  to  the  urgent  desire  of  Edward,  who 
beffged  him  to  go  to  Charlotte.  For  how  could  he  answer 
Edward  at  the  present  moment  ?  All  that,  in  his  own  opinion,  wat 
left  for  him  to  do»  was  to  gain  time,  and  see  how  matters  stood  with 
the  ladies. 

He  hastened  to  Charlotte,  whom,  as  usual,  he  found  cheerful 
and  collected.  She  readily  told  him  all  that  had  occurred,  since 
from  Edward's  discourse  ho  had  only  learned  the  result  On  his 
own  side  he  began  cautiously,  but  could  not  make  up. his  mind 
even  to  touch  on  the  word  separation.  How  astonished,  therefore, 
and  according  to  his  own  views  how  pleased  he  was,  when  Char- 
lotte, at  the  end  of  so  much  that  was  unpleasant  tud  :  "  I  must 
believe,  I  must  hope,  that  all  will  come  right  again,  that  Edward 
will  return.  How  can  it  be  otherwise,  WMU  I  assure  you,  I  am 
likely  to  become  a  mother  ?" 

"  Do  I  understand  aright  ?  interrupted  Mittler, 

'*  Perfectly,"  replied  Charlotte. 

"  Blessed,  a  thousand  times  blessed  be  this  news ! "  exclaimed 
he,  clapping  his  hands,  '*  1  know  the  weight  of  this  aiigumeut  upon 
a  man's  mind.  How  many  marriages  have  I  known  hastened, 
secured,  restored  by  thu !  However,  with  respect  to  mvsolf,  I 
have  eveiy  reason  to  bo  annoyed,  for  a  case  of  this  kind  will  afford 
no 'flattery  to  my  self  love.  My  activity  can  earn  no  gratitude 
from  you.  I  seem  like  a  friend  of  mine,  a  physidan»  who  was  very 
successsful  with  all  the  cures  he  effected  ^iUU  for  the  poor,  but 
who  eould  seldom  heal  a  rich  man,  who  would  have  paid  him 
handsomely.  Fortunately  here  the  matter  helps  itself,  as  all  my 
endeavours  and  my  persuasions  would  have  been  fruitless." 

Charlotte  now  desired  him  to  take  the  news  to  Edward,  and  also 
a  letter  from  her.  He  was  at  the  same  time  to  see  what  was  to  he 
done,  and  how  things  could  be  set  right.  He  would  not  consent. 
*•  Everything  is  already  done,  I "  he  exclaimed ;  ••  for  yourself,  anv 
messenger  is  as  good  as  I  am.  I  must  take  my  steps  where  1  shall 
be  more  necessary.  I  shall  only  come  back  to  congratulate  yon, 
I  shall  come  to  the  christening." 

Charlotte  on  this  occasion,  as  on  many  others,  was  displeased 
with  Mittler.  His  hasty  temperament  produced  much  good,  but 
his  precipitancy  also  caused  many  failures.  No  ono  was  more 
dependent  on  opinions  formed  in  a  moment  than  he. 

Charlotte's  messenger  came  to  Edward,  who  was  half-frightened 
to  see  him.  The  letter  might  be  as  decisive  for  "  yes"  aa  for  *'  no." 
He  scarcely  ventured  to  open  it  and  he  was  perfectly  amaxed  when 
he  had  read  it  being  petrified  by  the  following  passage  with  which 
it  concluded : — 

**  Remember  that  night  in  which  ^ou  visited  your  wife  like  an 
adventurous  lover,  drew  her  irresistibly  to  yourself*  and  clasped 
her  in  your  arms  as  a  mistress— as  a  bride.  Let  us  recognise  in 
this  strange  event  a  dispensation  of  Heaven  which  has  created  for 
us  a  new  tie  in  the  very  moment  when  the  happiness  of  our  life 
threatens  to  disappear." 

It  would  be  haro  to  describe  what  took  place  in  Edward's  mind 
from  this  moment.  Under  the  strong  pressure,  his  old  habits  and 
tastes  revived.  Hunting  and  war  are  always  a  relief  to  a  nobleman 
under  such  circumstances.  Edi^ard  lonecd  for  external  danger 
that  he  might  have  a  counterbalance  to  the  internal.  He  longed 
for  destruction,  because  his  existence  threatened  to  become  iusnp. 
portable,  nay  it  was  to  him  a  consolation  to  think  that  he  should  be 
no  more,  and  that  thus  he  would  secure  the  happiness  of  his  beloved 
friends.  No  one  set  any  obstHcle  to  his  design,  for  he  kept  it  a 
secret  Ho  made  his  will  with  all  the  proper  formalities,  and  it 
was  for  him  a  sweet  sensation,  that  he  could  bequeath  the  estate 
to  Oitilia«  Provision  was  also  made  for  Charlotte,  for  the  unborn- 
iniant,  for  the  Captain,  and  for  tho  servants.  The  war  which  had 
•gain  broken  but  favoured  his  intention.    A  mere  military  nediu* 


»6 


THE  MUSICAL  WORLD. 


crity  had  annojed  him  in  early  youth,  and  bad  made  him  quit  the 
Bervice.  Now  he  had  the  glonous  sensation  of  serving  under  a 
general,  of  whom  he  could  say  :  *'  under  his  command  death  is 
probable,  and  victory  is  certain." 

Ottilia  after  she  was  made  acquainted  with  Charlotte's  secret, 
was  as  much  struck  as  Edward— nay,  more  so — and  retired  com- 
pletely into  herself.  She  could  not  hope,  and  dare  not  wish.  The 
diary  from  which  we  intend  to  make  some  extracts  will  afford  us  a 
glance  into  her  mind* 

EKD  or  THB  naST  PART. 

(  To  be  continued,) 

*«*  To  prevent  misunderstanding,  it  may  be  stated  that  the  copyright  of 
this  translation  belongs  solely  to  the  translator. 


SONNET. 

MO.   XX. 

TBI  SPARTAN. 

'TIS  sweet  to  know  that  still  thou  dost  posseu 
That  joyous  soul  which  long  ago  was  thine. 
And  that  no  deed,  no  madness,  love  of  mine. 

Has  made  thy  little  cup  of  pleasure  less. 

I  love  to  hear  thee  laugh,  that  I  may  guess 
Thou  hast  lost  all  occasion  to  repine : 
Each  laugh,  thou  dearest,  is  for  me  a  sign 

That  nought  from  me  has  marr'd  thy  happiness. 

But  in  thy  joy  forget  not  there  is  one 
VTho  burns  with  mad  consuming  love  for  thee^ 
A  love  that  tortures  more,  because  unspoken. 

One  who,  when  all  delight  in  love  is  gone. 
Bears,  worst  of  all,  that  Spartan  agony : 
The  placid  count'nance  when  the  heart  is  broken. 

N.D. 


AMATEUR    MUSICAL   SOCIETY. 

if  A  NEW  musical  Society  for  the  performance  of  daasical 
compositions  has  just  been  eetablished,  under  the  highest 
patronage,  including  the  names  of  his  Royal  Highness  Prince 
Albert,  the  Duke  of  Cambridge,  the  Duke  of  Leinster,  the 
Earl  of  Westmoreland,  the  Earl  of  Fulmouth,  the  Marquis  of 
Kildare.  the  Earl  of  Lorton,  the  Earl  of  Liverpool,  and  o  her 
influential  noblemen.  The  prospectus  has  been  issuedi  and  the 
list  of  the  orchestra  published,  which  principally  comprises  the 
names  of  amateurs.  Mr.  Balfe  is  appointed  conductor.  The 
chief  object  of  the  society,  as  stated  in  the  prospectus,  is  the 
formation  of  a  full  orchestral  composed  of  the  members,  assisted 
by  professors^to  meet  weekly  during  the  months  of  February, 
March  and  April,  for  the  performance  of  the  great  works  of  the 
masters.  The  performances  will  be  confin^  strictly  to  the 
subscribers,  with  the  exception  of  one  grand  concert  to  which 
the  public  will  be  admitted.  We  shall  discuss  this 
society  more  at  length  in  our  next  number.  The  first  meeting 
of  the  Amateur  Musical  Society  took  place  last  evening  in 
Store  Street,  at  the  music-hall. 


DRAMATIC  INTELLIGENCE. 

Drurt  Lang— On  Thursday  night  a  bal/ei  of  action,  an 
exportation  from  Milan,  was  produced,  under  the  title  of  The 
PretUf  Sicilian,  for  the  debUt  of  Mdlle.  Marietta  Baderna, 
a  young  dancer  from  La  Scala.  The  materials  of  the 
plot  are  very  slight,  involving  the  faithlessness  of  Rosalia,  a 
young  maiden,  who  forsakes  a  lover  in  humble  life  for  the 
superior  attractions  of  a  wealthy  count.  The  whole  is  repre- 
sented in  three  tableaux :— The  outside  of  the  count's  chateau, 
a  pavilion  in  the  same,  and  a. terrace  and  gardens  connected 
with  the  same.  Though  slender  in  incidental  interest,  this 
superstructure  is  made  the  medium  of  a  very  agreeable  sue* 


cession  of  choregraphic  displays,  in  which  the  talents  of  Mdlles. 
Dubignon,  Benart,  Adele,  Louise,  and  Mrs.  W.  H.  Payne» 
Mr.  Howell,  Mons.  Croce,  Mons.  Paul,  and  Mdlle.  Marietta 
Baderna.  The  last^mentioned  being  the  heroine  of  the 
evening,  demands  our  first  attention.  In  the  first  place  let  u« 
apostrophise  her  person  :  Mdlle.  Baderna  is  petiie  in  statute ; 
but  then  she  is  only  seventeen  and  doubtless  will  ^w  taller.  She 
is  exceedingly  pretty,  her  features  are  expressive,  and  her  whole 
physiognomy  beams  with  a  quiet  light  like  that  of  the  moon, 
and  her  hair  being  arranged  d  la  ChinoisCf  enhances  the  quaint 
beauty  of  her  looks.  Her  figure  is  compact  and  tresprononc^ 
for  her  years,  her  extreme  youth  permitting  a  deeolleid 
guise  that  would  otherwise  be  outre  fornes.  A  certain  air  of 
chaste  voluptuousness  breathes  from  her  form  like  the  warm 
air  of  the  South.  Next  we  must  consider  Mdlle.  Baderna  as 
an  artist.  As  yet  she  is  not  perfect,  but  she  has  every 
promise  of  becoming  eventually  first-rate.  She  has  sure 
and  neat,  if  not  astonishing,  execution,  she  pirouettes  well, 
though  too  often ;  points  well,  and  not  too  often ;  uses  her 
arms  wiih  classical  grace,  displays  an  abandon  and  degag^ 
manner  that  is  perfectly  charming,'  and  dances  with  invariable 
artistic  feeling,  avoiding  clap- trap  and  false  show,  posing 
firmly  and  achieving  her  movements,  even  the  most  velocitous, 
terre  a  terre,  as  the  French  have  it,  without  tottering  or 
hesitation.  Mdlle.  Baderna  was  loudly,  constantly,  and 
deservedly  applauded  in  her  introductory  pas^  which  was 
quaint  and  original ;  in  the  grand  pas  seuL  in  which  she  evinced 
the  most  graceful  characteristics  of  her  style,  and  the  pas  de 
deux  with  M.  Croce,  which  was  full  of  excellent  posea,  and 
replete  with  well  considered  and  perfectly  executed  mechanical 
feats.  Her  success  was  decided,  and  she  was  recalled  at  the 
end  of  Yiex  pas  de  deux  with  M.  Croce,  and  after  the  fall  of 
the  curtain.  The  best  of  the  incidental  dances  was  a  pas  de 
quatre,  in  which  M.  Paul  executed  a  variation  with  great 
agility  and  neatness,  and  Mdlle.  Duhignon,  a  very  pretty  and 
spirituelle  danseuse,  scarcely  enough  estimtited  by  our  puhlic, 
danced  with  exceeding  grace  and  agreeable  abandon,  Mdile. 
Dubignon,  some  time  ago,  debuted  with  success  at  theAcade- 
mU  Rogale  in  Paris,  and  has  since  made  rapid  progress.  Few 
danseuses  have  more  strength  of  limb,  and  few  are  endowed 
with  a  more  agreeable  personal  exterior.  She  is  moreover  a 
zealous  artist,  and  is  nightly  becoming  a  greater  favorite  with 
the  public.  Eventually  we  have  great  hopes  of  Mdlle.  Dubi«:non. 
The  ballet  of  The  Fretty  Sicilian  was  composed  by,  and  pro- 
duced under  the  superintendence  of  M.  Blasis,  amailrettecole 
de  dame  at  the  &ala  in  Milan.  M.  Blasis  was  a  popular 
dancer  at  Her  Majesty's  Theatre  in  the  time  of  Brocard  and 
D'Egville.  The  music  of  the  ballet^  which  has  little  to  recom- 
mend it,  is  from  the  pen  of  M.  Blasis  jy^re.  M.  Senna  and 
M.  Bozetti;  Messrs.  Grieve  and  Telbin  furnished  the  scenery. 
The  ballet  succeeded  entirely,  and  will  do  very  well  until 
something  more  interesting,  and  on  a  larger  scale,  can  be 
prepared  for  the  pretty  and  intelligent  Marietta  Baderna. 
Mr  Travers  continues  to  improve  in  public  favor.  He  has 
performed  twice  in  The  Favorite  since  our  last.  Mr.  Wallace's 
opera  is  in  full  rehearsal,  and  will  be  produced  forthwith. 

Hatmarket. — The  new  comedy,  which  has  for  some  time 
been  announced  in  the  bills,  was  produced  at  this  theatre 
on  Thursday  evemng.  It  is,  as  we  have  stated  in  a  former 
number,  from  the  pen  of  Dion  Bourcicault.  Mr.  Bourcicault 
has,  for  some  years,  represented  the  head  of  a  class  of  comic 
writers  of  a  peculiar  school  Without  attarhing  much  im- 
portance to  the  development  of  character  or  to  the  construction 
of  plot,  the  school  to  which  Mr.  Bourcicault  belongs  has  en- 
deavoured to  produce  all  its  effects  hy  satirizing,  in  hrillunt 

Digitizedby^^CXJyiC 


THE  MUSICAL  WORLD. 


87 


sallies*  the  follies  of  the  day—- hy  exposing  the  vices  of  the  tiroes 
— ^hy  attempting  to  amalgamate  the  piquancy  and  point  of  the 
Congreve  and  Farquhar  school  with  the  sentimentality  of  the 
Holcrofts  and  Mortons  of  the  suoceeding  age,  and  hy  effecting 
strong  contrasts  in  character,  which  excite  surprise  from  their 
novelty,  rather  than  delight  from  their  nature.  The  School  Jor 
Scheming  is  a  comedy  written  with  great  power,  and  is  ab« 
solately  profuse  in  wit  and  sparkling  sallies.  It  lashes  the 
fashionahle  follies  and  reigning  vices  in  language  hrilliant 
and  caustic.  It  displays  an  intimate  acquaintance  with  the 
frivolities  of  the  higher  classes.  It  is  replete  with  pearls  of  poetry 
and  imagination-  It  has,  however,  faults  which  defiice  all 
these  b^uties.  Its  exuberance  of  epigram  is  rather  fatal  than 
otherwise  to  its  interest  and  its  success.  The  mind  has  hardly 
time  to  repose  on  the  pleasure  derived  from  the  surprise  of  some 
salient  stroke  before  it  feels  called  upon  to  receive  some  newer 
and  more  happy  hit.  The  author  appears  to  have  husbanded 
the  resources  of  his  teeming  mind  with  little  tact*  He  has  in 
most  cases  depended  solely  on  his  powers  of  composition,  and 
has  permitted  his  characters  to  make  no  progress  towards  the 
advancement  of  the  plot.  A  still  greater  mistake  Mr.  Bourd* 
canlt  has  committed  by  introducing  into  his  comedy  serious 
characters  which  have  neither  vitality  nor  meaning.  We  can 
hardly  conceive  how  a  practical  writer,  like  Dion  Bourcicanlt, 
and  one  so  conversant  with  all  the  necessary  effects  isi  dra- 
matic representation,  could  err  in  this  respect.  The  raciness 
of  the  dialogue  frequently  redeemed  the  comedy  from  flagging. 
The  plot  of  the  School  for  Scheming  is  by  no  means  iU- 
constmcted,  and  is,  divested  of  its  superfluities,  sufficiently 
interesting.  An  old  roti^,  the  Hon.  Claude  FUntaganet.  (Mr. 
W.  Farren)  broken  down  in  fortunes,  determines  to  retrieve 
his  lost  wealth  by  the  marriage  of  his  daughter.  His  daughter 
£c7en,  (MissFortescue),  loves  Craven  Acton,  (Mr.  Howe), 
whose  parentage  is  questionable,  his  &ther  being  formerly 
groom  to  Planti^net.  though  his  mother  waa  a  lady  of 
rank.  The  serious  portion  of  the  comedy  depends  on 
Helen  being  forced  by  her  father  to  refuse  Acton  in  con- 
sequence of  his  humble  birth,  and  she,  through  worldly 
views,  inclining  to  accede  to  a  more  lordly  connection, 
which  involves  both  herself  and  lover  in  several  interesting 
situations.  The  father  of  Acton,  who  appears  throughout  the 
comedy  as  a  money  lender,  under  the  cognomen  of  X.  Y., 
(Mr.  Webster),  being  rejected  by  his  wife  a  short  period  after 
their  nuptials,  and  spumed  by  her  family,  has  watched  un- 
known over  his  son's  career  from  infancy,  and  has  contrived 
to  deprive  him  of  the  maternal  inheritance  which  devolved 
to  him,  by  lending  him  large  sums  at  exorbitant  interest, 
in  order  to  save  him  from  the  rapacity  of  the  frishionable 
gamesters  with  whom  he  associates  Plantaganet,  to  escape 
from  his  pressing  creditors,  expedites  a  marriage  with  Mrs. 
Fox  French,  (Mrs.  Glover),  whom  he  understands  has 
a  fortune  of  ten  thousand  pounds,  and  the  lady  rushes 
into  the  connubial  snare,  believing  the  old  lover  to  be  a 
man  of  substance.  The  old  proverb  of  the  ^'  biter  bit'* 
is  here  happily  illustrated,  kelen,  who  has  accepted  the 
offer  of  Lord  Fipley's  hand,  is  rejected  by  that  nobleman 
Ibr  an  eirlier  attachment,  and  is  punished  for  her  perfidy  to 
Acton  by  being  subsequently  rejected  by  various  wealthy 
suitors,  whom  her  father  endeavours  to  inveigle  into  a  mar- 
riage with  her.  In  the  end,  Acton,  through  the  intervention 
of  his  father,  who  declares  himself,  is  made  happy  by  being 
reconciled  to  Helen,  and  the  repentant  lady  acknowledges  the 
injustice  of  her  treatment,  and  the  lovers  are  married.  The 
best  character  in  the  Comedy  is  that  of  Mac  Dunnum  ojf 
Dunnum  (Mr.  Buckstone),  a  railway  capitalist,  who  acqpires 


a  sudden  fortune*  and  is  as  suddenly  precipitated  into  poverty. 
This  character  is  really  inimitable^  and  his  happy  allusions 
and  sly  hits  at  speculations  elicited  immense  applause.  It  is 
altogether  the  best  part  we  have  witnessed  in  a  comedy  for  a 
long  time,  and  displays  Mr.  Bourcicault's  peculiar  powers  of 
characterising  to  excellent  advantage.  T\it  School  for  Scheming 
was  but  unequally  performed.  Mr.  W.  Farren  was  nearly 
inaudible  throughout  the  performance ;  nor  did  he  seem  fully 
to  understand  the  nature  of  the  old  nm^.  Miss  Fortescue 
had  a  varied  and  difficult  part  to  perform.  Mr.  Buckstone, 
as  the  scheming  capitalist!  was  more  humourous  than  true, 
and  Mrs.  Glover  made  the  most  of  a  very  small  part.  Mr. 
Webster  played  the  old  usurer  with  much  power,  and 
produced  a  great  effect  in  his  serious  scenes.  Of  the  rest 
of  the  performers  we  have  nothing  particular  to  say.  In  our 
next  number  we  shall  return  to  the  School  for  Scheming^ 
which  we  deem  entirely  worthy  of  a  second  notice,  con* 
fidant,  that  by  a  judicious  use  of  the  pruning  knife,  the 
comedy  will  become  one  of  the  most  suecessfid  wotks  ever 
produced  at  the  Haymarket.  Mr.  Webster  came  forward  after 
the  performance,  and  announced  the  Comedy  for  repttition 
every  night  Mr.  Bourcicanlt  also  appeared,  in  obedience  to 
a  call  all  but  unanimous. 

The  admired  comedy  of  London  Aemtance  was  perlbrmed 
for  the  last  time  this  season  on  Tuesday  evening,  befbre  an 
unusually  crowded  audience.  There  was  on  the  occasion  a 
novelty  in  the  cast,  Mr.  Lester,  of  whom  we  have  had  occasion 
to  speak  frequently  in  terms  of  praise,  played  the  part  of 
Dazzle  in  lieu  of  Mr.  Hudson,  the  usual  representative  of 
that  character.  We  are  happy  to  find  our  good  opinicm  of 
Mr.  Lester's  talent  still  further  enhanced  by  his  peiibrmanee 
in  London  Auurance ;  his  easy  manners  with  his  gentlemanly 
and  handsome  appearance  are  well  suited  to  the  part  of  Dassle. 
We  shall  be  glad  to  see  this  rising  young  actCMr  more  frequently 
before  the  public,  by  whom,  we  may  remark,  en  paseanif  he  u 
always  received  wiUi  favour.  To  numerous  correspondenta 
who  wish  to  know  whether  Lester  is  an  assumed  name»  we 
take  this  opportunity  of  answering  in  the  affirmative.  Mr. 
Lester's  real  name  is  WaUaek ;  he  is  a  gnmdson  of  the  fiimons 
Jack  Johnson  (Irish  Johnson),  whose  daughter  married  James 
Wallack,  the  well-known  talented  actor  and  public  frivourite. 

Frvnch  Plats. — "Mr.  Mitchell,"  says  a  clever  writer 
in  the  Morning  Chromcle^  **  is  the  veritable  cham|»on  of 
the  entente  oordiale.  Whatever  may  be  the  relaticms  of  the 
Court  of  St.  James's  with  our  friends  over  the  water,  those 
of  the  Theatre  of  St.  James's  are  always  amicable.  Foreign 
secretaries  may  soowl  blackly  at  each  othe^«-diplomatxe 
scolding  matches  may  be  carried  on  as  vigorously  as  over 
were  domestic  ones— yet  amid  all  the  rumpus— amid  the 
shower  of  antagonistic  ''notes,'*  angry  leaders,  mutual  re* 
criminations,  and  downright  out-and-out  abuse,  it  is  pleasant 
to  feel  that  there  is  at  least  the  neutral  ground  of  dramatic  art, 
where  Englishmen  and  Frenchmen  may  shake  hands ;  that 
there  is  the /oyer  of  the  theatre  still  sacred  from  political  jasa 
— a  pleasant>no-man's  land  and  everybody's  land,  where  we 
can  all  laugh,  cry,  and  gossip  together,  without  the  smallest 
hindrance  from  the  Montp^uier  marriage,  and  in  utter 
oblivion  of  the  pi«;-orust-like  provisions  of  the  treaty  of 
Utrecht.  Free  trade  is  becoming  the  word  all  the  world  over. 
Time  was,  in  London,  when  the  patriotic  nationality  of  John 
Bull  displayed  itself  in  chivalrously  pelting  from  the  stage  a 
few  unhappy  French  artists  who  dared  to  confront  the  glare 
of  English  fpotlights ;  apd  the  probabihty  is  that  at  the 
epoch  in  question  a  batch  of  British  peiformers  WQuld  hav 
fared  Kttle  better  before  an  »«*««l5fgfff2f^^H!TO?!W 


68 


THE  MUSICAL  WORLD 


Matters  are  rather  different  now-a-days.  Instead  of  looking 
on  the  French  as  our  natural  enemies  of  war,  we  are  be- 
ginning to  recognise  in  them  our  natural  rivals  in  art.  We 
have  arrived  at  the  comfortable  assurance  that  each  has  much 
to  learn  from  the  other.  We  interchange  models.  We  test 
and  compare  schools  and  styles  of  art.  Shakspere's  words 
are  spoken  in  a  Paris  theatre — Moli^re  is  listened  to  by  an 
English  audience ;  we  lend  our  Macreadys  and  our  Faucits 
•—we  borrow  our  neighbours'  Lem&itres  and  their  Rachels ; 
and  we  are  each  the  gainers  by  the  transaction*  Not  but  that 
as  yety  however,  the  dramatic  exchange  has  been  very  con- 
siderably in  our  favour.  The  Parisians  have  had  an  opportunity 
of  seemg  merely  our  leading  tragic  performers.  They  have 
sent  us  a  sample  of  every  species  of  dramatic  talent^-from 
interpreters  of  the  stately  old  tragedy,  to  the  joyous  exponents 
of  the  rollicking,  jolie  vaudeville.  Tragedy,  comedy,  melo- 
drama, farce — we  have  them  all  in  their  turns.  The  pretty 
playhouse  in  King-Street  is  now  the  Theatre  Francaisy  its 
boards  paced  by  Perlet  and  Brohan.  Anon  it  changes  to  the 
Porte  St.  3far<in— Frederick  and  Clarisse  its  animating 
spirits.  In  regular  and  pleasing  succession  we  shall  sit  in  the 
Gait^f  the  Ambigu,  the  Varietka^  the  Palais  Royale,  that 
"  delicious  little  den  of  wickedness"-— and  all  without  stirring 
from  our  English  homes.  Here  is  the  pleasant  result  of  this 
opening  of  our  dramatic  ports — an  opening  for  which  assuredly 
we  have  to  thank  Mr.  Mitchell— our  theatric  Cobden." 

We  have  had  little  novelty  this  week;  the  Dame 
de  St.  Tropez  and  Don  Cesar  de  Bazan^  have  been  the 
principal  attractions  on  Monday  and  Wednesday.  Of 
these  we  have  already  spoken  largely,  and  have  but  to 
add,  that  their  success,  mainly  dependant  on  M.  Frederick 
Lemldtre's  acting,  still  continues  great  and  draws  good  houses. 
There  is  the  same  intensity  of  feeling,  and  the  same  volatile 
humour  which  distinguish  him  from  all  other  living  actors. 
Indeed,  to  the  union  of  the  two  we  must  attribute  his  popula- 
rity, greater  perhaps  in  France  than  in  England,  where  the 
humour  and  allusions  are  not  always  well  understood. ,  Seeing 
the  same  piece  over  again,  is  no  repetition  with  M.  Frederick 
Lemftitre,.hi8  readings  are  always  different,  and  his  bye-play 
incidental  to  the  impulse  of  the  moment.  Why  have  we  not 
.had  Ruy  Slas^  by  Victor  Hugo  ?  We  have  been  promised 
it,  but  it  has  been  withdrawn  firom  the  list.  Has  the  censor 
anythingf.tb  do  with*  this  ?  Does  a  play,  which  has  met  with 
such  great  tuid  deserved  success  in  Paris,  in  which  the  actor 
has  full  scope  to  display  his  wonderful  powers,  cause  umbrage 
to  the  de^>otpf  theatricals  ?  We  have  heard  a  rumour  to  this 
eftect,  but  ciannot  bring  ourselves  to  believe  it ;  we  cannot 
suppose  that  -England  is  more  fettered  in  this  respect  than 
France.  W^  cannot  imagine  why,  in  this  country  where  the 
press  is  so  independent,  the  subject  has  not  been  taken  up 
and  grappled  with  already.  We  should  also  like  to  see  the 
original  Roiert  Maeaire  in  full ;  the  Tour  deNesle^  and  others 
of  the  repertoire  of  Mr.  Lem&itre,  which  have  been  prohibited 
neve* 

Last  night  Le  Doctuer  Noir^  was  produced  with  brilliant 
success,  and  Lemaitre  and  Clarisse  achieved  a  new  triumph. 

REVIEWS    ON    LITERATURE. 

The  *' Fine  Arts'  /otffnaT'— No.  38,  Vol.  I. 

The  speculators  in  this  publication  must  have  more  money 
than  wit,  presuming  they  pay  the  piper.  We  gave  our  readers 
a  taste  of  the  first  number,  but  now  that  we  have  read  up  to 
the  twelfth,  we  begin  to  suspect  that  we  have  all  along  mis- 
taken the  object  of  the  work.  We  at  first  regarded  it  as 
eerious,^and  while  smiling  at  the  folly,  cotnmended  the  2eal 


of  the  contributors.    But  as  number  after  number  came,  each 
duller  than  the  last,  conviction  of  our  error  gradually  stole 
upon  us.     The  Fine  Arts*  Journal  is  intended  as  a  kind  of 
art-Ptffic^^in  other  wo^ds,  a  slow  Punch.    The  contributors 
are  W.  C.  M.,  the  Trunkmaker,  C.  J.,  the  Editor,  K.,  and  an 
anonymous  gentleman.     They  are  remarkably  pleasant  fel- 
lows, and  much  credit  is  due  to  them  for  the  success  with 
which  they  cultivate  the  esoteric  style.       Their  irony  is 
SocraUc,  insomuch  that  it  is  not  seen,  and  the  points  of  their 
jokes  are  carefully  hidden.     The  prime  motive  of  exertion 
is   a  crusade    against    the   daily  press,    which,     says   the 
Trunkmaker,  [is  '^feculent  with  fungii"    These  **fungii "  he 
resolved  to  pull  up  by  the  roots,  and  calling  together  C.  J. 
and  the  others,  they  proceeded  at  once  to  upset  the  Connoisseur^ 
and  set  up  the  Fine  Arts'  Journal.     Preliminaries  arranged, 
it  was  proposed  to  adopt  the  esoteric  manner  of  writing,  "for," 
argued  the  Trunkmaker,  *'  this  will  allow  of  an  independent 
expression  of  opinion,  without  fear  of  giving  offence,  and,  as 
the  wooden  horse  was  admitted  into  the  gates  of  Troy,  nobody 
suspecting  that  it  was  filled  with  armed  soldiers,  so  shall  we  be 
admitted  into  the  dwellings  of  Her  Majesty's  subjects,  where 
once  safely  housed,  we  shall  cast  off  our  covering  of  imbecility, 
and  brandishing  the  weapon  of  truth,  exterminate  ihe  fungii" 
The  senthnent  of  the  Tixinkmaker  was  unanimously  approved^ 
the  esoteric  manner  of  writing  unanimously  agreed  upon,  and 
the  meeting  unanimously  dispersed.     Nine  illce  lachrymne — 
hence  this  apparent  foolishness.     We  should  never  have  dis- 
covered it,  had  not  our  youth  been  nourished  in  the  mystical 
schools.  The  first  glance  at  the  first  paper  of  the  Trunkmaker 
was  enough  to  put  us  on  our  guard.     '*  This  fellow,"  said  we, 
*'  is  a  mystic,  and  writes  after  the  manner  of  Jamblichus. 
Let  us  leave  him  alone,  and  time  will  show  what  is  in  him ; 
his  articles  will  be  better  understood  unread."     And  the  more 
we  read  the  more  we  were  convinced  of  this  truth ;  which, 
though  it  applies  more  entirely  to  the  Trunkmaker,  applies 
more  or  less  to  all  the  contributors.      We  shall  therefore  read 
no  more  for  the  present  of  the  Fine  AriH*  Journal^  and  doubt 
not  that  the  world  will  come  to  the  same  determination.     When 
the  e^o^^rtc  style  shall  have  been  dropped,  perhaps  we  may 
take  it  up  again. 

:<<T1ie  Lady*  Newspaper/'   Noa.  1,  ft,  a. 

We  notice  this  new  journal  simply  on  account  of  an  article 
on  music,  which  among  other  remarkable  passages  contains 
the  following  :— 

**  Mr.  Balfe  has  compcsed  no  less  than  seventeen  sccoessful  operas ; 
and  that  too,  in  three  d^erent  languages  I  What  a  glorious  amwer  this 
b  to  the  anti-English  wise  heads,  who,  but  a  few  years  since,  when  the 
Irish  agitation  of  the  subject  of  foundings  "  Grand  National  Opera"  was 
broached,  sneeringly  observed— "  Well,  but  suppose  you  hal  a  National 
Open,  where  could  you  find  a  single  £ngUsh  composer  "  Since  that  day, 
no  iess  than  thirty-three  operas  have  been  produced  by  native  composera 
^seventeen  by  Balfe,  four  by  Bamett,  three  by  Loder,  two  by  Rooke* 
THRU  btf  Rodwell,  one  by  Lavenu,  onb  by  Macfarren,  one  by  Forbes,  and 
one  by  Vincent  Wallace.  It  is  pleasing  to  record  that  during  the  past 
year  not  one  musical  failure  lias  occurred.  We  have  now  only  to  mention 
that  on  Saturday,  the  19th  of  December,  waa  brought  out  tt  the 
Princess's  Theatre  an  original  muaical  romance,  which  is  still  pertorming, 
called  The  Seven  Maids  of  Munich;  or^  the  Ghoshs  Towtr.  This  ron-.ance, 
being  written  aad  compmed  by  O.  Herbert  Rodwell,  we  wtU  say  nothing 
about  it,  for 

*1pn  their  own  merits 
Modest  men  are  domb.** 

Can  our  readers  believe  that  the  above  was  written  by  Mr, 
G.  Herbert  Rodwell  ?  Can  any  one  imagine  that  Mr.  6.  H. 
Rodwell  was  really  in  his  senses,  or  was  not  fabricating  a 

fpod  joke  when  he  sat  down  to  pen  such  a  statement  as  con* 
otmds  all  truth,  all  criticism,  and  all  modesty  ?    Mr.  Rodwell 


THE  MUSICAL  WORLD. 


89 


rites  himself  down  in  the  category  of  composers,  as  the 
Author  of  three  operas.  Where  are  these  operas  ?  What  are 
they  called  ?  Where  were  they  performed  ?  Does  he  mean 
to  entitle  Paul  Clifford  an  opera,  or  Jack  Sheppard  an  opera, 
or  the  Seven  Maids  of  Munich  an  opera,  or  Teddtf  the  Tiler 
an  opera?  Macfarren,  he  says,  has  written  one  opera.  Which 
of  Macfarren's  two  operas,  Don  Quijpote^  or  The  DeviVa  Opera, 
does  Mr.  Rodwell  condescend  to  place  in  the  same  list  with 
his  operas,  Paul  Clifford,  or  Teddy  Tiler?  Poor  DevU*s 
Opera,  or  poor  Don  Quixote,  one  or  other  of  you  must  make 
way  for  your  superiors,  Jack  Sheppard  or  the  Seven  Maids 
of  Munich !  Macfarren  has  written  onb  opera,  and  Mr.  G. 
H.  Rodwell  has  written  three.  The  statement  comes  from 
Mr.  Rodwell,  and  as  far  as  he  himself  is  concerned,  we  are 
hound  to  helieve,  that  Mr.  Rodwell  helieves  he  has  written 
three  operas.  We  cannot  find  Dault  with  Mr.  Rodwell  for 
lahoaring  under  mental  alienation,  nor  would  we  undertake 
to  correct  his  opinions  of  his  own  compositions,  unless  we 
were  liherally  remunerated,  hut  for  the  sake  of  art,  we  would 
attempt  to  show  Mr.  Rodwell,  that  Mr.  Macfarren  has  ah- 
•olutely  written  two  operas,  ay,  real  operas,  with  choruses, 
finales,  concerted  pieces,  musical  dialogue,  trialogue,  dances, 
ballet  music,  and  overtures.  We  would  strive  to  explain 
in  what  consists  our  notion  of  an  opera.  We  would  tell  Mr. 
Rodwell  that  a  drama  with  incidental  ballads  and  stray  sing- 
song choruses  and  hotch-potch  finales  no  more  constitutes 
an  opera  than  mere  blank  vexse  and  big  words  constitute  a 
tragedy.  We  would  tell  him^no,  we  are  convinced  Mr. 
Rodwell's  modesty  (mark  the  dose  of  his  paragraph  in  our 
quotation)  has  already  told  him  as  much  as  the  composer  of 
three  operas  ought  to  listen  to.  Mr.  Rodwell  concludes  his 
modest  article  with  a  modest  puff,  in  which  we  learn  the  day 
and  date  of  performance  of  '*  The  Seven  Maids  of  Munich.*' 
The  worid  is  benefited  by  the  information.  It  would  confer 
a  like  boon  on  the  public  if  Mr.  Rodwell  would,  in  his  next 
musical  essay,  set  forth  the  full  particulars  of  the  first 
appearance  of  the  opera,  Teddy  the  Tiler.  Mr.  Rodwell 
condnded  his  article  with  a  viodeti  quotation.  We  shall  beg 
leave  to  follow  his  example :— - 


"  O,  wtd  the  Pow'r  some  giftie  gie  us» 
To  see  ouraelB  ts  others  see  us, 
It  wad  ftme  mony  a  blunder  free  us 
And  foolish  notion." 

and  so  we  take  our  leave  of  the  modest  critic  of    the  Lady^s 
Newspaper* 

ORIGINAL  CORRESPONDENCE. 

MR.  MANV£RS. 

9b  the  BdUor  of  the  "  Mutieal  World," 
Sib,— I  find  !n  the  report  of  the  last  Manchester  Choral  Society,  which 
took  place  on  the  2l8t  ult,  a  critique  of  Mr.  Manvers'  song,  "  Waft 
her  angels."  He  is  there  recommeuded  not  to  make  use  of  the  word 
skee-iet  (tery  properly  so,  too,  if  he  ever  did  so) ;  hut  I  think  you  will 
f  nd  that  the  word  in  question  (in  the  singular  number),  although  spelt 
i*y.  is  pronounced  tkei,  denoting  that  the  vowels  e  and  i,  when  properly 
uttered,  are  to  be  distinctly  marked ;  and  by  so  doing,  a  word  of  nominally 
one  syllable  is  made  Tirtually  two,  the  stress  being  made  upon  the  latter. 
Perhaps,  however,  your  correspondent  would  advise  Mr.  Manvers  to  put 
the  cart  before  the  horse,  thus— fM-«eff,  thereby  pronouncing  the  word 
as  it  is  literally  spelt,  uky't.  If  so,  I  would  respectfully  suggest  that  he 
had  better  keep  his  literary  talents  to  himself,  and  not  throw  them  away 
in  lesson*  to  well-informed  and  educated  men.  It  happens  that  Mr. 
Manvers  is*  as  well  instructed  in  the  English  language  as  perhaps  any 
member  of  the  profession  to  which  he  belongs,  having  for  some  years 
studied  at  one  of  the  first  clnssic  schools  In  Ozfoid,  viz.— New  College, 
it  being  the  intention  of  hia  friends  to  educate  him  for  the  Church ;  but, 
Bke  many  otheta,  preferring  the  profession  of  music,  he  atmndoned  his 
former  pursuits.  We  have  had  the  pleasure  of  hearing  Mr.  Manvers  often* 


but  never  heard  him  misrelate  any  word  of  the  Rnglish  language,  or  make 
a  burlesque  of  a  sacred  song.    With  many  apologies  for  troubling  yon 
with  this  letter,  I  beg  to  subscribe  myself,  your  obedient  servant, 
Oxforu,  January  25,  1847.  A  Comstamt  Rbadie. 

THE  EXETER  HALL  ORATORIO  AND  MR.  H.  PHILLIPS. 

To  the  Editor  of  the  "  Musical  World.'* 

SiR,<— On  Tuesday  last  I  sttended  the  performance  of  the  Creation,  at 
Exeter  Hall,  and  I  respectfully  entreat  a  small  portion  of  your  columns 
for  a  few  remarks  arising  out  of  that  performance.  Every  one  I  apprehend 
will  allow  that  the  Sacred  Harmonic  Society  has  done  more  to  raise  the 
taste  of  the  public  for  sacred  music  than  any  Society  which  has  existed 
in  England  ;  but  it  has  done  more  than  simply  elevate  the  taste,  it  haa 
also  materially  increased  the  knowledye  of  the  public;  it  has  caused  the 
works  of  our  great  masters  to  be  appreciated  and  enjoyed  in  many  a 
family  circle,  which,  but  for  the  efforts  of  this  Society,  would  scarcely 
have  been  aware  of  their  existence.  It  is  much  to  be  regretted  that  the 
gentleman,  whose  name  stands  at  the  head  of  this  letter,  should  forget 
this  fact :  it  is  a  pity  he  will  not  recollect  that  persons  who  go  to  Exeter 
Hall  when  the  Creation  is  performed,  go  with  the  hope  and  expectation 
of  enjoying  Haydn's  music  as  it  was  written  by  Haydn,  and  that,  as  a 
natural  consequence,  the  meretricious  embellishments  which,  doubtless, 
Mr.  Phillips  thmks  exceedingly  ornamental,  are  anything  but  pleasing 
to  the  taste  of  the  majority  of  his  audience :  he  should  remember  thst 
to  many  hundreds  of  those  who  congregate  at  Exeter  Hall,  the  muaic  of 
the  Creation  is  as  familiar  as  "  household  words ; "  that  these  persona 
sit  with  the  score  in  their  heads,  not  to  criticise,  but  to  eiyoy  a  great 
intellectual  treat  from  that  chaste  and  classical  rendering  of  the  various 
well-known  passages,  which  they  have  a  right  to  expect  from  the  eminent 
artistes  engaged  by  the  Society,  among  whom  Mr.  Phillips,  from  hU 
acknowledged  position  as  the  first  English  singer  of  the  day,  stands  pre- 
eminent. It  would  be  well  if  he  would  take  a  lesson  in  this  lespect  from 
Miss  Birch ;  throughout  the  whole  of  her  most  exquisite  and  arduous 
performance,  the  most  critical  esr  and  the  most  carefully  observant  eye, 
could  scarcely  detect  a  single  departure  from  the  score,  while,  on  the 
contrary,  Mr.  Phillips,  Arom  first  to  last  (except  in  "  Graceful  Consort," 
which  was  given  most  truly,  and,  therefore,  most  beautifully,)  indulged  in 
a  series  of  flourishes  and  alterations,  which  may  do  very  well  for  a  theatre, 
where  not  one  pt'rson  in  fifty  knows  a  note  of  the  muaic,  except  from 
memory,  but  are  altogether  unsuited  to  Exeter  Hall.  And  now,  sir,  mark 
the  consequence  I  Not  one  song  of  Mr.  Phillips'  was  encored,  while  to 
Miss  Birch  and  Mr.  Lockey  that  compliment  was  enthusiastically  accorded. 
I  leave  Mr.  Phillips  to  draw  the  inference,  if  these  remarks  should  meet  bis 
eye,  begging  him  to  believe  that  1  write  in  no  unfriendly  spirit,  but  with 
a  due  appreciation  of  his  abihties.    Yours  truly,— P.  M. 

LABLACHE. 
To  the  Editor  ^  /*«  ''Musieal  World," 

Dmasl  Sir,— Could  you,  or  any  of  yovir  readen,  infiorm  me  the  age  of 
the  great  Lablache  f— Yours  truly,  "  A  SoBacaiBBE." 

THE  RIVAL  OPERAS. 
To  ike  Editor  rf  the  "  Mmsical  World.** 
SiR«^Permit  a  humble  country  professor  to  tender  yon  his  best  thanks, 
for  your  ^ery  impartial  and  interesting  accouot  of  the  batUebetwesn  the  tvro 
rival  houses ;  and  pray,  sir,  continue  to  give  yvur  readers  a  **  full,  true,  and 
particular  "  record  of  their  doings,  until  both  are  open.  For  five  hundred 
centuries  hence  it  will  be  read  wiih  avidity  by  our  ancestors,  a«  Mr.  Kams- 
bottom  had  it  We,  in  the  piovinces,  cannot  se^  all  the  London  papers,  there- 
foie,whati8  published  in  them,  /waand  con,  giw^,  as  you  hitherto  havedone^ 
will,  1  do  assure  you,  be  a  most  important  iavour  eonieiTed  on  all  your  country 
readers.  And  I  may  venture  to  say,  that  to  ha>e  a  succinct  account  of  all  the 
proceedings  relative  to  the  old  house,  as  well  as  in  the  new,  cannot  fail  of  pruv- 
mg  highly  interesting  to  your  London  readers.  The  ^ue^tion  respecting  the 
Swedish  Nightingale,  becomes  more  and  more  inexplicdble ;  and  many  are 
the  wagers  which  are  laid  respecting  the  issue  of  the  contest. 
Yours,  xespecttully, 

A  Ploddihq  Teacheb. 
Birmingham,  Feb.  3rd,  1847. 

To  the  Editor  of  the  **  Musical  World." 
THE  DlAPASOy. 

Sir,-— I  avail  myself  of  the  permission,  under  notice  of  Correspondents  n 
your  last  number,  to  resume  the  question  of  the  origin  of  the  term  Diapason, 
as  understood  or  used  by  Organ  builders.  It  is  unnecessary  to  recapitu.aie  the 
whole  of  my  former  letter,  it  wai  merelv  preliminary  to  an  hypothesis  of  my 
own,  as  to  the  meaning  of  the  term,  and  which  I  intended  submitting  to  you 
in  a  future  communicaiion.  Dom  Bedos  remarks  thac  **  the  word  OTenti,  so 
lona  equivocal,  having  signified  all  instruments  of  music,  as  also  the  joining 
togedier  of  many  persons  in  singing.    It  is  difficult  to  discover  the  meaning 


Digitized  by  V^OOy  ItT 


90 


THE  MUSICAL  WORLD. 


ofmanT  passages  to  be  fbond  in  some  authors  respecting  it  On  the  other 
hand,  tnoae  who  have  written  upon  it  appear  to  have  known  little  or  nothing 
of  the  subject,  and  have  consequently  put  forth  absurd  errors.  It  is  an  art, 
upon  which  the  least  and  truly  the  worst  has  been  written."  The  work  quot*  d 
contains  more  than  800  folio  pages,  and,  as  may  be  seen  by  reference  to  my 
letter  in  a  former  number  of  yours,  be  tells  u«  no  more  about  Diapas<m,tJian 
that  Organ  builders  called  an  octave  (or  the  scale  of  its  pipes)  Diapason.  He 
has  followed  this  up  by  describing  the  scales  of  the  various  stops  under  the 
head  of  Diapason  thus,  *'  Diapason  des  Jeux  D'Anche,"  '*  Diapason  des  Jeux 
k  Banclie,"  &c.  I  have  given  "  an  Old  Subscriber"  the  best  book  authority 
lor  the  term ;  but  I  gather  from  his  second  letter  that  he  will  still  say  "  I  have 
not  understood  or  not  answered  his  quesiion."  The  old  monk  does  not  appear 
to  have  troubled  himself  further  in  the  definition  of  the  term  Diapason  than  I 
have  recited;  but  in  the  pre&ceof  his  w^k  I  find  that  the  first  Pneumatic 
c»rgan  had  only  one  octave  of  pipes,  and  those  only  of  (he  Diatonic  scale,  there- 
fore the  word  Diaptuem  would  be  the  proper  term  for  "  that  organ  or  Octave 
^PspesJ*  Now,  If  it  be  conceded  (as  I  submit  it  should)  that  they  were  of 
the  nme  pitch  as  the  stop  now  called  Diapason  (8  foot)  from  which  all  exten- 
sion of  number  and  oooipass  arose,  I  think  the  Organ  builder  has  rightly 
named  the  8-foot  stop  **lHapasou"  and,  together  wi(h^our  Old  Subscriber) 
needs  no  further  search  for  its  etymology.  Bedos  mentions  an  ancient  organ 
which  required  seventy  vigorous  men  to  put  its  bellows  in  motion.  Good 
times  those  for  employment  of  the  many.  Now,  alas !  Ism  obliged  to  break 
a  pole  with  a  double  motion,  at  as  much  risk  of  dislocating  my  shoulders,  as  if 
unemployed  on  a  fire-engine.  Steam,  I  suppose,  will  come  in  at  Issc  and  an- 
nihilate tne  occupation  of  An  OLD  Bei.low8<Blower. 
January  29th,  1847. 

:f rom  t(e  €rennaii  nf  IE.  i&tibtL 

Oh  1  how  deep  the  wanderer's  wonder — ^flying  from  more  northern  day, 
Who  to  the  long-craTed  for  soath«  turns  his  joyous  pilgrim  way ; 
When  from  Gothard'a  mighty  reck,  all  silent  in  eternal  ice 
Descending,  through  the  morning  dawn,  he  sees  Italian  beauty  rise. 

lightly  separate  the  clouds,  and  so  warm  the  air,  and  soft. 

Like  kisses,  from  the  depths  below,  it  heaves  the  scattering  mist  aloft. 

Yet  a  step,— wide  and  blooming  laughs  the  valley  at  his  feet. 

And  garden  groves  and  silver-watcrs,  morning  warmth  and  sunshine  greet. 

Rosea  blossom  on  each  hill,  round  the  elm-tree  dings  the  vine. 
And  the  carved  and  polished  marble  through  the  cypress  shadows  shine. 
Here  the  laurel- wooded  rock,  and  there  the  broad  and  purple  sky. 
Smiling  on  the  crystal  fountains  like  a  mother's  loving  eye; 

And  there  the  many-clad  and  many-coloured  folk,  on  dale  and  hill. 
Swart  youths  and  gorgeous  women,  as  their  roses  beautiful. 
On  the  rock  the  vineyard  dance,  in  the  cottage  the  guitar. 
Gay  song  alike  by  shore  and  strand,  joy  and  music,  near  and  far. 

Should  we  not  deen)  a  spendthrift  God  had  emptied  on  so  fair  a  land, 
Joys  most  full  and  brimming  beaker,  with  sn  slmost  drunken  hand? 
Is  she  not  the  richest  branch  on  old  Europe's  mighty  tree. 
As  with  the  green  leaf  with  golden  fruitage  laden  wealthily  f 

But  how  bitter  the  deceit    As  an  adder  lurks  below 
The  flower;  underneath  the  smile,  throbs  and  lurks  the  inner  woe ; 
That  woe  which  cannot  calm  its  tears  for  the  elder  virtue  dead. 
For  the  ancient  freedom  perished,  and  the  h  roism  fled. 

Ohl  Italy !  Art's  dearest  mother  I  woman  with  the  royal  brow  I 
Prinoeas  and  ruler  of  the  paat  1  aick  and  wretched  art  thou  now ! 
The  hectic  beauty  of  thy  cheek,  se  like  a  rose's  purple  bloom. 
Heaves  in  thy  pulse  with  feverish  heat,  and  tells  us  of  the  tomb. 

Bloom  and  flower  seem  only  scattered  o'er  thy  wan  and  suflTcriog  head. 
Like  the  funeral  gsrlands  woven  by  the  pious,  for  the  dead., 
And  thine  ^tna  and  Vesuvius  vomit  forth  their  mighty  fire. 
Like  the  ready  torches  placed  by  a  World- Queen's  funeral  pyre. 

But,  No  I  Hope  never  dies,  and  Woe  lasts  not  ever,  although  long. 
Kttowest  thou  not  Penelope,  her  grief,  and  the  Homeric  song? 
Beyond  all,  like  thee,  beautiful;  beyond  all.  like  thee  in  her  grief. 
Strangers  riot  in  her  palace  in  the  absence  of  its  chief. 
Twenty  years  the  purple  wool  span  she  weeping  on  the  throne ; 
Twenty  years  with  sighs  and  tears,  reared  the  queen  the  princely  son ; 
Twenty  years  she  held  her  faith  to  sorrow  and  to  husband  fast. 
Watching,  hoping,  sending,  sighing,  and  Odysseus  came  at  last. 
Woe  to  wooer  and  to  lover  when  the  wrathful  step  drew  near. 
And  the  mighty  bow  twang  smole  sharp  and  swift  upon  the  esr; 
With  the  hot  blood  of  the  crime  were  the  wall  and  pavement  red, 
When  vengeence  spread  in  Ithaca  its  banquet  of  the  dead. 
Listen  Italy,  and  cheer  thee,  well  thou  knowest  the  ancient  song^ 
So  within  thy  palace  gates  do  the  stranger  suitors  throng. 
So  thy  dildren  grow  to  manhood,  while  the  mother's  bitter  tear 
Is  falling.    Hope—the  hour  will  coae«-thy  Odisseus  too  is  near. 

CUABLia  RoSEMBBBa. 


PROVINCIAL. 

Liverpool— A  grand  vocal  and  instrumental  concert  at  the  Theatre 
Royal,  ^^  illiamson- square,  was  given  by  Miss  Whitnall,  on  Monday 
evening.  Though  under  the  patronage  of  the  Mayor,  who  was  presenf, 
the  attendance  was  not  as  great  as  we  expected  to  find  it,  espocisUy  as 
Madame  Anna  Bishop  was  to  be  one  of  the  performers.  Miss  Whitnall 
was  suffering  fit>m  a  cold,  and  appeared  contrary  to  the  advice  of  her 
medical  attendant.  She,  however,  received  the  unanimous  applause  of 
the  audience.  Madame  Bishop  was  very  favourably  receiyed.  and  sung 
in  a  style  which  proved  worthy  of  the  hi^rh  encomiums  passed  upon  her. 
Her  voice  is  powerful,  and  of  flute-like  character,  known  by  the  terra 
"  sfogato,"  Her  higher  notes  are  beautifully  intonated,  but  her  lower 
tones  are  not  equally  good.  Donisetti's  recitative  "  Al  tempio  ei  move," 
and  the  cavatina  "  Ah  !  quando  in  regio  ialamo,'*  were  given  with  elTect; 
as  were  the  recitatative  "Eccomi"  and  cavatina  **  Come  rttpida,"  (Meyer- 
beer).   *'  On  the  banks  of  the  Guadalquiver,"  was  delightfully  given. 

Madame  Bishop  drew  good  houses  at  the  Theatre  Royal,  In  the 
charscter  of  Isoline,  in  the  Maid  of  Artoit,  and  proved  herself  one  de- 
serving of  the  lavish  praise  given  to  her  by  the  metropolitan  journals. 

Liverpool.— -The  Members  of  the  Pbilhsrmonic  Institution  held  their 
Annual  Meeting  on  the  evening  of  Tuesday  week,  in  the  board.room  of 
the  Collegiate  Institution,  for  the  purpose  of  hearing  the  state  of  alTain 
and  electing  officers  for  the  year  enauing.  The  inspection  of  matters 
pecuniary  was  satisfsctory.  It  was  stated  that  the  New  Music  Hall 
capable  of  containing  more  than  2000  persons,  would  be  shortly 
completed. 

Liverpool. — Madame  Vestris  and  Mr.  Charies  Mathews  have  been 
playing  at  the  Theatre  Royal,  in  several  of  their  favourite  pieces,  and  have 
given  high  satisfaction  to  all  who  have  vritnessed  their  penonations. 
They  have  been  very  ably  supported  by  Miss  Emmeline  Montague,  m 
charming  actress,  whose  return  to  the  theatre  we  are  glad  to  welcome. 

Liverpool. — ^At  the  Concert-Hall  on  Wednesday,  Signor  Sapio 
satisfied  an  attentive  and  discriminating  audience  with  his  first  concert. 
In  addition  to  Signor  Sapio  himself,  the  vocalist  who  appeared  were 
Miss  Anne  Romer,  Mr.  Alfred  Sapio,  Mr.  Sinclair,  and  Mr.  Joseph 
Robinson.  Miss  Whitnall  was  announced  in  the  programme^  but  owing 
to  illness,  was  unable  to  attend.  Messrs.  E.  Smith  and  H.  V.  Lewis 
lent  their  valuable  services  as  conductors.  The  weather  was  unpro- 
pitious,  but  we  were  agreeably  surprised  to  find  the  Concert 'hall  at  least 
half  filled.  Signor  Sapio  was  in  excellent  voice.  Mr.  Sinclair  sang  with 
an  animation  truly  surprising,  and  carried  captive  the  feelings  of  every 
listener.  His  merrier  songs  were  rapturously  encored.  Mr.  Alfred 
Sapio,  ss  yet  but  a  debutante,  gained  many  admirers,  but  his  voice 
appears  wanting  In  power.  He  is,  however,  an  arlitte  of  skill,  and  must 
ultimately  win  the  approbation  of  the  musical  world.  The  star  of  the 
evening  was  Miss  Anne  Romer,  and  the  Interest  in  her  songs  was 
heightened  by  the  fact  that  the  present  would  be,  for  a  lapse  of  time, 
her  last  appearance  in  Liverpool.  Nothing  could  be  more  enthusisatic 
than  her  reception ;  each  song  was  followed  by  a  hearty  encore.— 
Liverpool  Mail, 

Liverpool.— On  Wednesday  last  a  lecture  on  the  nature  andciltiya- 
tion  of  the  human  voice,  illustrated  by  original  and  select  songs,  with 
pianoforte  accompaniments,  was  delivered  at  the  Blackbnrn  Mechanics* 
Institution,  by  Richard  Crowe,  Esq.,  of  the  Collegiate  Institution,  a  nu- 
merous and  respectable  audience  was  present.  The  lecturer  appeared  to 
have  fully  answered  the  contemplated  purpose,  and  to  have  gratified  the 
listeners.  Mr.  Crowe  gave  a  philosophical  desaiption  of  the  construc- 
tion of  the  organs  of  the  human  voice;  and  explained  how  musical  and 
other  sounds  were  produced  thereby.  He  then  pointed  out  the  qualifi- 
cations necessary  to  constitute  a  good  singer ;  and  how  they  should  each 
be  cultivated,  observing  that  the  first  and  most  essential  point  to  be  at- 
tained was  a  good  quality  of  voice.  The  necessity  for  a  distinct  articu- 
lation the  lecturer  ezemplifled  by  singing  a  song  in  the  lulian  manner^ 
which  obtained  among  amateurs  s'^nae  years  since,  and  by  which  the 
vowels  only  been  heard,  not  a  word  oi  the  song  could  be  understood.  The 
points  touched  upon  in  the  lecture,  and  the  styles  necessary  to  give 
effect  to  compositions,  Mr.  Crowe  illustrated  by  singing,  amongst  other 
songs,  &c.:— "The  Pisherman,'*  "The  Pilot,"  "  Old  King  Time"  fan 
original  composition)  "  Shall  I  wastynge  in  Bespair,"  "  Mad  Tom,"  "  If 
I  had  a  thousand  a  year"  (^Dibdin),  '*The  Gipsy  King,"  &c..  aU  of 
which  were  loudly  appUuded,  and  some  of  them  encored.— BtocMfum 
Standard. 

The  Cssino  de  Naples  at  the  Liver  Theatre,  is  running  a  career  of 
success.  The  experiment  of  introducing  in  Liverpool  a  musical  and 
terpsichoresn  entertainment,  "  a  la  Parisian  Soirees  Muslcalcs  et  Dan- 
santes,"  appears  likely  to  prove  successful,  from  the  spirited  manner  in 
wiiich  it  is  conducted. 

Liverpool.— The  Misses  Cushman  have  appeared  lately  at  the  Adelpbl  | 
Theatre  Royal,  in  "Romeo  and  Juliet/'  onTaea|f^:f^g  Jfipj^'Lady  of  LyonpO  [^ 


THE  MUSICAL  WORLD. 


91 


on  Wcdoesday  in  "Twelfth  Night,"  and  on  Tbunday  in  "Guy  Manner- 
Ing/'  with  great  success.  Miss  Susan  Coshman's  representation  of 
Christine,  in  the  "  Youthful  Queen,"  is  highly  spoken  of.  In  "Twelfth 
Niffht"  the  fair  sisters  performed  the  parts  of  Viola  and  Olivia  with 
much  spirit  and  accuracy. 

Manchkstbr. — "On' Monday,  January 25,  Mr.  R.  Andrews  gave  a 
Juvenile  Concert,  comprising  a  idection  of  songs,  duets,  and  solos,  upon 
vsrious  instruments,  hy  his  young  and  gifted  family.  The  room  was 
well  attended.  The  programme  consisted  of  a  selection  from  Mr.  R. 
Andrews'  new  musksl  work,  entitled  "  Sonp  of  the  Hearth."  The 
accompaniment  on  the  piano*forte  was  given  hy  Mr.  R.  Andrews  with 
nice  effect.  Master  Edward  Andrews,  a  youth  not  ten  years  of  age,  per- 
formed a  solo  on  the  violin  in  such  a  manner  as  to  take  the  audience 
qtiite  by  surprise :  an  encore  was  the  result,  the  same  success  attending 
his  second  solo,  "  The  Carnival  of  Venice."  Of  Master  R.  Hoffman 
Andrews's  playing  we  have  frequently  had  much  pleasure  in  speaking  in 
its  praise.  His  solo  on  the  Concertina,  accompanied  by  Mr.  Henry 
"Walker  on  the  piano-forte,  was  a  treat.  Miu  Elizabeth  Andrews  was 
warmly  encored  in  "When  the  bee  sucks;"  as  also  her  sister,  in  Horn's 
"Fairy  Music,"  the  obligato  accompaniment  of  Master  R.  Hoffman 
Andrews  being  excellent.  The  concert  terminated  with  "  God  save  the 
Queen,"  and  "Rule  Britannia,"  with  yariations  on  the  piano -forte, 
esecuted  by  the  young  artist." — Maneke»ter  Timee, 

Manchistib.— The  First  Meeting  of  the  Salford  Glee  Chib  was  held 
in  the  large  room  of  the  Queen's  Arms,  in  Chapel  Street.  The  con. 
oert  vraa  excellently  varied,  and  the  different  pieces  generally  well 
executed. 

BiKMivoHAM.— Mr.  J.  A.  Baker's  grand  Concert  for  the  relief  of  the 
Aged  and  Infirm  Poor,  took  place  at  the  Town  Hall  on  Thursday  evening. 
The  Concert  commenced  with  the  favourite  Overture  from  "  Fra 
Diavolo,"  spiritedly  played  by  the  Military  Band,  under  the  direction  of 
Mr.  D.  Rieks;  the  Band  also  performed  other  pieces  during  the  evening. 
Miss  Dolby  contributed  greatly  to  the  pleasure  of  the  evening  by  her 
artistic  delivery  of  the  song  from  Perslani*8  Inez  de  Csstro,  which  was 
delightfully  rendered,  and  loudly  applauded;  a  manuscript  ballad  by 
Mr.  J.  A.  Baker,  entitled  "  The  Widow's  Lullaby,"  which  was  raptu- 
it>usly  encored ;  Linley's  pretty  ballad,  "  Primrose's  deck  the  banks ;" 
Miss  Mason's  Scotch  song.  "Come,  off  to  the  Moors;"  two  of 
Mendelssohn's  lovely  duets,  with  Miss  Lockey,  given  effectively;  and  a 
hmfo  duet  with  Mr.  J.  L.  Hatton,  "  La  Pt^lka."  an  amusing  compo- 
sition, rendered  with  humour  and  spirit.  Miss  i^ockey  made  a  successful 
dAta,  Her  voice  is  good,  and  her  style  pleasing.  Mr.  Lockey  was  in 
excellent  voice,  and  sustained  his  deserved  repuution  as  an  accomplished 
arHtte  and  an  esteblished  favourite.  He  sang  Weber's  serenade,  "  When 
the  orb  of  day,"  Nelson's  ballad,  "  Merrily  goes  the  mill,"  most  effectively. 
The  re-appearance  of  Mr.  J.  L.  Hatton  was  a  great  feature.  He  sang 
sevcrsl  of  his  numerous  buffo  songs,  and  was  encored  in  each ;  one 
especially,  "  The  little  fat  grey  man,"  excited  roars  of  laughter.  The 
exquisite  performances  of  those  talented  gentlemen,  Mr.  Distin  and  bis 
four  sons,  were  listened  to  with  marked  attention,  and  several  of  them 
encored.  The  introduction  of  their  new  instruments,  the  "  Sax  Tubas," 
was  a  great  treat,  and  Mr.  Distin's  execution  of  the  difficult  solo,  "  The 
Soldier  tired"  was  marvellous.  Mr.  H.  Distin's  solo,  "  All  is  lost,"  was 
periection  itself.  Mr.  J.  A.  Baker  accompanied  most  of  the  vocal  pieces 
and  the  instrumental  solos  upon  the  piano-forte. — Birmingham  Gazette. 

LiMCOLN.^A  concert  was  given  by  Mr.  and  Mrs.  Turner,  in  the 
County  Assembly-rooms ;  it  was  not  numerously  attended.  M  r .  and  M  rs. 
Turner,  were  assisted  by  Blasters  Thomas  and  Travis,  Mr.  Knowles,  Mr. 
Brooke,  and  Mr.  Martin,  all  of  the  cathedral  choir.  Mrs.  Turner  has  im- 
proved since  we  heard  her  last;  and  was  much  admired  in  her  solo  part  in 
"  Daughter  of  Error,"  and  also  in  the  trio  "  Zitti  Zitii,"  from  Rossini's  // 
Barbiere,  Mr.  Turner's  song  "Laugh  my  Girls,"  was  encored.  Mr. 
Knowles  sang  as  well  as  ever.  Tlm^dtixens  of  Uncoln  are  indebted  to 
Mr.  and  Mrs.  Turner  for  favouring  urn  with  an  opportunity  of  hearing 
some  inusic—LincofmAtre  Chronicle* 

SHRawsBuar. — ^The  Shropshire  Hunt  Ball  of  the  sesson  took  plsce 
at  the  Lion  Rooms,  and  was  attended  by  a  most  brilliant  sssemblage. 
The  festivity  commenced  about  half-past  ten  o'clock,  by  Sir  Richard 
Jenkins  and  Lady  Charkitte  Montgomery  opening  the  ball  with  a 
country  dance.  A  succession  of  waltzes,  quadrilles,  gallopades, 
Polkas,  &c.  followed  to  the  strains  of  a  splendid  band,  provided 
by  Mr.  Goodall»  till  about  one  o'clock,  when  supper  was  announced, 
and  the  company  adjourned  to  the  lower  room,  to  enjoy  an  elegant 
treat,  supplied  by  Mr.  and  Mrs.  Lewis,  under  the  superintendance 
of  Mr.  W.  Griffiths.  After  the  company  had  partaken  of  this  enter- 
tainment, they  returned  to  the  ball  room,  and  kept  up  the  dance  to  an 
advanced  hour.  The  visitors  comprised  all  the  nobility  and  gentry  of 
the  neighbourhood. 

Camtirburt— (Fkom  our  own  Correspondent) ^--The  concert  of  the 
Catcli  Club  on  Wadneiday,  the  S7tbt  went  off  with  gmt  apirit;  the 


performers  seeming  anxious  that  the  audience  (which  was  very  nu- 
merous) should  feel  gratified  with  the  contents  of  the  programme,  which 
was  composed  entirely  of  music  from  the  pen  of  our  valued  countryman. 
Sir  H.  Bishop.  The  songs  of  "Bid  me  discourse"  by  Miss  Goldsmith, 
and  the  "  Echo"  by  Mrs.  Dowton,  were  well  received— the  Isst  receiving 
a  deserving  encore.  The  overtures,  under  the  leadership  of  Mr.  H.  Palmer, 
were  executed  with  decision,  and  the  vocal  pieces  generally  were  well 
performed.  Before  the  last  overture  a  good  apeech  was  delivered  by 
Mr.T.  S.  Dowton  (manager  of  the  thertre],  in  which  he  enlarged  upon 
the  writings  of  Sir  H.  Bishop,  and  concluded  with  proposing  '*  Prosperity 
to  Sir  Henry,"  which  was  responded  to  with  three  times  three. 

Camtbrbury.— A  concert  of  a  very  pleasing  kind  was  given  on 
Wednesday,  S  7th  ult,  at  the  Canterbury  Catch  Cluh.  The  entire  selection 
of  music  was  taken  from  Sir  Henry  Bishop's  works ;  and  the  entertain- 
ment, in  consequence,  passed  under  his  name,  being  called, "  An  Evening 
with  Bishop."  Overtures,  Glees,  songs,  duets,  even  Quadrilles,  It  U 
Bishop,  were  commingled  in  the  enterUlnments  of  the  evening;  The 
Concert  was  well  attended. 

Chiltbnbam.— Mr.  Wilson  has  been  giving  his  entertainment  here 
with  his  usual  success.  Jullien  has  also  been  reaping  new  laurels,  and 
pocketing  lots  of  "  tin." 

FoLKBSToiTB.— Upwards  of  seventy  members  and  friends  of  the  Catch 
Ciub  met  on  Tuesday  January  26,  at  the  King's  Arms,  and  were  much 
entertained  with  the  singing  of  Messrs.  Godden,  Hayward,  Amr. strong. 
May,  Roberts,  &c.  kc.  The  songs,  "  Rosy  Wine,"  and  "  Dear  little 
Shamrock  of  Ireland,"  were  pleasantly  sung,  as  slso  the  duet  by  Messrs. 
Hayward  and  Armstrong,  and  the  glee  of  "  Life's  a  Bumper,"  by  Messrs. 
Godden,  Bates,  and  Roberts.  The  Instrumental  music  was  good,  and 
The  overtures,  gallopades,  and  quadrilles  well  selected  and  well  performed. 
The  chair  was  well  sustsined  by  Mr.  Jenkins,  snd  the  most  perfect  ord  r 
prevailed  during  the  evening.  We  understand  the  members  increase  each 
vreek,  and  the  continued  exertions  of  the  committee  in  providing  at  each 
meeting  fresh  talent,  vrill  prove  it  the  most  attractive  resort  of  the 
admirers  of  good  singing  and  music— MotdstoiM  Ouzeite, 

MainsToNB. — Morning  and  evening  concerts  were  given  by  the 
Sevenoaks  Choral  Society,  under  the  kind  patronage  of  the  Marquis  and 
Marchioness  Camden,  at  Pawley's  Royal  Hotel,  on  Tuesday,  January  26, 
the  arrsngements  of  which  were  excellent,  Mr.  Humphreys  having  the 
mansgement.  In  addition  to  the  company  of  the  noble  patron  and 
patroness,  the  Right  Hon.  the  Earl  and  Countess  Amherst,  Lord  Viscount 
Holmeadale,  C.  R.  C.  Petley,  Esq.  and  lady,  Rev.  Mr.  Blackball,  &c.  &c. 
vrere  present.  The  selection  in  part  I.  was  from  the  Messmh.  Taken  as 
a  whole,  this  was,  perhaps,  one  of  the  best  concerts  given  by  the  society, 
and  was  well  supported.  The  noble  patron,  in  addition  to  the  tickets  he 
had  taken*  made  the  society  a  very  handsome  donation. — Ibid. 

Maiostonb. — Mr.  W.  B.  Tolputt  (Professor  of  Music),  gave  a  vocal 
and  instrumental  concert  at  the  Harleian  Literary  Institution,  which 
was  very  numerously  and  respectably  attended.  The  principal 
vocal  solo  perionners  were  Mrs.  Sturges  and  Mr.  Godden.  The 
orchestra  consisted  chiefly  of  the  Ashford  Musical  Society.  The  gleea 
were  excellent.  A  solo  on  the  violin  was  played  with  taste  by  Mr. 
MorflU,  and  a  solo  on  the  comopesn  by  Mr.  Browning,  jun ,  much 
applauded.  The  musical  department,  led  by  Mr.  Mstson,  gave  great 
satisfaction.  Upon  the  whole  the  conceit  was  well  got  up,  and  reflected 
much  credit  in  the  taste  of  Mr.  W.  B  Tolputt,  who  deserves  the  support 
of  the  inhabitants  and  the  public— i6id. 

LmiMOTON,  Jan.  16.^We  have  great  pleasure  in  recording  the 
entire  success  of  the  first  public  concert  given  by  the  Lvming^on 
Harmonic  society,  at  the  Assembly  Rooms.  Angel  Hotel,  on  Friday,  the 
8(h  lost,  on  which  occasion  nearly  400  persons  were  present.  The 
Messrs.  Klitz,  whose  reputation  ss  musicians  is  too  well  known  to  need 
comment  from  us,  in  the  kindest  manner  offered  their  services  to  tha 
society  on  that  occasion.  Among  the  best  performance  were  Auber'a 
celebrated  Overture  to  "  MssanieUo."  arranged  as  a  scptett,  which  was 
executed  in  masterly  style  by  Messrs.  Klitz  (the  six  brothers)  assisted 
by  Mr.  Edwards,  of  Portsmouth,  with  the  llute.  Mr.  Phillip  KUts  played 
a  fantasis,  impromptu,  on  the  pianoibrie,  on  subjects  suggested  by  the 
company,  which  was  brilliantly  executed.  Mr.  Charles  Klits  sang  "  All 
is  lost "  (from  "  La  Sonnambula ")  with  great  pathos.  Mr.  James 
Klitz  (from  Northampton)  sang  with  great  feeling  "The  Msniac,'* 
which  produced  an  electric  effect  on  the  audience.  He  wss  equally 
successful  in  the  "  Ship  on  Fire,"  and  in  both  cues  was  deservedly 
encored.  Mr.  Robert  Kiitz's  "  l^st  Man"  was  a  master- piece.  He 
subsequently  sang  "  I'm  Afloat,"  in  excellent  style,  and  was  warmly 
applauded.— '/lamptAtr^  Adrei  ttter. 

WoooroQD. — A  Concert  took  place  in  the  Rooms,  Geoige-lane,  on 
the  evening  of  Thursday  week,  which  attrMct«'d  a  very  crowded  audience. 
The  Misses  Jiassano  and  M assent,  and  Mr.  K  nch  were  the  vocalists; 
and  Metsn.  Carte,  Undley,  and  F.  W.  Bates,  were  the  instnimental  par* 
formerSf    Mr.  Hobba  ?faa  a?so  eocaged«  but  oooM  not  appear,  in  conac* 


92 


THE  MUSICAL  WORLD. 


quence  of  indisposition.  Miss  Bassano  gave  a  song  of  Verdi's  with  great 
effect,  and  sang  "Kathleen  Ma^ourneen'*  with  expression  and  pathos. 
Miss  Messent  was  no  less  h^ppy  in  a  song  of  Donizetti's,  and  a  Scotch 
ballad.  Miss  Bassano  and  Miu  Messent  gave  a  duet  of  Bellini's,  and  ob- 
tained considerable  applause.  Other  portions  of  the  concert  afforded 
high  gratiacation.  Mr.  F.  W.  Bates  performed  a  fantasia  of  his  own 
coropcsition  in  a  most  admirable  manner,  and  received  several  bursts  of 
applause.  Mr.  Carte  was  no  less  successful  in  his  flute  solo.  He 
played  on  his  new  Poehm  flute  a  favourite  Northumbrian  air,  arranged 
with  variations  by  himself,  and  absolutely  astonished  the  Woodfordian 
folks.  Mr.  Carte  is  indeed  a  very  splendid  performer  on  his  instrument. 
The  entertainment  afforded  universal  gratification.  Mr.  F.  W.  Bates 
proved  himself  a  most  excellent  conductor. 

FOREIGN  INTELLIGENCE. 

Milan,  Jan.  26.  (Extract  from  a  Zerter.)— At  the  Scala 
we  have  had  nothing  very  attractive  in  the  way  of  opera.  The 
only  two  operas  yet  given  have  heen  Auila,  and  the  Prova 
d'un  Opera  Seria,  neither  of  which  has  pleased  very  much. 
In  the  ballet  we  have  had  Fanny  Elssler  and  the  inimitable 
Perrot.  The  theatre  is  so  crowded  whenever  they  appear  that 
it  is  with  difficulty  we  can  get  a  seat.  At  Genoa,  Mr.  Jones, 
the  basso,  whom  I  have  before  mentioned  to  you,  has  created 
A  furore  in  Auila;  which  is  the  more  flattering  to  him,  as  the 
music  generally  does  not  please :  he  is  nightly  called  before 
the  curtain  many  times ;  and,  in  consequence  of  the  great  suc- 
cess he  has  met  with,  has  been  offered  many  lucrative  engage- 
ments :  which  of  them  he  will  accept  is  not  at  present  decided, 
he  intending  to  visit  England  in  the  spring  for  a  few  months, 
and  then  returning  to  Italy.  We  have  been  to  Pavia,  to  wit- 
ness the  deb4t  of  Mr.  Leati,  an  Englishman.  He  made  his 
first  appearance  as  Don  Carlo  in  Ernani^  with  the  greatest 
po  sible  success.  He  has  a  magnificent  baritone  voice,  and 
acquitted  himself  so  well  that  the  students,  who  attended  the 
theatre  en  masse,  rose  from  their  seats  and  cheered  him  re- 
peatedly, la  not  this  a  great  triumph  for  us  *'  poor  English," 
who,  generally  speakiufl:,  are  not  thought  of  too  highly  by  the 
Italians  as  singers  ?  I  begin  to  think  the  time  is  not  &r  off 
when  we  shall  be  estimated  by  them  as  we  deserve. 

Cassel,  Dae.  23. — The  twenty-fifth  anniversary  of  the 
nomination  of  Spohr,'  as  music  director  of  the  Royal 
Theatre  at  Cassel,  was  celebrated  with  much  solemnity. 
An  extraordinary  performanc;)  took  place  at  the  theatre,  when 
selections  from  his  operas  Zemira  e  Azor,  Jessonda,  Faust,  and 
Pietro  von  Abano,  were  given.  At  the  conclusion  Spohr  was 
conducted,  with  great  ceremony,  by  the  performers,  on  to  the 
stage,  which  represented  a  landscape  consisting  of  the  house  at 
Seesen  where  the  poet  was  born.  Spohr  being  seated,  the 
prima  donna  (Madame  Brunbaun)  placed  a  crown  of  laurels 
on  his  head.  The  same  evening  his  highness  the  co-regent  ap- 
pointed Spohr  director-generil  of  the  court-music,  and  also 
conferred  the  title  of  Aulic  Councillor  on  him.  The  King  of 
Prussia  has  since  forwarded  him  the  order  of  the  Red  E^le, 
third  class. 

BouLooNs-aua-MBa,  Jan.  80.  {From  our  own  Correspondent,)-^ 
Dear  Editor, — You  must  not  expect  anything  particularly  interesting 
in  musical  matters,  at  this  season,  from  this  agreeable  place,  lu 
the  theatres,  dramas  are  represented,  with  occasionally  an  operetta 
by  Auber,  Daileyrac,  Gretry,  &c.,  which  do  not  require  great 
strength  of  company.  Asa  tolerable  personate  can  only  support 
itself  during  summer,  there  is  no  inducement  at  present  to  frequent 
the  theatre.  Occasioaally  we  have,  however,  musical  soir^, 
froong  which  those  of  Mademoiselle  Blahetka  aseume  the  first  ranli, 
as  we  are  certain  to  listen  to  some  works  of  the  best  German  school. 
On  Friday  I  had  the  grtitificution  to  hear  a  new  composition  by 
Spohr,  a  grand  quintette,  (the  second  in  D)  for  piano,  two  violins, 
tenor,  and  ^olouv^ello.  Mademoiselle  Biahetka  executed  it  in  a 
style  for  which  she  is  so  emiaently  known.  I  think  tins  quintette  will 
become  even  «  greater  fikvouiite  than  Spohr's  first  quintette,  inas- 


much as  the  melodies  cannot  fail  to  please  generally.  The  first 
mouvement  seems  to  me  to  have  been  written  some  years  anterior 
to  the  scherzo,  for  we  did  not  discover  in  it  a  leaning  to  the  modern 
taste  by  which  the  next  mouvement  is  distingubhed.  Tho  scherso 
was  encored.  The  following  adagio  is  one  of  the  most  charming 
specimens  of  writing  I  know  of.    The  great  master,  **  Germania's 

Sride,"  has  interwoven  the  piano  with  the  other  parts  in  such  a 
eliciotis  manner,  as  must  ensure  this  quintette  the  most  solid  repu- 
tation. The  sparkling >?iia^  winds  up  the  whole  in  a  most  spirited 
manner.  Mons.  Perrot  executed  the  difficult  violin  part  throughout 
in  a  most  masterly  style.  Mademoiselle  Blabetka  has  promised  oi 
the  second  magnificent  trio  bv  Spohr,  (piano,  violm,  and  violon- 
cello) at  her  next  soiree.  We  bad  the  pleasure  to  hear  one  of  her 
own  composiuons  on  this  occasion^the  2nd  Quartette,  Op.  44, 
(piano,  violin,  tenor,  and  violoncello,  concertante)  of  wl  ich  1  gav« 
vou  an  account  last  year.  Mademoiselle  Biahetka,  as  a  pupil  of 
Beethoven,  displays  her  deep  studies  of  this  musical  Hercules,  not 
disdaining,  however,  to  interlard  her  works  with  dashes  of  brilliant 
passages,  whilst  her  melodies  are  always  characteristic  and  plcabing. 
The  soiree  wound  up  with  Herz's  First  Concerto.  A  jroung  ladpr,  a 
pupil  of  Mademoiselle  Blakeska  played  one  of  Chopin's  delicious 
Notturnas.  The  impression  was  that  the  instructress  well  knows  how 
to  impart  to  others  her  interpieution  of  the  works  of  the  first  mas- 
ters of  the  age.  I  hope  soon  to  be  enabled  to  give  you  another 
account  of  some  of  the  Terpsichorean  Temple  music,  for  we  are  in 
the  midst  of  the  carnival,  and  gaity  and  dance  are  the  order  of 
the  day  .—Yours  sincerely,  A.  Z. 

MISCELLANEOUS. 

Her  Majesty's  Thbat&e.-— It  is  said  that  it  is  the  inten- 
tion of  Mr.  Lumley  to  devote  an  early  night,  after  the  open- 
ing of  her  Majesty's  Theatre,  for  the  benefit  of  the  distressed 
Irish  and  Scotch*  This  will  be  a  step  politic  and  liberal  at 
once. 

Mr.  T.  German  Reed,  with  the  aid  of  some  influential 
Scotch  friends,  intends  giving  a  grand  concert  at  the  Hanover 
Square  Rooms  on  the  2dth  inst.,  the  proceeds  to  be  appro- 
priated to  the  relief  of  the  starving  Highlanders.  Most  of  the 
leading  vocalists  of  the  day  have  liberally  promised  to  give 
their  gratuitous  services. 

Ethiopian  Sbrenaders. — On*  Tuesday  night  we  paid  a 
visit  to  the  St.  James's  Theatre,  and  were  much  pleased  with 
the  entertainments  afforded.  We  have  frequently  wondered  at 
the  continual  attraction  of  these  entertainments,  which  lasted 
all  last  season  and  bid  fair  to  go  through  this,  yet  we  certainly 
were  ourselves  delighted  with  what  we  heard  and  saw,  and 
shared  in  the  genend  pleasure  felt  arotmd  us.  We  do  not  think 
that  the  novelty  of  the  thing  can  have  aught  to  do  with  its  suc- 
cess, for  that  must  have  worn  off  by  this  time ;  we  must  there- 
fore refer  it  to  the  excellent  choice  of  airs,  and  the  perfect, 
although  simple,  execution  of  them.  There  were  several  new 
songs,  well  selected  from  the  most  popular  melodies  and  glees. 
Amongst  the  number  we  may  mention  "  The  Old  Jaw  Bone,** 
and  "  I  wish  I  was  in  Ole  Varginny,"  in  the  comic  line  ;  and 
"  Mary  Blane,"  "  My  Skiff  is  on  the  shore,"  and  "  Chloe's  to 
be  my  wife,"  in  the  sentimenUl.  The  Railroad  Overture  was 
was  also  played  with  success;  and  Mr.  Pell,  on  the  bone, 
received  great  applause.  There  were  several  encores,  and  the 
whole  performance  gave  evident  satisfiiction  to  a  house  crowded 
in  every  part.  The  Ethiopian  Serenaders  have  certainly  been  a 
lucky  hit  for  the  enterprising  lessee  of  the  St  James's  Theatre. 

M.  G.  Stbvbnisrs,  a  violinist  of  great  repute  in  Belgium, 
has  arrived  in  London  to  take  a  prominent  station  in  the  band 
of  Her  Majesty's  Theatre,  having  been  engaged  by  M.  Panofka, 
Mr.  Lumley's  artistic  agent.  M.  Pluys,  another  Belgian 
violinist  of  emience,  has  also  arrived,  having  been  secured^  bf 
M.  Panofka  for  a  similar  position.  Digitized  by  »«     IC 

THBATRiciJ.s  AT  HAiufBMMisH.*-A   peifonnanGe^   tbe 


THE  MUSICAL  WORLD. 


9S 


most  interesting  of  the  kind,  which  we  have  lor  a  long  time 
witnessed,  took  place  at  the  Hammersmith  Theatre  on  Monday 
erening.  By  the  kind  permission  of  Mr.  Maddox,  of  the 
Princess's,  Mr.  Loder's  opera  of  Giselle  was  performed,  the 
principal  parU  heing  undertaken  by  children  under  ten  years 
of  age.  The  entire  cast  is  worthy  of  recording.  The  Duke, 
Master  £.  Joseph :  Godfrey,  Master  £.  Goldshede  :  Fridolin, 
Miss  Goldshede  :  Albert,  Miss  Esther  Van  Millingen  ;  Peter, 
I^Iiss  Fanny  Millingen :  Max,  Master  E.  Millingen :  Gretchen, 
Miss  E.  Joseph :  Bertha,  Miss  M.  Goldshede:  Mary*  Miss  £. 
Joseph :  Giselle,  Miss  Maria  Van  Millingen :  Myrtha,  Miss 
E.  Joseph,  The  Giselle  of  Miss  Maria  Van  Millingen  was 
really  excellent.  She  sang  the  whole  of  the  original  music^ 
and  received  considerable  applause  throughout  the  per- 
formance. She  obtained  a  rapturous  encore  in  the  duet  *'  He 
loves  me,  loves  me  not,"  with  her  sister,  Miss  Esther  Van 
Millingen.  The  Fridolin  of  Miss  Goldshede  was  acted  capi- 
tally, and  the  parte  of  Mary  and  Myrtha  well  represented  by 
the  Misses  Joseph.  The  dresses  and  scenery  were  excellent,  and 
the  theatre  presented  a  gay  appearance,  the  elite  of  the  neigh- 
bourhood being  present.  The  performance  was  under  the 
joint  management  of  Miss  Van  Millingen,  and  Miss  Eliza- 
beth Van  Millingen. 

Mr.  W.  R.  BixFiBLD,  Batehelor  of  Music,  and  Organist  of 
Lincoln  Cathedral,  has  published  Six  Songs  of  very  great 
merit,  the  particulars  of  which  our  readers  will  find  by 
referring  to  our  advertisement  sheet.  Mr.  Bexfield  is  a 
practical  Professor,  has  laboured  hard  in  his  calling,  and  has 
won  laorela  as  a  composer. 

The  new  comedy  of  The  School  for  Scheming  and  The 
Invisible  Prince  will  be  performed  this  evening,  by  the  expresg 
desire  of  the  Conde  de  Montemolin,  at  the  Hay  market  Theatre, 
on  which  occasion, he  will  honour  the  Theatre  with  his  presence. 

Mr.  Likdsat  Sloper  has  announced  three  concerts  of 
CUssical  Pianoforte  Music,  to  take  place  shortly  at  the  rooms 
in  Harley  Strest. 

Mr.  Allcroft  has  issued  the  programme  of  his  Annual 
Grand  Concert  for  Tuesday  evening,  to  be  held  at  the  Lyceum 
Theatre,  in  which  he  has  announced  an  array  of  Ulent,  vocal 
and  instrumental,  of  great  force.  The  orchestra,  on  an  enlarged 
Kale,  ia  provided,  and  every  attention  is  paid  to  set  before  the 
risitorsa  highly  intellectual  treat. 

The  Porcsll  Club  celebrated  ite  eleventh  anniversary  on 
Saturday,  at  the  Crown  and  Anchor  Tavern,  Professor  Taylor 
(the  president)  in  the  chair.  A  chorus,  "  With  drooping  Wings 
je  Muses  come,"  was  sung  in  tribute  to  the  memory  of  Mr. 
Hawkins,  the  late  treasurer.  Mr.  Turle,  organist  of  West- 
minster Abbey,. and  the  young  gentlemen  of  the  choir,  were  in 
attendance.  The  memory  of  Purcell  was  drunk  with  due 
honors.  This  famous  musician  was  born  in  1658,  and  died 
in  1695.  The  Post  styles  him  "  England's  greatest  musician." 

Gresham  Lectures.— The  first  of  these  was  given  by 
Professor  Taylor,  on  Friday,  the  29th  ult.  The  theme  was 
the  German  school  of  music.  Gluck's  Italian  operas,  and  his 
isit  to  England,  were  discussed. 

Mr.  G.  Budd,  secretary  of  the  Watson  Madrigal  Society, 
has  been  appointed  honorary  librarian  to  the  Philharmonic 
Society,  in  the  place  of  the  late  Mr.  Calkin. 

Madame  Bishop  has  been  drawing  excellent  houses  at 
Liverpool,  in  Balfe's  Maid  of  Ariois. — From  the  M.PosU 

SioNOR  Anelli,  a  highly-talented  and  much-respected 
professor  of  music  in  Cheltenham,  has  announced  two  concerts 
to  be  held  in  the  Assembly  Rooms,  in  aid  of  the  distressed 
Scoteh  and  Iiiah.  The  Concerts  will  be  conducted  by  Mr. 
Frederic  Anelli,  son  of  the  professor,  a  very  promising  artist 


and  pianist.  The  scheme  of  the  two  Concerts  is  already  pub- 
lished. It  exhibite  an  excellent  selection  of  music,  and  pre- 
senU  an  admirable  array  of  executive  forces.  It  is  to  be  hoped 
that  so  benevolent  a  project  will  meet  with  all  the  encourage- 
ment it  merite.  Signor  Anelli,  in  any  case,  deserves  the  best 
thanks  of  all  classes  for  his  amiable  exertions,  and  hb  liberal 
ofiers.     He  has  set  a  good  example  to  musical  artiste. 

Choral  Harmonists. — This  society  intends  giving  Men- 
delssohn's Walpurgis  Nacht  at  their  next  meeting  on  the  15th 
instant.  Much  credit  is  due  to  the  society  for  their  efforts  to 
give  our  city  friends  such  opportunities  of  hearing  the  finest 
classical  music. 

Mr.  H.  Ireland,  violin  player,  and  a  member  of  the  Royal 
Society  of  Musicians,  died  very  suddenly  last  week,  leaving  a 
widow  and  family  to  lament  his  loss.  In  former  years  Mr. 
Ireland  used  to  lead  the  band  at  Mr.  Bolton's  theatre,  at  Ro- 
chester and  other  places  in  that  locality.  The  vocal  concerto 
will  commence  on  the  5th  of  April,  and  will  be  given  on  the 
alternate  Mondays,  with  the  Philharmonic  concerto,  until  June. 

Horns  Tavern. — ^The  first  of  a  series  of  concerts  of 
classical  instrumental  music,  took  place  in  Doctor's  Commons, 
on  Tuesday  evening  last,  at  which,  in  consequence  of  a  prior 
engagement,  we  could  not  attend,  and  can  therefore  but  offer 
our  readers  a  mere  statement  of  the  performances  and  the 
names  of  the  interpreters.  The  concert  comprised  a  Qaartett 
of  Mozart,  (No:  4,  in  £  flat,  major) ;  Quintett  of  Onslow, 
(No.  11,  in  B  flat,  major);  Quartett  of  Haydn,  (No.  81  in  G 
major) ;  and  Quartett  of  Beethoven,  (No.  3,  in  D  major). 
The  instrumentolists  were,  Messrs.  H.  Biagrove,  Webb, 
Weslake,  C.  Severn  and  Hancock.  We  shall  notice  at  length 
the  next  performance  of  these  concerts,  as  we  deem  them  from 
their  importonce  entitled  to  every  consideration. 

Mr.  Paul  Bedford*  we  are  happy  to  stated  is  in  a  £iir 
way  of  recovery. 


ADVERTISEMENTS. 
Warren's   20   Ooinea   Cottage  Piano-Fortes 


arb  now  selling  at  the 
BEannfiactory,  71,  Leadenliall  Street, 

{Removed  from  1  and  2,  Liverpool  Street ^  SUkopsgate  Street,) 
These  Instraroenti  are  well  manufkctnred  of  the  best  seasoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH,  A  two  years  warranty  grivea  with  each  instm- 
ment,  ESTABLISHED  TWENTY-ONE  YEARS.  The  onlv  house  in  London 
where  a  rood  sound  instrnment  can  be  obtained  at  the  above  low  price,  (for  cash 
only).  ^ALL  PROFIT  AND  QUICK  RETURNS  I  . 
JOHN  WARRBNj  71,  l«eadeiiliaU  St.,  opposite  Aldcate  Pomp. 

ROYAL    ITALIAN    OPERA,    COVENT    GARDEN. 

The  nobility,  gentry,  and  nublic  are  respectfully  informed,  that  the 
NEW  THEATRE 

Will  Open  the  first  Week  in  April, 

For  the  performance  of  the  LYRICAL  DRAMA,  on  a  scale  of  efficiency  in  every 
deDsrtment  never  before  attempted  in  this  country. 

^^THE    BALLET 

Will  indade  the  names  of  the  most  celebrated  artisu.   The  prospectus  for  the  ^ 
arrangement  of  the  seaioii  wiU  be  ismed  in  dqe  o^urae.   Mr.  Beale,  Director. 


•94 


THE  MUSICAL  WORLD. 


NOW  EBADT. 

OORNBaS   HISTORY   OF   ROMS} 

Compiled  lh«tt«J«epted  modern  BogUib  and  Foreign  aatboritia :  and  priated 
nnironnly  with  Cohnbr's  HisroaiOAL  Wores,  for  School  andTamUy 
RaadlBf /tenniiiV  a  oomplate  History  of  ev«ry  Nation  in  Europe. 


TRB   HISTORIES   OF 

Bndand  and  Wa]e»— five  fine  plates  and  map 48. 

Ireland^tlnve  floe  plates  and  map «•• 

Scotland-three  Aae  plates  and  map m. 

Prance-^three  fine  piate«  aud  maps ». 

SpainandPorcugd-three  floe  plates  and  map  ........  8s. 

Denmark,  Sweden,  and  Norway— two  fine  plaws  and  map  as.  M. 

Germany*  InctauingAusiria-three  fine  plates  and  map  Ss  6d. 

Turkey  and  Ottoman  Empire- three  fine  plates  and  map ».  M 

Poland  and  Ruasia-three  fine  plates  and  map ?*  S' 


Wltixmt 
fVBwttnn» 

..  sTS. 

..  9s.6d 

..  9i.  6d. 

..  as.  6<l 

,6d. 


GRAND  SCOTTISH  CONCERT, 

FOR  THE  RBLIBF  OF 

THE     DISTRESSED    HIGHLANDERS, 

AT  THB 

<&mtC%  €mxn  lOooms,  Hanobet  Sbquatt^ 

On  the  evening  of  THURSDAY,  25th  of  FEBRUARY,  1847. 

TO  COMMENCE  AT  EIGHT  O'CLOCK. 

Under  the  immediate  Patronage  of 
ORAOIOUS   MAJfiSTY,    THB  QUBTIN. 


Itoly  and  Switierhmd  -  three  floe  plates  and  map. , 
Holland  and  Belgium— two  fine  plates  and  map 


.  6d* 


The  object  of  these  works— peculiarly  suited  to  Schools  and  FamiUes-is  to  ftir  . 
lih  the  reaSr  with  a  ndtteil  history  of  each  nation,  interspened  with  an 
ecuratc  account  of  the  religion,  cnstoms,  national  ctiaractcristics,  fi»^^ 


nish 
accurate 


^^^Sr^tWi^tmMiii  histOTlis  are  aporsciated,  it  maybe  moitioned  that 
8,(W0Bttg1and;  5,000  Ireland,  5,000  Scot]and,^,000  France,  and  4,000  Spain  and 
PortngaChavebeeusold.  -^-^-.-uw     ^ 


„S!f5.^&ja"'V[irLW.-s»J: 


ro  OEOCRAPHY  u>d 
llaps,  as.  doin. 

anfmaybeoStainedTby  order,  of  every  Bookseller  In  the  Wngdom.  Pricels.6d. 
S)th  tfo  SixihediUon,  eular^  with  the  proper  method  of  uring  Guano  as  a 
Mannre,  in  a  dry  or  liquid  state. 

IICB'S  WOPERN  GARDENER:   or,  Instmctions.  the  renflt  of 


igT  and  managing  the  kitchen,  flower,  pleasnie,  and 
^^mdenhotbed,  abd  green-ibonse.  With  directionb  as  to  the  proper  soils,  the 
SSesmd  method  or  manuring,  sowing,  plMti^^  ft"*!!; 

SSIl?on  thewture  and  progress  of  vegetation  in  pJants,^.  By  T.  Price,  Market. 

mrdener  and  Nurseryman. 

^^  Price  as.  doih,  or  as.  fld.  in  leather. 

t^^SnMuTytibnookmaid  in  respectable  ftunilies.  With  preper  instructions  tar 
i^mfno-indtbe  most  exact  directioosfbr  preparing  to  cook,  and  tor  properly 
SSffn^id  Spring  u^  •!»  sorts  of  provisions,  ih»^£ngle  /ofait  of  meat,  witt 
metabtrk  to  the  flnest  seasoned  diihes  of  nime,  poultty,  flsh.  soups,  nuMS,  and 
SSe  diSes;  and  also  for  making  and^baktn^MM,  tarts,  patties,  custards,  &c 
The  whoW  written  flrom 


A]so,_price6d.  sewed, 
GUIDE  fo 


house! 


H.  R.  n.  Prinee  Albert 
H.  R.  H.  tlM  Dneheuor  Rcat 
H.  B.  H  th«  DuehcM  «f    ' 
The  D«k«  of  Baiailcoa 
The  Duk*  ot  Hueelrueb 
TheDtikeorRlehnoiid 
The  Dakr  of  McmtroM 
nw  Dute  of  Sutberfauid 
Tbr  Bart  of  E«lloton  and  WUiSon: 
Th«  BmI  of  Zetland 
The  Eail  of  March 
The  Lord  and  Udy 
'  and  Ladjf 


The  Lordi 


OeaeiJ 


t^vat 
Lord 


Her  Ml 


'JTS. 


....  the  Qttfvn  Domgcr 
B.  R,  A  iheDiilieorCaaiibrtdae 
n.  R  H.  the  Doebetft  of  Cnhrldf* 
The  KaebeM  ef  Hamlltna 
The  nuehcM  of  Huceleoeh 
The  DnebeM  of  RlehBond    ^^^ 
The  Dowaacr  DoeheM  of  Bedftud 
The  DoeheH  of  Meotroec 
TheDui-heuorSAthertand    ^  _,    ' 
The  Coaatne  or  Ralintaa  aad  VTlMoa 
The  CounteM  of  Setlaikd 
The  Ct  antcea  of  Mafeh 
The  Lord  and  Lady  Joha  RaeaeU 

The  Ohieholm 

THB  HIGHLAND  SOCIETY  OF  LONDON. 

the  Programme  will  include  the  names  of  the  most  disdnguished  artistes, 
many  of  whom  have  already  volunteered  their  valuable  services  in  aid  of 
THIS  Charity.  ,    ^ 

.  Tickets  to  be  had  at  all  the  principal  Muric  SeOers,  and  the  Concert  Booms, 
Hanover  Square,  at  the  following  prices :— Tickeu,  10s.  6d. ;  Double  Tickeu, 
168  ;  Single  ReiervedSeiitP,  15s.  ...^^„^.. 

All  communicadons  made  to  the  « Committee  of  the  Grand  Scottish 
Concert,  for  the  Relief  of  the  Distressed  Highlanden,"  to  he  addressed  to  the 
Hanover  Square  Rooms. 


.  for  the  proper  Performance  of  sU  the 
/theCookmaid;  with  a  few  genenl  roles 

£"SSldmc.^Abridied  from  the  «« Cookery  Made  Easy."   By  the  same  author. 

w*  vww— ^»       -"  Price  fld.  sewed 

wheS^wol  U  iS^  By  the  author  of  "The  Maid^f^-Worit's Complete 
Guide."  Price  6d  sewed 

THE  MMD-OF-ALL-WORIgS  poh«PLETE  GUIDE,  oontdnint 

.vi^JPiMtractfons  for  the  proper  methods  of  ananging  and  domgall  the  business 
SSIuySSSS^^^  le^aSi  of  ajl-work  in  good  fomihes.  'iy  the  author  of 
Mftofiwlemald's Complete  Guide."  ^  _   ^  ^ 

*"•"  Price  6d.  stitched. 

CHEAP  COOKERY  FOR  THE  WORKING  GUESSES,  showing 
•kSTw  to  cSka  variety  of  warm,  savoury,  and  nonrishing  meab  at  litUe 
iiS2i^-  aueSllent  book  for  deigymcn  and  bdies  to  make  presents.   By  the 
SSor  oSr "  Cookery  made  Easy." 
gathoroK    v>««     y  price  Is.  6d.  in  cloth  lettered^ 

"HiEii  S  ML? best  establishmentt  in  London  ana  Ru-u,  for  waking  all  kin^  o 
5lSv  telUes.  blanc-manger,  creams,  &c.,  and  preserving  fruits.  Whh  the  art  ^ 
SSgS-boiliS^  making  lozenges,  drops,  pipe  barley-sugar,  carraway  comfiu,  tef 
By  George  Beftd.  pricefs.6d.  in  cloth,  lettered, 

-  T11&jV||8'>  ^h  praciicar  directions  for  making  plain  and  fancybiscuits, 
^•*'5viS  droos.  mngerbread,  spice  nou,  fcc,  adapted  either  for  ibe  use  of  the 
&^'  SrSwStammes.  formlnt  the  second  part  of  the  Confectioner's  and 


1_  Y  C  E  U  M    TH  E  A  T  R  E. 
MR.   ALLCROFT'S 

TENTH  ANNUAL  GRAND   CONCERT 

WILL  TACB  PLACB 

On  TUESDAY  NEXT,  February  9th, 
At  which  the  following  talent  will  appear  !-Me«lames  AlbertaMi,  Bassano, 
Birch,  Lablache,  Steele.  Williams,  BctmII,  NoveUo,  Hi  1,  and  Miss  Iftria  B. 
Hawes;  Messn.  HsnriFOn,  Allen,  ft.  Phillips.  F.  Lablache,  BriMi,  GlubiW, 
Sinchilr,  Hemy  KusselK  and  Mr.  John  Parry;  al  o  the  celebrated  LmitMi 
Ethiopian  Serenaden.  Solo  Performera— Madame  Dulcken ;  Messrs.  Benedict, 
OnttanCooiie,  Frederick  Chattertoii,  Blagrove,  Harper,  and  Master  ThirlwalL 
Conductore,  MM.  Nerri  and  Lavenu.  Leader,  Mr.  Loder.  Box«  aiul  Stalla,  5  . ; 
Pit,  Ss. :  Gallery,  2s,  Private  boxes,  tickets,  and  places  to  be  had  at  Mr.  Allcroft's 
Music  Warehouse,  16,  New  Bond  Street,  next  to  Long*s  HoteL 


anppeta. 


ae.    ByT. 


ith  iM  art  ^A'**i?.l!r  tSSk^i^,  ImnniaK.  rmUUag.  Fraaeli  voUahint.  Ac  W  Ith  d«^plhr« 


•aaravlnss.  ^  '• 


log.  Japuaias.  TamMUas.  Frandi  poUihini,  Ac  W  Ith 


JSb!fi25!y  ■!««»•    ByS.Tl«rlaw.   I.. bound. 

Lmiiw!!— DEAN  It  CO..  THREADNEEDLE  STREET 


SACRED    HARMONIC    SOCIETY, 
EXETER  HALL. 

On  TBUKBDAT   BVBNIN  O,    FebnUtfT   IBtk,   lB47g 

WILL   BE  PERPORMEO 

I  Overture  to  Esther.  Ooronation  Anthem,  Dettlncen 
Te  Deuni  Uyma  ^*AU1UL  TKINITA/'  end 
MOZART'S  ffiRVICE,  NO.  Ifl. 

Principal  Vocal  Performers— Mrs.  Sunderland,  Miss  Dolby,  Mr.  Qbnoe, 

Mr.  Mantbrb,  and  Mr.  H.  Phillips. 
The  BanA  end  Oborae  will  oonalat  of  abore  AOO  Performem. 

Tickets  3s.  each ;  Reserved  Seats,  58  ;  ma^  be  obtained  of  the  principal 
Music  Sellers:  of  Mr.  Bowley,  53,  Charing  Cross;  Mr.  Ries,  102.  Strand; 
or  of  Mr.  MiUshell,  89,  Charing  Cross.  Thomas  Brfwbr,  Hon.  iScc. 


cloth, 
Gentteiaaa'k    and 
'  whataTCT  thape. 


HISTORICAL    CONCERTS. 

BXETfiR    HAIaXi. 

THE     SECOND     CONCERT 

(Of  a  Series  of  four)  illustrative  of  the  History  of 

<SngIte|)  Focal  inus:^ 

will  bb  bbld  on 
MONDAY   BVBNINO   NBZTi    FBBRVABT   8, 

At  which  will  be  presented  spedmens  firom  the  mosic  of  Roobbs,  Humphbbys, 

WiSB,  Lock,  Blow,  Cbbiohton,  Rb\dinq,  and  Pubobll. 

I*rmcipal  Vocal  Petfarmert : 

MISS  RAINPORTH,  ML*iS  DOLBY,    ^  ^^    ^ 

MR.  LOCKBY,        MR.  W.  H.  SEOUIN,       and       MR,  BIACHIK. 

THE  CHORUS 

VnU  consbt  of  the  Msmbbrs  of  Mr.  Hdllah's  Uppbb  Sinoino  ScHpol 

and  the  Obchkstba  of  Mb.  Willy's  Concb^t  Band. 
A  NEW  ORGAN  has  been  erected  bv  Mb.  Robson  ezpietBly  ibr  these  concerts. 

Xrea.    2t.  (k{.— For  the  three  concerts 6«.  Otf. 

Western  Gallery  ....  8    6 For  the  three  concerts 8   0 

ItMerved  Seats 7   0— For  the  three  concerts 17   0 

May  behadof  Mr.  Parker,  ^P^^^jJ^c^sStoS*^  ^*"^*  wid  of  <he  piinc^ 


THE  MUSICAL  WORLD. 


95 


JULLIEN'S      ALBUM 

FOR   1847, 

A  most  1>«MitifU  OkrUtmas  Prtsant,   N«w  Taur's  OUt, 
•ad  Btr«Ba««. 


M.   JULLIEN 

Hai  the  honor  to  announce  that  hii 

MUSICAL     ANNUAL    FOR    18i7 

Is  now  Fubliihed,  and  it  by  fiur  the  best  work  of  the  kind  that  has  ever 
appeared ;  contains  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AND 

FOURTEEN    OF   INSTRUMENTAL 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
bsving  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decidea  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
mfluential  patrons,  to  include  them  in  this  Selection. 

The  Illostntions,  in  addition  to  the  elabontely  executed  Coven,  Title,  and 
Dedication  pages,  include 

TWO   HCAOMIFZCBNT  VIEWS 

OF   THB 

Snterlot  of  eoMmi-<3avtfm  Zf^tBttt, 

The  one  taken  during  the  brilliant  seene  exhibited  in  that  splendid  arena  of 
the  occasion  of  M.  JULLIEN'S  GRAND  BAL  MASQUE;  the  other  a 
?I£1!?  OF  THE  THEATRE  TAKEN  DURING  THE  CONCERTS, 
the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience  in  a 
maimer  at  once  Itfe-Ukt  and  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  AtauM  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  aeeorate  idea  of 
the  goigeons  seene. 

A   8PLBNDIDLT-COLOURBO 

PORTRAIT 

Of  the  celebrated  Danseuse, 


In  the  admired  Pas,  LA  CASTIGLIANA. 
AN    ORIGINAIi   SUBJECT, 

**THE     FORTUNE     TELLER," 

Illustrating  Baker's  beautiftil  Ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDAUD,  Esq.,  whosC  pencil  only  has  been 
employed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  ALBUM,  and  in  proof  of  its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
CautribtUors,  where  will   be  found  the  principal  talent  in  Europe:  vis 

DONIZETTI,  RUBINI, 

GOLDBERG,  SCHIRA, 


ROSSINI,  VERDI, 

ROCH-ALBERT,  HCELZELL, 


SCHULZ,  STCBPEL,         DUPREZ,  JOSE  OOMIS, 

MASARNAU,  MARATZEK,   BALFB,  JULLIEN, 

HATTON,  BARRET,         ALEXANDER  LEE,  KCENIG, 

KNIGHT,  BAKER,  FARMER,  LINLEY, 

LAKE,  FITZBALL,      MOULD,  HURREY, 

FOREST,  ALBERT  SMITH,      DESMOND  RYAN,      &e. 

It  will  thus  be  perceived  that  in  addition  to  the  lat«it  compositions  of  the 
best  English  Composers,  the  ALBUM  will  contain  some  of  the  newest  and 
moat  popular  productions  of  Italy,  Germany,  France,  Spain,  &c,  a  careful 
selection  of  which  has  been  made  from  chose  works  that  are  now  attracting 
the  attention  of  the  Continenul  diletantL 

Price  ISa.  and  £l.  Is. 
.    ROYAL   CONSERVATORY   OF    MUSIC 

214,  IlSQ£NT-SXfi££T>  AND  45,  EjOHO-StSEEX. 


80VBRB1GM 

lift  Qi^mv^ntt 


No-  6,   St.  JAMES'S    STRE 

LONDON. 


Sir  A.  Brydges  Hf  nniker,  Bart. 
B.  Bond  Cia»beU,  Esq.,  M.P. 


Trustees* 


Granger, 


CHAiaMAN,  Lieutenant  Colonel  Lord 
Arthur  Lennox. 

Dap UTY-CH AIRMAN,    T*   C. 

E«q.,M.P. 
Joha  Ashbumer,  Esu.,  M.D. 
T.  M.  B.  Batard.  iisq. 
PhiUp  P.  BLyth,  Esq. 

r.  Sir  Claude 


Direetors, 


Henry  Powuall,  Esq. 
Claude  Edward  Scott,  Esq. 


,  M.P. 


Henry  Broadwood,  1 
Sir  James  Carmichael,  J 
Charles  Farebrothet,  Esq.,  Alderman. 
Wihiam  Tulloh  Eraser,  Esq. 
Jobo  Gardiner,  Esq. 
Aaroa  Ashcr  Goldsmid,  Esq. 
Henrv  William  PownaU,  Esq. 
..^.......,  ^..  ^..«».  Scott,  Bart.,  and  Co. 

BciieitorSf  Messrs.  Davies,  Son,  and  Campbell. 
Assurances  on  the  IItcs  <n  persons  in  every  station  of  life  and  every  part  of  the 
world,  rranted  on  a  plan  wbich  combines  the  uimoet  amount  of  Imiellt  to  the 
flunilica  of  the  assured  at  death,  with  every  attainable  advantage  duHng  life, 
which  the  system  of  life  AasnrHioe  is  capable  of  aflordior. 

It  affords  iiericct  security  in  a  subscribed  Capital,  wbicn  guarantees  the  prompt 
settlement  of  every  claim,  witli  partidpatiBg  and  non-parncipatiBg  rales  on  toe 
lowest  scale,  especially  for  terms  of  years. 

The  Aftsurrd  can  anticipate  or  obtain  the  advance  of  the  ftill  aasount  of  the 
Policy,  on  giving  approvnl  available  security  for  a  certain  number  cA  annual 
payments,  as  explained  by  the  Prospectus. 

Every  facility  is  afforded  to  persons  assuring  the  Uvea  of  othoa,  ao  as  to  rendor 
such  Policies  eiftctual  securities. 

A  new  plan  at  gradoal  or  accumulative  Assurance,  particularly  adapted  for 
young  lives,  ana  for  such  as  cannot,  without  inconvenience,  undertalce  the 
payment  of  a  fixed  premium,  aecnring  at  once  provision  in  case  of  premature 
death,  and  an  accumulating  fbnd,  avaibible  during  life,  should  occasion  require. 
AHNiriTias,  Bmdowmrhts,  Advances,  and  Loavs,  on  libenl  tents. 
iWtsiled  Prospectuses,  with  forms  of  Proposal,  and  every  information,  may  \m 
had  on  applicatioo,  either  personally  or  by  letter,  at  the  Company's  Ufioea. 
The  usual  commisaion  to  Solidtors  and  Agents. 

H.  D.  Datsnport,  SeerHmrf^ 


Mr.   LINDSAY   SLOPS& 

Bags  to  announce  that  he  will  give 
THREE     SOI  REE8 

CLASSICAL  PIANO-FORTE  MUSIC, 

AttheBasTHovKN  Rooms, 
76,  HARKEY  STREET,  Cavendish  Square, 
On  the  following  evenings :— Thursday,  Febroary  18,  Wednesdav,  March  8.  and 
Wednesday,  March  17,  to  commence  at  half  past  d«ht  o'clock.  Subscrrption 
Tickets  One  Guinea  each,  and  ticketa  for  a  single  Soiree  Half-a-Oainea  each,  may 
be  had  of  Messrs.  Cramer,  Beale.  and  Co, :  Wessdl  and  Co.  {  and  Jollien }  and  of 
Vt.  lindsay  Sloper,  7,  ikmthwick  Place,  Hyde  Park  Square. 


Mrs.  A.  NEWTON  aad  Mr.  O.  CA8N 

Begtoannjunceto  their  Friends  and  the  Publk:,  that  their 

ABSVA&     GOSGBBV 

WILL  TAKB  PLACK  AT  THB 

LONDON     TAVERNy 

MONDAY  EVENING,  February  Bth,  1847. 

Vocal Pdrformers— Miss  Rainforth,  Madame  F.  Labiache,  Mrs.  A  Newton; 
Mr.W.  Harrison.  Signer  F.  Labiache,  Mr.  N  J.  Sporle  and  Mr.  John  Parrv . 
Instrumental— Miss  b.  Ward;  Messrs.  F.  Cbatterton,  R.  Blagrove,  J.  Ward» 
J.  Case,  aad  O.  Case.  Conductors,  Mr.  C.  Severn  and  Mr.  Howard  Olover. 

Tickets  Ss.  (  Reserved  ScaU  6s. ;  to  be  had  of  Mrs.  Newton,  45,  Lower  Belgrave 
Place,  Pimllco ;  Mr.  Ctae,  91,  Great  Coram  Street,  Russell  Sqoare ;  BIr.  Case^  84, 
Biahopsgate  Street  •  at  the  Music  &hops :  and  at  the  London  lavem. 


To  be  Published— 

SIX      SONGS; 

IN  0N£   BOOK,   PRICE  SIX  SHILLINGS, 

By  W.  R.  BBXFIELD,   B.M. 

Persons  requiring  copies  are  requested  to  specify  the  same  to 
Mr.  J.  A.  Novdlo,  or  to  the  author,  Boston,  Lincolnshira. 


Just  PnblUlitd  by  R.  MILLS,  I40,  New  Bond  8tr««t, 

No.  4  OP  GERMAN   SONGS, 
**HOPFNUNG;»» 

THE  POETRY  BY  SCHILLER,  THE  ENGLISH  WORDS  BY  DESU 
MUSIC  BY  HENRY  WYL1>E,  Associate  ol  the  Royal  Academy. 

FOTTEB,) 


Also,  by  the  same  Author,  (first  SonaU  dedicated  to  C. 

"RHAPSODY,'* 

BOOK   OF   GERMAN   80NO|C^ 


In  the  iVew— *•  Cofrice^'*  for  the  Piano'/orte, 


ogle 


I^tx  Mii]t»t^*fi         #ifMi|f  Z^tBtxt. 


fenowtng  Outline  of  the  Arrangeroento  for  the  Season  1847,18  respectfully  submitted  to  the  Nobility,  Patrons  of  the  Opera*  and  to  the  Public     It 
presented  with  the  confident  hope,  that  the  successful  exertions  made  ta  secure,  under  drcumsunces  of  peculiar  dimcuU;r,  a  Company  stiU 
worthy  of  the  first  Theatre  in  Europe,  and  of  ite  distinguished  Patrons,  will  ensure  the  coniinuatton  of  tlieir  support. 


presented  with  the  confident  hope,  that  the  successf 
more  worthy  of  the  first  Theatre  in  Europe, 

ISnsagtmcnts  for  ibe  ^pera. 

MADLLE.     JENNY     LIND, 

MAD«-  DEL  CARMEN    MONTENEGRO,  MAD-"-   SANCHIOLIj 

Madlto.  FAGIANI   and    Madame  80LARI,  The  Contralti,    Madlte.  VIETTZ    kvd    Uadlle.  DARIA   NASCIO. 

AND 

MADAME     CASTELLAN. 

SIC.  FRASCHINI,  Ohe  great  Tenor  of  Italy)  And  the  favoiite  Tenor,  SIC.  OARDONI, 

SIC.  SU  PERCH  I.  sir.  bobeli.a,     sir.  corsllt,  SIC.  F.  LABLACHEy 

8iff.  BOUCBBy   {ofLaacaki,—hiifirH0npearaikee)  ^ 

(The  celebrated  Basso  Cantante) 

H  E  R  R    S  T  A  U  D  I  C  L.       ai.d       SIC.     L  A  B  L  A  C  H  E. 

In  addition  to  the  abore,  amngements  ara  pendinir  with  Sif.  COItSTriy  of  the  Italian  Opera  at  Paris. 
That  great  Coicposee,    THE     CHEVAUIER     MEYERBEER,    has  arranged  to  visit  this  Country  to  briAf  oat  tho 

(g^lRJDIP         ©IE        SDLI^OIE, 

The  principal  Parts  in  the  C  A  M  P   D  B   S I L  E  S I  £,  by 
MADLLE.  JENNY   LIND  and  SIC.  FRAeCHINI. 

THE    CEUBRATCD    DR.    FELIX    MENDELSSOHN    BARTHOLDY 
Will  likewise  visit  England,  and  produce  an  Opera  expressly  composed  for  Her  Majesty's  Theatre,  the  Libretto,  founded  on 

THE    TEMPEST 

OP  SHAKESPEARE;    WRITTEN  BY  Iff.   SCRIBE. 
Minmda,        ....      MmdUo.  JBNNY  IiIND.         l       Caltban,  ....      R«rr  8TAVDI0L. 

F«rdl&Md,     ....       Sir-   OARBONI.  |        Prosporo^ ,       .       •       .       .       Iil«.  I.ABI^OHS. 

It  is  likewise  announced  with  great  satisfaction,  that  Signor  Yerdi,  liaving  recovered  from  his  severe  illness,  has  expressly  corafaasd  Sot  this  Theatric  t 

new  Opera,  of  which  the  plot  is  founded  on  the   ROBBBB8  of   SOBIIciJBB. 

Rossini's  Opera  of  BOBBBT  BBUCB,  lately  produced  at  the  AfdimU  Jtogmle,  has  also  been  secured. 

MMdaui.OAaTBIiI.AN,  SANOHIOU^*  MONTBNBOBOs  Slcnort  O^BDONI,  SUPBBOBI^dUFBABOHINI,  will  appear  before  BmUt. 
M  ADU.E.  JENNY    LIND.  whose  engagement  conimences  in  March,  and  extends  until  the  end  of  the  Season,  wfll  appear  immediately  after  Easier. 

Dhvctor  of  the  Music  and  Condoctor,  M.  BA&Ffi. 

In  addition  to  the  above,  SEVERAL  OPJBRAS,  n#w  to  this  Countnr,  will  he  produced,  and  the  r»fi€rf<Mre  will  be  selected  from  the  Cktf-d'mmrei  eC 

MOZART,  CiMAROSA,  ROSSINI,  DONIZETTI,  MKRCADANTE,  BELLINI,  «kc. 

The  strictest  attention  has  been  paid  to  all  the  detsiUs,  so  that  an  ensemble  may  be  presented  perfect  in  all  ita  parte. 

A  NUMEROUS  ORCHESTRA,  of  the  most  distinguished  talent  and  power,  has  been  selected  from  some  of  the  best  orchestras  of  Europe,  eonbhed 

with  former  meritorious  Artista  of  the  EsubUshment. 
THE  CHORUS  has  been  choscsn  with  the  greatest  care  from  Italy,  Germany,  and  England,  and  will  comprise  upwards  of  EIGHTY  PERFORMERS. 

Arrangementa  for  the  Ballet  x 

MAD"-«  CARLOTTA    CRISI, 
MADL«LUCILE   CRAHN,  ^>«i>  MAD««  CERITO. 

In  addition  to  which,  an  Engagement  has  been  made  with 

MAD^«-^    CAROLINE    ROSATI, 

(Of  La  Scale,  at  Milan;  and  other  great  Theatres  of  Italy;)  who  will  make  her  First  Appearance  on  the  First  Night  of  the  Season  in  a  New 
Ballet,  expressly  composed  and  arninged  fbrlierby    M.     PAtJL     TAOLIOMl. 

MAD«"  WAUTHIER,  MADAME    PETIT  STEPHAN, 

MADULE.   HONORE.  MAOLUE.  EI.I8&   MONTPORT/ 

IfMdDct  THKVKMOT,  JULIBK,  L'AHOUBBVX,  XBUUE,  FANNT  PA8CALBS,  AMD  BERUr. 

MAD"-"-  CAROLfNE    BAUCOURT. 

In  consequence  of  tlie  enthusiastic  manner  ih  which  this  eminent  Artiste  was  received  last  season,  hopes  are  entertained  that 

MAD«-LE.         TAGLIONI 

May  be  induced  to  appear  for  a  limited  number  of  performances. 

M.   ST.   L.EON,      M.    ryOR,      M.    COSSELIN,  M.   DI   MATTXA,      8Mr.  VBNATRA,      M.   aoURiBT. 

M.     PAUL     T  A  Q  L.  I  O  N  and  M.     P  E  R  R  O  T. 

Composer  of  the  Ballet  Music.   •   .    SIG.    PUGNI,  Principal  ArUst,   -   .    iV|R.    MARSHALL^ 

MAITRES  DB  BALLET, M.    PAUla   TAGUOMI,  M.    CA8ATX,   (of  La  ScaU)  and  K.    PBBBOT. 

SOUS  MAITRE  DB  BALLET,    M.  GOSSBIiIK.  RE61SSEUR  DB  LA  DANSB,    M.  PBTZT. 

AN   ORIGINAL   GRAND    BALLET   will  be  produced,  written  eipreasly  for  Her  Majesty's  Theatre,  by  the  cf>lebrated  Poet 

BBNBI     HBINB,    ona  snbject  selec^  from  the  Old   LBOBND8    OP    OBBKANY :    and  also 

A  ¥t9wAmaA  Po«tlMa  Ballot  J  Ibrthe  subject  of  which  tbe  Establishment  is  indebted  to  the  kindnessof  a  nobU  and  diMtingutMktd  PoetMi,  entitled  BOBRIA* 

»B    CSLBBRATXD      ^  A^       B  M        ©,  '^  A  T  1^  M  AND        .If>A@        BH^       IDlSSSS^lSi 

Will  be  revived;  and  tm  entirely  new  Dhertiteement^  introducing  another    QRAND     PAS^ 

By  M.  PBBBOT,  which,  uniting  all  tlie  peculiar  attractions  of  the  Pa»  dee  DUuet,  and  Pas  de  Quatre,  will  present  a  novd  feature  of  striking. 

originality,  and  will  combine  the  talent  of  all :  to  be  entitled 

THE  SUBSCRIPTION  WILL  CX>N&IST.  OF  THE  SAME  NUMBER  OF  NIGHTS  AS  LAST  SEASON. 

For  the  first  time  will  be  produced  at  Her  Mi^esty's  Theatre,  DONIZETTI'S  admired  Opera  of  1.^    p  AVORIT  Ay 
In  which   6IC.    OARDONI       and      SIG-     SUPERCHI    wiUnwike  their  ilrst  appearance  in  this  Ctnntiyi  and  an 
Bntmir  WBW   BALI.BT,   by  M.  PAUL  TAGUONI ;  in  which  MADLLE.     CAROLITME     ROSATI    wiU 


rri  ted  and  PubllshM,  for  the  Proprietors,  at  the  "  Nassau  Steam  Press,*'  by  William  Spbhcsr  ionMsow.  60,  St,  Martin's  Lane,  in  tf%P«<*^  9(^ 
Martin's  InSeEtelds,  in  the  County  Middlesex;  where  all  communicatUs  for  the  Editor  aw  to  be  addresMd  postpaid.  TO  be  had  of  G.  Poikcia*  Oaui 
Stteet,  Soho;  Strange,  Paternoster  Row.  Wisebeart,  Dublin}  and  all  Bookadlera^-Saturday,  February ith. I W7,    ^■^-  ^  ^    l^OO^  ItT 


(rUlLISHCD    EVERY    SATURDAY   AT    NOONO^ 

A.  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, " 
FOREIGN  INTELLIGENCE,  &c* 

Vt^rwrnm  of  Svtae^tloa*  pvr  A«w,  Ite.  atenip«4  a  1  As.  UMitMap«il ;  to  be  fonrmrdod  by  Mottoy  Order  or  P^mUm*  ^Um»m 
to  tbo  Fnblloher,  W.  8*  XObnjMa,  ''NmsoM  Stoom  Prewi,''  60,  St.  MwtlA'o  I«ao,  Cbwl^c  Cvomi 
Sobootibor  Is  euMtlod  to  «a  AdmloolOK  to  oa  Awmu^  Ooneort,  and  a  Plooo  of  M «ole,  (resnlsr  Mttsic  otao)  Montbly . 


}fo.  7.-^VoL.XXIL 


SATURDAY,  FEBRUARY  13,  1847. 


fPRICB   TURSBPBNCB 
1  STAMPED,  fOVWPBHCM 


A  OHAT  WITH  RUMOUIL 

Tnovan  the  recognised  organs  of  the  •*  Rival  Operas"  have 
heeo  unttfaally  silent  since  our  last,  Httmour  has  wagged  its 
thousand  tongaes  with  vigour*  Let  us  catch  some  of  the 
reports  Which  issue  from  its  mouth,  lest  they  fly  out  of  date 
and  be  lost,  as  the'  arrow  in  the  dark.  Oar  good  friends  in 
the  provinces  wiH  be  obliged  to  us,  though  the  men  of  London 
majf  smile  at  oitr  credulity.  We  ftre  as  ancient  gossips,  im- 
plicitly confiding  in  the  words  of  Rumour  on  til  fact  drowns  it 
in  its  thunder;  and  so  must  be  forgiven  for  much  that  we 
shall  set  down.  What  we  advance  noay  be  true  in  whole  or 
In  port^  or  false  in  whole  or  in  part.  But  it  cannot  be  both 
true  and  fdlse,  and  must  therefore  be  one  or  the  other-^since 
true  is  that  which  is  not  false,  and  false  is  that  which  is  not 
^iAiir;'e9ch  word  having  the  negative  and  affirmative  elements 
«Mbined '  in  its  nature,  and  each  ha^g  the  prerogative 
rf  iM^on^fm;  .«o^«tlltent  wMi  that  of  annihilation  in 
ki  oppbsit^.  Forgive  w/  tender,  for  this  trunk-makerian 
apostrophe,  and  there's  an  end  on't. 

TIm  other  day  R\imour  callefd  upon  us  and  found  us  in  our 
^tiidy,  endeavouring  with  much  labour  to  make  out  the  meaning 
«f  ian  article  by  C  J.,,  who,  in  seeking  to  explain  his  theory  of 
focalism  soccessfoUy;  exposed  his  ignorance  of  anatomy,  and 
oonfoondad  the  terms  sfoffoto  and  sfoeato  wjth  great  ingenuity, 
yieasirtg  from  n  mitprint  in  the  Musical  World  that  they  must 
beiiother  more  nor  less  than  the  same  thing.  The  first  thing 
RtaAitmr  told  us  almost  took  our  brf'^th  away.  It  was  this  : — 
That  Mr.  Lnn:!ley,  lessee  of  Her  ?  ijesty's  Theatre,  in  the 
Hftymarket,  hafl  brought  an  action  against  the  Morning 
Ckroniele  newspaper  for  the  ^ff tides  published  therein  which 
■tated c(^?h  prorfiihent'points  in  his  programme  to  be  fabri- 
eatibns.  Hereupon  en|ped  the  ibllowing  conversation,  which 
oar 'secretary,  without  consulting  us,  took  down  in  short-hand 
(braehygraphieally),  and  as  it  is  now  Friifey  night,  and  the 
ptinttr^ waits  for  copy,  ire  sdie  it' with  avidity  and  make  it 
aerre  in  place' of  a  l^er.- 


avifo«ia.«--iui.  D,  Uf^Munou. 
.  Jfr.  D,^  iL.  Ob  whst  gnwadc  no  Mr.  Luniex  bring  hU  actioa  ? 

MiU9r.  Ob  tbe  surest  possible.  In  pronouncing  his  prospectus  to  bs 
fai  pert  a  fiOirieStion,  tbe  Mwmng  Chiwiete  clearly  insinuates  ihat  Mr. 
Oimlej  is  tatfeiiVOiirffig  to  obtain  money  under  false  pretences.  It  is  by 
tbe  attractions  offered  io  his  pregnmme  that  Mr.  Luxniey  hopes  to 
biineiioe  aubscriberi  and  to  let  his  stalls  and  boxes  to  the  boolcsellen  abd 
to'the  public  for  the  season.  If  the  promises  held  out  therein  are  not  Icept 
fir.  Lomley  is  la  no  better  position  than  that  of  a  picture-dealer  who  sells 
^pktOfe  la  a  llrame  to  aeustomer,  and  when  tie  has  got  the  money 
biiysUic4for«  scods  laHne  the  frame  wiihout  thepictore.  The  subscribers 
wbo.  take  boxes  by  persuasion  of  the  prospectus,  and  are  not  supplied 
with  tkefar  Jeony  Lind,  their  Mendelssobo,  and  their  Meyerbeer,  &c.,  are 
l^vcissly  in  the  position  of  the  cheated  purchaser.  Tbe  case  is  perfectly 
detr,  ani  Mr.  Irfimlty  is  quite  JostHKed  in  bringing  his  action.    I  have 


not  the  least  doubt  he  will  gain  heavy  damages,  which  wiU  malie  the 
Morning  Cfironicle  more  careful  for  the  fatare.  . 

'  Rumour.  It  is  said  that  the  principal  proprietor  of  the  Morning 
Chronicle  has  signified  his  intention  of  defending  the  action,  and  his 
approval  of  the  article  that  has  appeared  In  Ms  paper. ' 

Mr.  D.  R,  What  a  triumph  for  the  writer  1  £very  one  will  subscribe  to 
the  piece  of  plate  which  the  press  is  going  to  offer  him  as  a  teatimoniai/ 

Editor,  What  piece  of  plate,  and  what  press? 

Mr,  D.  R.  Why  did  you  not  read  the  paragraph  which  I  copied  from  a 
country  paper  into  the  Musical  World  !  It  stated  that  sundry  members  of 
the  press  had  set  about  getting  up  some  kind  of  testimonial  to  the  writer 
of  the  Ckromiele,  as  an  aclcnowledgment  of  the  independent  course  he 
liad  pursued  in  respect  to  the  Italian  Opera ! 

BtMtor,  O,  yes.  I  remember  now.  1  added  a  note  signifying  that  this 
was  a  new  reading  of  the  word  "  independent,"  since  the  Ckroidele*§ 
independance  was  all  on  one  sidf . 

Mr.  D.  R.  Well,  but  you  have  the  Post  to  balance  it  I 

Bdihr,  That  may  be,  but  I  don*t  bdieve  one  word  about  the  testimo- 
oial.    The  only  aobsei^ber  to  it  would  be  the  critic  of  the  Athoneum. 

Rumour.  I  hear  that  Fanny  EUsler  has  signed  with  Covent  Garden. 

Editor,  That  is  truest  have  it  fkom  the  brst  authodtr— she  wiU  be 
here  in  Ma}',  • 

Rumour.  And  that  the  Queen  has  taken  a  box  for  the  season. 

ilifr.  O.  R.  EqOally  true.   I  have  it  from  the  best  authority.   Moreotcr^ ' 
there  are  already  five  omnibuses  establlsbed:    After  all  H  is  a  splemUA  * 
company,  and  Fanny  EUsler,  with  Fuoro,  Oomilatie,  PlttnbeCtvBaaedMi, 
and  Petipa,  will  leave  the  ballet  very  Uttle  inferior  to  that  of  Mer,  Ma* , 
jesty's  Theatre. 

Editor.  Carlotta  Grisi  and  Penrot  are  worth  the  whole  of  them  together 
— ^to  say  nothing  of  Heine,  the  poet,  who  is  to  write  a  ballet  expressly 
for  Mr.  Lumley. 

Mr.  D,  R.  Crfdat  Judatus  ! 

Editor,  Why  yon  Sitt  as  bad  as  the  Ckromch,  I  suppose  you  will 
sut»8cribe  to  tbe  testimonial? 

Mr,  D,  R.  I  might  do  worse. 

Rumour.  I  hear  that  Mr.  Lumley's  confidential  adviser  and  intimate . 
friend  B-— —  has  gdne  to  Vienna,  .to  make  sure  of  Jenny  Lind. 

Mr.  Dk  R.  Yee,  and  Mr.  Bonn  is  going,  or  gone,  to  Paris,  to  catch 
her  on  the  way. 

Atuneur.  That  is  true,  and  moreover,  if  he  can  persuade  her  to  go  to 
Covent  Garden,  he  will  be  repaid  for  his  troabte  by  an  engagement  as 
acting  or  stage-manager  at  the  Royal  Italian  Opera. 

Editor,  Yoo  astonish  mel  1  don't,  I  can't  believe  one  word  of  all 
this*  •  * 

Mr,  D.  R.  U  Jenny  Lind  such  a  phoenix  as  our  ariend  Emaoor  wlU 
have  it? 

Editor,  When  I  was  at  Cologne  last  summer,  1  heard  her  in  the  opera 
of  Norma,  and  if  that  be  one  of  her  great  characters,  I  must  confeil  I 
think  she  is  vastly  overrated.    Eighteen  months  cannot  have  made  so 
wonderful  a  diterence  as  to  have  transmogrified  ber  into  the  greatest  • 
dramatic  singer  of  any  age  or  country,  which  lame  proclaims  her  now.  ' 
Still  Norma,  on  the  other  hand,  may  not  be  one  of  her  grand  characters;- 
and  Indeed  I  have  heard  that  her  forte  is  not  in  the  opera  stria  -but  lA 
domestic  opera,  like  La  Sommmhttta,  or  comic  opera  like  It  Barhierp.  ' 
That  she  must  be  very  great  in  som^  parts  can  t>e  scarcely  questioned,  ' 
or  how  otherwise  can  the  admiration  of  such  mtisiciana  as  Meoddasohis  • 
and  Meyerbeer  be  accounted  for  ? 

Mr.  D.  R.  Her  youth  and  beauty  have  doubtlexi  a  large  account  in  the 
adoration  of  young  Germany. 


;  *  Mr.  Bonn  is  not  in  Paris,  bat  in  London,  actively  en 


I   f  -  jvBi.  a^uKii  to  Mwi.  iM  .>  m  IO,  wHi,  «ii  «jviiviwii|  MvuvKi^  ei^aged 
I  intending  tbe  rehearsals  of  Vincen^Wal||^'8  new  oper^^^il 


;ed  in  super- 

It: 


98 


zaSSsH: 


THE  MUSICAL  WORLD. 


'dt±: 


MMor;  Het  beau^.  U  ttot  fttriklDg.  Ste  H  young  and  wAlodtink, 
y$t  tMH^  h  in  tzttMdiftlnQr  fntellTgcAeft  Hi  hat  countenance.  The  iikt§k 
Germans,  nevertheless,  are  mad  about  her.  They  worship  her  as  the 
9Mrf#— and  indeed  her  spotless  private  character  has  no  little  tc^^o  with 
the  sum-total  of  her  attractions  for  the  most  thoughtful  and  romantic 
people  on  the  globe. 

Mr.  D,  R,  At  all  events  her  advent  to  London  is  a  topic  of  uncommon 
interest,  and  everybody  is  impatient  for  the  demmanent  of  the  contro- 
versy on  her  account,  which  the  Pott  and  Chronicle  have  taken  upon 
tbettielVes  to  carry  on  in  the  name  of  M&.  Luroley  and  bis  adversaries. 

Ediior,  A  topic  ef  even  greater  interest  is  the  promised  opera  of  Men- 
delMohn,  in  which  Jenny  Lind  is  to  play.  It  is  rather  singular,  by  the 
way,  that  the  Chronicle^  in  alluding  to  Mendelssohn's  engagement  to 
conduct  Elijah  at  Exeter  Hall,  in  Thursday's  paper,  says  nothing  con- 
flrttatory  of  the  article  ih  which  he  states,  (fringing  forward  a  letter  from 
K^/  Buxton  to  strengthen  his  argument  J  that  the  promised  opera  of  the 
neat  German  oompoaer  vms  all  a  fiibrication.  It  is  the  more  singular, 
aince  he  advertises  the  receipt,  on  Mr.  Buxton's  part,  of  another  letter 
from  Leipsic,  dated  the  3rd  itist.  Surely  had  the  letter  contained  any- 
thing that  established  the  statement  that  appeared  in  the  Chronicle  Mr. 
Button  would  have  communicated  it  to  the  writer,  whom  he  had  already 
MteHM  to  priikt  the  letter  of  the  25th  ult.,  which  contained  matter  of 
90  giave  and  dedied  a  nature. 

BlMMur.  I  hear  that  the  sealous  writer  in  the  Chronicle  is  preparing, 
iy  permittlon  of  the  authorities,  a  lengthy  philippic,  which  wiU  bring 
matters  before  tbt  public  that  will  more  than  disagreeably  compromise 
lumy  persons. 

Mr,  D:R,  That  win  be  a  smasher  for  the  Morning  Pott, 

SdUor,  I  shall  believe  it  when  I  read  it ;  not  before. 
Here  the  conversation  dropped.   Rumour  took  his  leave; 
and  Mr.  D.  R.  continued  his  perusal  of  Bourcicault's  new 
play,  which  the  snarler  in  the  Examiner  has  treated  so  scurvily , 
and  for  which  we  shall  furnish  him  tk-for-tat. 

^  The  prc^ramme  of  the  Royal  Italian  Opera,  which  we  re- 
Tiewed  last  week,  has  been  handled  in  two  of  the  daily  papers 
only,  the"  Chronicle  and  Herald.  The  former  gives  scarcely 
»ere  than  a  transcript  of  the  principal  points  in  the  pro- 
gramme ;  the  latter  is  more  warm^  and  inveighs  aonsiderably 
on  its  ejtcellence  and  attractiveness.  Very  little  has  appeared 
of  any  interest  in  any  of  tiie  papers.  The  only  thmg  we  can 
find  worth  quoting  is  the  following  from  Galignam*s  Mes- 
eenger^  which  was  transferred  to  the  columns  of  the  Times : — 

"  Jbumt  Lino.— Jenny  Lind  is  expected  in  Paris  in  about  three  weeks, 
and  strong  temptations  are  held  out  to  induce  her  to  sing  a  few  nighto 
before  she  proceeds  to  Her  Majesty's  Theatre.  We  learn,  on  indisputable 
authority  from  Germany,  that  the  friends  of  Mile.  Jenny  Lind,  in  con- 
sequence of  the  claim  advanced  by  Mr.  Bunn  on  the  services  of  that 
Uy,  have  required  the  opinion  of  fhe  Attorney-General  of  England  upon 
the  engagement  which  she  was  led  to  sign  with  Mr.  Bnnn.  to  learn  how 
Ihr  such  an  agreement,  made  for  the  summer  of  1845,  is  binding  in  1847. 
The  opinion  of  the  Attorney-General  was,  in  consequence,  Uken,  and 
has  been  forwarded.  It  is  quite  fstal  to  the  claims  of  Mr.  Bunn,  as  it 
kys  down  that  the  engagement  could  only  be  a  question  of  damages, 
and  that  those  damages  in  case  of  trial  would  be  merely  nominal;  and, 
finally,  that  from  the  wording  of  the  document,  there  is  a  strong  doubt 
at  to  whether  it  is  a  contract  at  all  or  not.  This  legal  opinion,  given  by 
the  first  law  officer  of  the  Crown,  will  doubtless  bring  the  matter  at 
once  to  a  termination." 

This  ao(»unt  of  our  Attorney-General's  opinion,  coming 
from  across  the  channel,  is  not  entitled  to  much  consideration; 
and  the  Timesy  in  citing  it,  adds  no  comment  of  ito  own. 
Meanwhile  Punch  has  hoisted  the  standard  for  Mr.  Lumley, 
•Bd  has  published  some  excellent  doggrel  under  the  title 
of  ••  The  Poet  Bunn  to  Jenny  Lind,"  and  the  indefatigable 
Albttt  Smith  has  been  guilty  of  a  similar  misdemeanour  in 
hit  "  Everybody's  Column,*'  which  is  read  by  everybody  who 
eaa  manage  to  wade  through  a  column  of  the  Ilhstrated  Lon- 
dom  News,  To  conclude,  we  shall  continue  on  guard,  and 
cry  ««  Qui  vive"  to  whatever  passes  between  this  number  and 
the  next.  The  future  is  big  with  events  portentous  and  signi- 
ficative. 

P.S.  A  letter  has  been  received  from  Maodeltsohn,  which  in  all  probability 
wiil  be  printed  in  to-day's  Moming  Pott,  the  letter  states  that  Mr.  Buxton^s 
letter  to  the  ChronkU  was  written  without  authority  from  Mendelssohn ! 


'     .    iMkllTtA  GRI8I.  ^ 

if  Mr.  tiUAie^s  prospectut  dontained  notting  eiM  {nan 
the  promise  of  Carlotta's  re-establishment  as  queen  of  her  own 
domain  on  the  boards  dt  Her  Majesty's  Theatre,  it  would  be 
entitled  to  our  respect.  To  every  lover  of  the  beautiful,  as 
exemplified  in  grace  of  movement,  the  name  of  Carlotta  Grisi 
must  be  a  talisman  to  conjure  up  a  thousand  delightful  remi- 
nisceaees.  Our  readers  know  that  the  charming  artist  has 
availed  herself  of  a  month's  coii^^  from  the  dn-ection  of  the 
Aeademiie  Royaler  to  pay  a  visit  to  Rome,  and  transport  the 
inhabitants  of  the  ancient  city  with  the  evolutions  of  her 
twinkling  feet,  snd  the  fascinations  of  her  graceful  pantomime. 
But  cruel  fate,  jealous  no  doubt  of  a  despotism  more  entire, 
and  far  more  pleasant  to  endure  than  his  own,  determined  to 
throw  every  obstacle  in  Cariotta'e  way,  and  so  to  spoil,  if 
possible,  her  triumph  among  the  Romans.  First,  he  annoyed 
our  lovely  choregraph  on  her  way  to  Marseilles,  giving  her  a 
tedious  journey,  and  causing  her  to  arrive  one  hour  too  late, 
whereby  she  was  bound  to  a  week's  sojourn  among  the  Mar- 
seillaises. At  length  the  steamboat  made  its  appearance,  but 
fate  again  interposed  bis  envious  hand.  Instead  of  sailing 
direct  for  Civita  Vecchia,  the  rebellious  boat  would  stop  at 
Genoa,  and  then  at  Leghorn  on  the  way,  and  at  each  of  these 
places  Cailotta  was  compelled  to  make  a  sojourn.  Ultimately 
she  found  herself  in  the  city  of  the  Caesars.  The  impreeariOf 
one  Jacovacci,  was  in  an  instant  at  her  side.  Wringing  his 
hands,  and  weeping  bitterly,  he  exclaimed  to  the  captivating 
procrasdnator,  ^'  Oh,  Signora,  you  have  ruined  me !  you  are 
nine  days  after  your  time,  and  unless  you  give  me  20,000  franca 
I  am  a  lost  man.  I  have  a  large  family  to  provide  for,  and 
unless  you  give  me  2000  francs  I  shall  blow  out  my  brains." 
In  vain  Carlotta  remonstrated,  in  vain  she  stated  the  cause  ci 
her  delay ;  the  next  day  she  was  summoned  to  appear  before 
the  Cai^inal-Governor.  But  a  cardinal,  or  any  other  mortal 
(unless  a  father  of  a  fiimily  on  the  brink  of  ruin),  could  no 
more  resist  the  charms  of  Carlotta  than  ice  the  meltiDg  in- 
fluence of  the  sun;  and  as  ice  before  the  sun  melted  the 
Cardinal-Governor  before  Carlotta.  Spell-bound  by  her 
beauty — enchanted  by  the  silvery  tones  of  her  voice — ravished 
by  her  graceAil  and  unaffected  deportment,  he  forgot  the 
impresario^  and  decided  in  favour  of  Carlotta.  The  tears  of 
the  plaintiff  were  as  nothing  to  the  graces  of  so  lovely  a 
defendant.  **  The  case  is  inevitable,"  said  the  Cardinal. 
^'  Mademoiselle  Carlotta  Grisi,  were  she  thrice  as  agile,  could 
not  be  expected  to  make  a  lei^  from  Marseilles  to  Civita 
Vecchia.  And  in  respect  to  damages,  our  fair  visitor  will 
accord  us  a  few  extra  representations,  and  then  the  debt  will 
be  on  our  side."  The  verdict  was  enthusiastically  received  by 
all  present,  and  the  impresario  and  Carlotta  were  equally 
content.  Rome  was  in  a  veritable  commotion,  and  strangers 
had  travelled  from  all  parts  to  witness  the  performances  of  the 
delicious  choregraph.  Not  a  place  was  to  be  obtained  at  the 
theatre  for  love  or  money  within  a  few  days  after  her  arrival ; 
for  at  Rome,  as  elsewhere,  all  the  world  must  see  Carlotta 
dance. 

EXETER  HALL. 

The  Second  Historical  Concert,  in  aid  of  the  Hnllall 
Testimonial  Fund,  was  held  on  Monday.  The  object  of  these 
concerto  is  to  obtain  a  sum  of  money  sufficient  to  enable 
the  projector  to  erect  a  music-hall  of  large  dimensions,  ad* 
equate  to  musical  performances  on  the  grandest  scale,  Utid 
worthy,  in  its  architectural  beauty,  in  its  fitness  and  complete- 
ness, of  the  fii?t  metropolis  in  the  world.  The  aflendid 
music-hall  at  Birmingham  most  probably  suggested  the  idea 


THE  MUSICAL  WORLD. 


99 


oftiieiiewtoildiiig  to  Mr.  Hnllah,  though^  no  doabt,  the 
iJbffMice  of  a  hcaie  in  the  metropolis  at  all  aniwenhle  to  the 
great  parposea  of  modern  nnaioal  performances,  nrged  him 
en  in  Ilia  projection.     There  ia  no  greater  actuality  ataring 
ta  in  ^e  fiiiee  dian  the  want  of  an   adequate  mnaic-hall  in 
L#Eiddn.     The  object  of  Mr.  Hullah  it  tlierefore  warranted  by 
tfaoefiityv    Itr.  Hullah  Eaa  been  the  first  to  intradnce  the 
'WKbem  system  of  mnsic  into  thia  oonntry.     Fbr  this  akne 
he  -merite  tiie  gratitude  of  the  whole  of  the  musical  world. 
The  ayatem  ^  teaching  vocalisation  in  classes  was  never  so 
mkch  needed  ia  at  the  present  day,  when  oratorioa,  and  anch 
Bfca  compositions,  reqohring  singing  in  masses*  are  becoming 
a  principal  portion  of  the  popular  musical  creed.     Mr.  Hullah 
haa  proved,  beyond  a  fiance  of  disputation,  that  the  Wilhem 
system  of  class  teaching  is  of  the  most  vital  importance  in 
educatiflg  aingevs  for  the  very  highest  depaitment  oi  the  vood 
art,  namely,  the  being  able  to  render  the  dioruses  of  the  great 
masters  in  their  meaning  and  integrity.      The  choruses  of 
Kandel,  Mozart,  Beethoven,  Haydn,  Spohr,  and  Mendels- 
aohn,  are  at  once  the  mightiest  efibrts  of  the  cx)mpo8ers,  and 
the  moat  difficult  to  inteipret  by  the  singere.    When  we 
rsmembertfae  time,  pains,  and  money  that  have  been  ex- 
pend^ on  the  singers,  to  Whom  the  solos  in  oratorios,  &c., 
hisve  to  be  entrusted,  and  then  consider  that  until  the  present 
dny  the  chorusea  were  left  to  chance  singers,  upon  whom 
]ftt4iapB  neither  time,  pains,  nor  money  were  expended  at  all, 
or  Expended  in  such  small  measure  as  amounted  to  nothing, 
WB  Khan  not  wonder  at  the  deficient  of  our  great  musical 
Ifarfoiviances,  nor  be  astonished  at  the  public  voice  that  called 
aidud  for  a  reformation.     Mr.  Hullah  haa  heard  the  public 
voice,  and  has  responded  thereto,  and  he  is  at  this  moment  in 
tha  b^  way  of  popularity,  as  being  about  to  render  to  the 
BitBleal  community  one  of  the  moat  important  benefits  it  can 
receive.     Mr.  Hullah's  classes  have  been  esUblished  for  some 
years,  and  the  correctness  and  steadiness  with  which  his  pupils 
interpret  the  most  intricate  music  upon  all  occasions,  has  been 
acknowledged  by  all  who  have  beard  them. 

The  |>ragramme  of  this  concert,  like  tiiat  of  tiie  first  was 
divided  into  two  parts.-— Fart  I.  devoted  to  saored  compoai- 
tiODb,  and  part  U.  to  aecnlar.  The  contents  of  part  I.  were, 
*'Oh€k»d  of  bmth,"  hymn  by  Rogere—*«  Prepare  ye  the 
way,"  anthem  by  Michael  Wise— *-I  was  in  the  spirit," 
asiti»m  by  Dr.  John  Bow,-»*'  The  aspiration,"  song  by  Pur- 
cell — ^^'I  win  arise,"  anthem  by  Robert  Creighton.-'^-and 
''Behold  I  bring  you  good  tidings,"  verse-anthem  by  Purcell. 
Witii  the  exception  of  the  last  mentioned,  this  selection  was 
most  vi^rtunate.  It  was  reasonable  to  expect  that  a  selection 
of  the  compositions  of  English  musicians,  who  flourished  be- 
tween the  restoration  and  &e  close  of  the  seventeenth  century, 
woidd  be  more  musically  interesting  than  a  selection  from  the 
oomposere  of  a  century  before.  But  either  the  selection  was 
had,  or  the  writers  of  the  epoch  in  question,  are  duller  than 
those  who  preceded  them — which  latter,  with  the  sin^e  ex- 
ception of  Purcell,  we  take  to  be  the  case.  The  anthem  of 
Hib  great  reformer  of  the  diatonic  school,  is  one  of  'tiie  most 
remtdlcable  of  his  sacred  works,  and  exhibits  some  of  the  most 
^treonifnary  progressions  in  diromatie  harmony  that  can  be 
Ibundin  any  writer  of  his  time,  or  since.  The  expression  of  the 
word  '*  Glory  be  to  God  on  high,"  is  magnificent,  and  a  stun- 
tUxig  proof  of  Puredl's  genius.     The  second  part  of  the  pro- 

Smme  placed  the  secular  composers  in  as  unfavourable  a 
It  as  the  first  did  the  sacred.  It  consisted  of  **  Duke 
domum,"  a  part  song  by  John  Reading,  a  piece  of  impertinent 
Mad^tta«— ^*  I  pass  aK  my  hoars  in  a  shady  old  groves'*'  a 
melancholy  song  by  Felham  Humphreys,  to  some  sentimental 


verses  by  Charles  II.—''  Ne'er  trouble  thyself  about  tinies  er 
their  turnings,"  a  silly  and  vulgar  glee  by  Matthew  Lbdk-*-the 
fijrat  act  of  Purcell's  early  open.  Dido  and  ^aeoa,  tke  weakest 
portion  of  one  of  his  weakest  oompositiont— "  Thy  gkniua, 
lo!"  asong  by  PhroeU  to  words  by  Nat  Lee— '«Hvk  my 
Damilear/'  aduet  6f  amall  merit  by  ^e  same  compoaer,— >''it 
is  not  that  I  love  you  less,"  a  sweet  and  plaintiff  ballad  by  *Dr. 
Blow—*'  At  tha  close  of  tha  eveniag"  a  stupid  catch  by  tvtg^ 
aell-^and  the  well  known  aoiig  and  chorus  from  Atn^  jfr^kmr 
by  the  same,  a  trifie  whidi  is  not  without  a  certain  boldness 
of  character,  but  which  has  been  magnified  by  labid  Purod* 
lites  into  an  importanee*  ridiculously  out  of  character  wiih  its 
pretensions.  Altogether  this  selection  waa  tedious^  dry*  and 
uninstructive.  You  might  as  well  go  to  oar  Wadea,  Rodwdh^ 
and  what  not,  for  a  progmmme,  and  it  would  be  nearly  as  duB, 
and  quite  as  interesting. 

We  apeak  with  more  pleasure  of  ^  executioik  Tha 
choruses,  under  Mr.  May's  direction  woe  really  adoMfc^ 
and  deserved  the  enoores  they  obtained  for  mora  than  one 
indifferent  compoeition.  Mr.  Oliver  May  presided  at  the 
organ  and  pianoforte  with  his  uanal  nrasician-like  abiii^— 
and  Mr.  WDly,  at  the  head  of  his  oompaet  and  efficieBt 
little  orchestra,  did  ample  service  in  perfectbg  tin 
ensemble.  The  principal  vocalists  were  Misses  Ra&forth 
and  Dolby,  Messrs.  Lockey,  Machtn,  and  W.  Segdiaf. 
They  ril  exerted  themaelves  with  seal  and  abili^i 
but  Miss  Dolby's  exquisite  interpretation  of  Dr.  Blow'a 
quaint  ballad."  "  It  is  not  that  I  love  tfaee  lehb"  bore  away  tha 
bell  against  all  competition,  and  brought  down  an  eneoib» 
which  fdbwed  the  <ieltvery  of  the  last  note  *as  a  dap  of 
thunder  echoes  the  lighting's  flash.  We  have  seldom  heard 
applause  more  vociferous,  more  unanSmons,  or  better  metiftod. 


MEMOIR  OF  PALBSTiriliA. 

DuaiKO  the  time  of  Palestrina's  stay  ia  the  service  6f  the 
churdi  of  San.  Giovanni  di  Laleran,  he  preaented  nothing  to  tha 
public;  but  some  of  his  works}  had  largely  cifcdbted  aad 
expanded  hia  reputation^  In  1S69  he  dedicated  tha  second 
book  of  his  maases  to  Philip  the  Second,  King  of  Spam,  alkl 
in  the  following  year  the  same  prince  received  again  ^  dedi* 
cation  of  the  tl^  book.  Pslestrina  attached  himself  likevriaa 
to  the  Cardinal  Hippolyte  D'Este,  to  whom  he  dedicated  a 
book  of  motets.  From  this  time  the  publication  of  his  woika 
followed  eadi  other  with  rapidity,  and  the  editions  were  mul- 
tipUed.  The  death  of  Animuceia,  towards  the  end  of  tkm 
month  of  March,  1571,  caused  Palestrinato  be  iqjpomted  to 
the  Chapel  of  St.  Peter  of  tha  Vatican,  in  the  early  part  of 
the  ensuing  month  of  April,  although  the  advantages  deriwi 
from  this  place  were  leas  than  that  of  Chapel  Master  of  &mL 
Maria  Majjjore,  and  the  moderate  income  of  the  greatast 
musician  of  Italy  waa  tints  diminished  in  one  halt  'Gm 
death  of  Animuocia  left  also  vacant  the  directOHrabip  of  the 
music  of  the  ^tOorio.  This  was  offered  to  Palestrina  by  0t. 
Philip  de  Neris,  founder  of  this  oongregatf on,  hia  ftienA  and 
confessor.  Palestrina  wrote  for  the  service  of  the  oiateafo 
anthems,  psalms,  and  apiritnal  cantides.  Finally,  he  un- 
dertook the  management  of  the  school  for  counterpoint, 
esUbliahed  by  Mario  Nanini;  and,  in  a  short  time  afler. 
Pope  Gregory  the  Thirteenth  chaiged  him  with  the  revision 
of  all  the  songs  in  the  graduel^  and  the  book  of  Roman 
anthems— an  immense  labour,  wUch  he  never  had  time  to 
adiieve,  altiiough  assisted  by  hia  pupil  Ooidetti.  After  haa 
death,  thay  found  but  the  gradtm  de  n$tfare  coaa^letad* 
Hygiui  Paleatrina's  son,  finished  this  collection,  and  sold  it  as 


roo 


THE  MUSICAL  WORLD. 


the  work  of  his  fiither;  but  the  Tribunal  of  the  Santa  Rota 
dissolved  the  contract,  and  the  manuscript  was  lost.  On  the 
Slst  of  July»  1580,  Palestrina  lost  hiswife,  whom  he  tenderly 
loved :  this  afflictai  him  with  the  most  lively  sorrow,  which 
mm  little  assuaged  by  his  nondnation  of  master  of  the  con* 
e«rt8  to  Prince  Giaeomo  Buoncompagno,  (not  the  nephew  of 
Pope  Gregory  the  Thirteenth)  as  M.  Baini  would  assert,  but 
a  son,  which  that  Pope  had  before  he  entered  into  holy  orders. 
Destined  to  behold  a  great  number  of  sovereign  pontiffs 
succeed  to  the  apostolic  chair,  Palestrina  sought  in  each  of 
them  a  protection  against  the  necessities  whidi  continually 
besieged  him.  It  is  thus  that  he  dedicated  to  Pope  Sextos 
the  I%h  the  first  book  of  his  Lamentations.  In  tiie  epistle 
which  he  has  placed  at  the  head  of  the  collection,  he  gives  an 
affltotmg  picture  of  his  situation.  "  Most  Holy  Father,"  he 
says,  **  study  and  care  never  coalesce ;  above  all,  when  the 
latter  proceeds  from  misery.  With  competence  (to  demand 
more  ia  to  fail  in  moderation  and  temperance)  one  can  easily 
delnr  himself  from  other  anxieties,  and  he  who  is  not 
content,  under  like  circumstances,  can  accuse  nobody  but 
himself.  But  he  who  hath  experienced  it  alone  can  tell  how 
difiicult  it  is  to  labour  to  maintain  honourably  himself  and  his 
fitmily,  and  how  much  this  obligation  distracts  the  mind  from 
the  study  of  the  sciences  and  the  liberal  arts.  I  have  always 
proved  this  sad  experience,  and  now  more  than  ever.  Never- 
theless I  return  thanks  to  the  Divine  goodness  which  hath 
permitted  me,  spite  of  my  most  grievous  embarrassment,  to 
prosecute  unbroken  the  studies  of  my  music  (wherein  I  have 
also  found  a  useful  diversion),  in  the  career  I  have  outrun  and 
whose  term  approaches.  I  have  published  a  large  number  of 
■ly  compositions ;  and  I  have  many  others  whose  printing  is 
ouly  retarded  by  my  poverty :  for  it  is  a  considerable  expense, 
particularly  on  aocount  of  the  characters  of  the  notes,  letters 
Beeeasary  for  the  use  of  the  church,  &c.,  &c.,  &c." 

It  is  a  sad  spectacle  this,  of  an  old  man,  elevated  so  high 
in  men's  minds  by  his  immortal  works,  and  nevertheless  be- 
trayed at  the  last  moment  to  the  horrors  of  necessity ;  yet 
Bod&ing  could  so  well  have  made  manifest  his  genius  as  this 
long  struggle  with  adversity,  which  would  not  suffer  him  to 
Ua  listless,  but  continually  mnged  him  onward  to  newer  efforts. 
Aftar  so  many  labours,  whose  results  had  been  so  glorious, 
and  so  feebly  recompensed,  Giovanni  Pierluigi  di  Palestrina 
perceived  his  end  approaching.  In  his  last  moments  he  sum* 
moned  his  son  Hygin  to  him,— his  sole  remaining  son, — and 
delivered  the  following  words,-  which  so  faithfully  depict  the 
veritable  artiate  ;*~*'  My  son,  I  leave  you  a  considerable 
number  of  unpublished  works ;  thanks  to  the  Abb6  de  Baume, 
to.  Cardinal  Aldobrandini,  and  to  the  Grand  Duke  of  Tuscany. 
I  leave  you  also  a  sum  sufficient  to  have  them  printed  ;  I 
secommend  to  you  that  that  be  done  as  soon  as  possible,  for 
the  glory  of  the  All-powerful,  and  for  the  celebration  of  His 
worship  in  the  holy  temples."  The  malady  which  afflicted 
him  soon  after  assumed  a  graver  character,  and  on  the  2nd  of 
February,  1694,  he  expired.  All  the  musicians  at  that  time  in 
the  Roman  capital  assisted  at  his  funeral ;  ha  was  buried  in 
the. church  of  the  Vatican,  and  the  following  inscription  was 
gimven  on  his  tomb  :— 

J0AKN£8— PXTRVS— -AI0TSCIU8-— PRCENSSTIVUS 
MUSICS   PRtKCSPS. 

The  eulogium  of  this  great  artist  may  be  comprised  in  a 
fftw  words.  He  was  the  creator  of  the  sole  kind  of  church 
music  confonnable  to  its  object .  In  this  style  he  arrived  at 
the  last  degree  of  perfection ;  and  h:s  works  have  remained  for 
two  Qcnturies  and  a  half  the  purest  models  for  imitation.  In 
tbi>  class  of  madrigals  he  has  exhibited  neither  less  grace,  less 


genius,  nor  less  perfection  in  its  details,  and  no  one  has  carried 
to  greater  length  than  he,  the  art  of  seizing  the  general  charac* 
ter  of  the  poetry  in  bis  productions.  Like  all  men,  endowed 
with  superior  abilities,  he  has  modified  his  manner  in  the 
course  of  his  long  and  glorious  career ;  nevertheless  one  may 
dispute  the  exactitude  of  the  divisions  of  the  ten  different 
styles  which  M.  Baini  has  asserted  at  the  end  of  his  book  ; 
for  some  of  the  distinctions  he  establishes  result,  less  from  any 
alteration  in  the  mode  of  thinking  and  conceiving  in  the  artist 
himself,  than  in  the  propriety  of  the  species  of  each  work* 
Thus  if  it  be  true  that  Palestrina,  after  the  publication  of 
the  first  book  of  his  masses,  swept  away  the  dust  from  the 
schools  in  which  he  himself  had  grounded  his  education,  and 
if,  as  M.  Baini  says,  the  adversities  of  his  life  had  thrown  a 
melancholy  shade  over  his  conceptions,  and  inspired  his 
thoughts  with  that  noble  and  touching  character  of  which  his 
Improperii  was  the  precursor,  it  is  equally  certain  that  we 
cannot  imagine  in  their  particular  styles  a  contexture  more 
solemn  than  in  his  Magnificat,  a  method  more  soft  and  facile 
than  in  his  Litanies,  or  an  expression  more  elegant  and 
spiritual  than  in  his  madrigals.  In  all  his  productions  the 
man  of  genius  displays  itself  in  the  originality  of  style,  and 
discovers  forms  and  accents  the  most  analogous  to  this  origin- 
ality, but  does  not  change  for  that  of  manner,  as  is  shown 
when  he  passes  suddenly  from  the  system  of  the  ancient 
school  to  that,  of  the  masses  of  his  second  book,  and  above 
all  to  tliat  of  Pope  Marcelius's  mass.  We  cannot  agree  with 
M.  Baini,  that  this  mass  constitutes  a  particular  style ;  it  is 
only  the  most  beautiful  production  of  Palestrina  in  that  style. 
The  entire  of  Palestrina's  works  may  be  summed  up  as. 
follows,  first :  fifteen  bo<^s  qf  Masses ;  secondly — eevea 
books  of  Afo^n^;  thirdly— three  books  of  the  Lamentatiws . 
of  Jeremiah ;  fourthly—  the  Litanies  f  sixthly— the  SpMiual 
Canticles;  and  lastly,  three  books  of  Madrigals.  M.  the  Abb6 
Baini  prepared  a  complete  edition  of  his  works  in  parta^ 
which  it  would  be  most  desirable  to  see  published. 

SOMETHING  ABOUT  NOTHING.  ~ 

Tbb  reigning  topic  of  interest  still  continues  to  be  the  two 
Italian  Operas.  Nothing,  however,  has  occurred  since  our 
last  which  warrants  us  in  devoting  an  article  apart  to .  the 
subject.  The  Post  and  Chronicle  have  suspended  for  avdbile 
the  thunder  of  their  artillery,  contenting  themselves  with  sinall 
side-shots  dealt  at  intervals.  Meanwhile,  the  Chronicle  Boreas 
has  given  himself  up  entirely  to  the  study  of  lindlay  Murray, 
and  from  time  to  time  presents  his  readers  with  specimens  of 
the  progress  he  has  made.  To  make  our  words  good*  we  pre- 
sent the  following  paragraph  from  his  article  on  Norma  at  the 
Princess's : — 

"  With  the  lovely  voice  natare  has  gifted  her  toith,  and  dy  ftdlowliig 
up  carefully  her  studies.  Miss  Anne  Ronier,  as  her  strength  incrstses. 
with  years,  hax  the  prospect  of  talcing  a  high  position." 

This  will  be  a  consolation  to  the  young  singer,  provided 
she  can  make  it  out.  The  followingt  from  the  same  article,  is- 
also  worthy  of  notice  :— 

"  In  the  duos  between  Norma  and  Adelgba,  the  two  ladles  night 
have  advantageously  changed  their  parts,  for  the  voices  did  not  blend ;" 

which  involves  a  curious  discovery :  viz.  that  a  sopra:no  and  a 
mezzo  soprano,  whose  vpices  will  not  harmonise,  have  only  tO; 
sing  each  other's  parts  to  produce  the  effect  intended. 

But  the  excellent  Post  is  not  idle  the  while.  He  also 
pursues  his  studies.  His  vein,  however,  is  more  aesthetic,  as. 
the  following  (from  an  article  on  Madame  Dulcken)  will 
show :—  ^^  ^ 

^During  these  three  apprenticeships  of  taste,  our  native fUeathii 


THE  MUSICAL  WORLD. 


101 


ttrode  in  leven-Ieagiie-bootB  on  the  tnareh  of  intellect.  Messrs.  Stemdale 
Bennett,  W.  H.  Holmes,  Lindssy  Sloper,  sad  otiiers,  have  proved  to  tlie 
world  that,  when  properly  cultivated,  and  above  all,  when  worthily 
encooraired,  mtuieal  organitation  it  not  only  exotic  but  indigenous  in 
this  seagirt  iiie  of /og!i,  and/sshion,  and/oreigners." 

First  to  be  admired  in  the  above  extract  is  the  metaphor  of 
"  native  talent  striding  in  seven-league-boots  on  a  march,'* 
Second,  the  fact  that  '*  musical  organuaiion  when  worthily 
encouraged  can  be  exotic  in  an  isle."  Third,  the  three  F's, 
and  the  problem  of  a  *•  seagirt  isle  c^  foreigners^**  involved  in 
the  last  dozen  words  of  the  paragraph.  Lastly*  the  mysticism 
(worthy  of  Jacob  Boehmer  or  the  Trunkmaker)  which  envelopes 
the  entire  passage  as  in  a  haze.  The  passage,  in  short,  is 
delidons  ;  the  man  who  sings  *'  through  his  nose,  and  ears, 
and  pupils,"  the  "  cursed"  tenor  of  Rossini,  (Fraschini),  and 
the  '*  egregious  Hllet,"  are  nothing  to  it.  It  is  worthy 
of  a  place  in  one  of^C.  J's  windy  e&sions,  that  blow 
away  public  attention  from  The  Fine  Arts  Journal,  Can 
it  be,  that  The  Trunkmaker  has  got  upon  the  Post  and 
wields  the  pen  of  Jenkins  ?  More  unlikely  things  have  hap- 
pened* as  the  officer  in  the  Strand,  opposite  Somerset  House, 
and  the  clock  which  performs  the  double  duty  of  telling  the 
hour  and  the  name  of  the  paper  to  the  passer-by,  can  testify. 
We  shall  have  a  peep  into  the  Athenceum  next  week,  and  see 
what  advance  the  testy  Aristarchus  of  Wellington  Street  has 
b^en  making  in  the  study  of  Lindleymurrayism. 

MUSICAL  CRITICS  AND  CRITICISM. 

From  the  *' Liverpool  MaiL" 
f?  Appealing  to  feelings,  and  acting  more  or  less  apon  all  according 
to  organization,  the  sway  of  music  is  allowed  to  bo  universal    Un- 
fortunately few,  if  indeed  any,  are  satisfied  with  the  pleasurable 
emotions  displayed  in  the  science,  even  of  the  most  artistic  tfe- 
seription.    Music  apparently  poasessing  a  peeidiar  power  over  its 
hearers,  that  of  destroying  any  little  diffidenee  the  listeners  noay 
fM  in  the  expression  of  opinions  as  to  the  exceilenoe  of  eompos- 
itions  or  executants — ^although  ninety-nine  aro  probably  ignorant 
of  the  art,  and  the  hundredth  is  incapable  of  analyzing  that  which 
he  has  heard— few  would  hesitate  boldly  to  pais  judgment  upon 
effort  in  art  fer  beyond  their  knowledge,  and,  as  it  freooently 
happens,  the  more  stupid  the  igiiorsnce,  the  more  decided  the  fiat 
of  the  censor.    Of  the  few  at  all  competent  to  proBnl|pate  o]Hnieiis 
vpon  musical  effects,  two-thirds,  at  least,  are  warped  in  judgement 
by  the  tendency  of  their  studies  to  one  particiikr  point,  or  the  bias 
of  their  taste  inclining  them  to  fevoor  one  style  of  music  to  the 
exclusion  of  all  others    To  the  admirer  of  the  graceful  ballad  a 
conoerted  piece  is  an  infliction,  and  the  cnVtc  who  has  been  told  the 
latter  is  the  more  difficult  gIsm  of  composition,  sternly  repudiates 
the  eiijoyraent  the  trifle  has  really  afforded  him,  and  passes  sentence 
on  its  innocent  simplicity  the  higher  to  exalt  his  more  fevoured 
and  weighty  proteg^    The  devotee,  enthusiastic  In  his  aUachment 
to  instnimeatal  music,  votes  vocalisation  a  bore  and  the  champion 
of  the  song  hurls  back  defiance  and  contempt  upon  all  artificial 
emuM'of  sound  in  use,  toiigotten,  or  to  be  invented.      The 
amateur  who  has  acquired  a  moderate  command  of  the  violin 
or  violoncello,  venerates  the  names    of   Spohr  and  Romberg, 
and,  at  the  mention   of  a   symphony  by   Beethoven,  indulge 
m  shakes  of  the  seat  of  knowledge  that  would  do  honour  to  a 
Burleigh.    This  is,  at  all  evenU,  an  assumed  veneration  of  recog- 
nised geoins  and  h:gh  artistic  exceilenoe ;  but  the  lack  of  proper 
hnowledve  is  in  general,  as  lamentable  as  in  the  case  of  the  fcuight 
of  the  ballad  or  Ue  cham|Mon  of  the  vocal  concerted  piece.    These 
remarks  upon  tlie  ignorance  and  pr^udicc  of  musical  commentators 
are  prefetory  to  a  tow  observations  on  the  knowledge  requisite  to 
form  a  competent  musical  critic    To  judge  minutely  of  excellence 
in  any  branch  of  art  requires  both  study  and  experience  ;  yet  how 
few  of  oor  censors  in  affairs  musical  p<Msess  either  of  these  qualifi- 
cations!    InstJttmenUiists,  whose  ideas  are  carried  away  in  a 
voiteaof  osecutkm,  a  wliirlwiud  of  domisemiquavers,,  frequently 
cannot  appreciate  true  excellence  in  a  vocalist.    The  singer,  in  ms 
capacity  a  finished  artist,  is,  in  turn,  by  want  of  knowledge,  unable 


properly  to  estimate  the  mechanical  skill  of  the  mstrumenta^  per- 
former.   The  true  critic  should  be  able  to  estimate  the  clearneis 
and  flexibility  of  the  voice,  articulation  of  words,  taste  in  embellisb- 
menl^  neatness  in  execution,  and  judicious  expresssion  ;  he  should 
possess,  moreover,  a  fine  and  cultivated  ear  to  detect  imperfection  of 
intonation.  The  perfections  of  instrumental  performance  can  be  ao- 
curatcly  appreciated  only  by  such  as  are  themselves  perfiMners 
either  upon  the  instrument  used,  or  one  in  some  degree  a^alagons  to 
it.  Difficulties  insurmountable  on  one  instrament,  may  upon  another 
be  executed  with  perfect  fecility.  Brilliant  execution,  may  indeed, 
be  appreciated  by  the  many,  but  the  amount  of  difficult  mastered 
in  the  performance  will  be  estimated  by  few.    It  follows,  then, 
that  few  aro  really  competent  judges  of  instrumental  exceilenoe. 
A  finished  perrormer  will  aim  at  all  the  perfections  of  the  voeatist* 
save,  of  course,  the  articulation  of  words.  The  absence  4»f  this  all- 
powerful  mean  of  expression  renders  the  acquirement  of  a  sen* 
timenul  style  of  delivery  one  of  tenfold  difficulty.    Tone,  where 
its  production  depends  upon  the  performer,  must  be  regardml, 
when  really  good,  as  a  chief  excellence.    It  is  now  too  frequently 
sacrificed  to  obtidn  facility  of  execution ;  but  the  mpractlcability 
of  uniting  the  two  bj  no  means  follows.    If  one  qualification 
must  be  weakened,  it  u  better  to  please  the  enlightened  than  to 
astonish  the  uninitiated.    One  of  the  principal  ezeeU^ncies  in  a 
vocalist,  or  instrumentalist,  and  one  but  little  understood,  is  correct 
phrasing^  which  imparts  a  charm  felt  bv  all,  but  which  few  are  able 
to  define.    To  criticise  composition  a  knowledae  of  the  science  is 
absolute^  necessary  ;  yet,  now  many  send  forth  their  opinions 
through  the  medium  of  the  press  on  the  writing  of  an  opera,  an 
oratorio,  or  a  symphony,  without  the  most  remote  idea  of  a  solitary 
rule  by  which  the  art  is  governed,  or  of  the  manner    in  which 
instrumental  effects,  by  skilful  comMnations,  are  produced.    In  n6 
art  would  such  a  continuous  display  of  consummate  ignorance  and 
assumption  be  tolerated.    The  rigorous  precepts  of  counterpoint, 
occasionally  infringed,  when  composing  in  a  free  style,  might  u 
well  to  such  persons  be  Ihe  guides  for  the  erection  of  the  pyramids  : 
movement  or  parts,  parallel,  contrary,  or  oblique,  commands  for  the 
evolutions  of  militia  field  days.      Harmony,  modaladon.  Ingenious 
contrivance,  novel  instrumcntadon,  unity  of  design  in  conneeted 
composition,  all  are  unappredated,  and    the  labour  of  months 
flippantly  disposed  of  in  a  lew  remarks  incorrect  in  their  conclusions, 
and 'mystified,  it  may  be,  with  a  few  technical  expressions  inva- 
riably misapplied.   It  is  a  bane  of  the  science  and  its  followers  that 
it  must  labour  acainst  the  freely  expressed  condemnation  or  (worse) 
the  exaggerated  praise  of  every  urnoramus.      In  other  arts  the 
opinions  of  its  professors  are  lutened  to  with  something  approach- 
ing respect,  but  in  music  the  gentleman  who  can  perform  lAouet's ' 
variations  on  *'  God  save  the  Queen," — an  air  of  De  Bieriot  on  the 
violin,  or  give  an  embellished  edition  of  the  hundredth  psalm  on 
the  organ— stands  boldly  forth,  competent,  in  his  own  opinion,  to 
overpower  in  argument  a  host.    The  low  state  of  muskuu  literature 
is  greatly  to  be  regretted  *,  in  fact,  the  art  progresses,  but  existe 
without  one.    The  increase  of  musical  taste,  however,  demands  a 
correspondent  improvement  In  review,  and  it  only  requires  exertion 
in  proper  quarters  to  render  it  respectable,  instead  of  lidionlous,  and 
serviceable,  in  place  of  being  detrimental,  to  the  progress  of  tho 
art.  S.M  K. 

M.  STEVCNIERS. 

We  extract  from  one  or  two  journals  remarks  on  the  performance 
of  M.  Steveniers,  a  violinist,  who,  if  we  believe  the  accounts  we 
read,  promises  to  become  one  of  the  bright  stars  of  the  eonstellar 
tion,  whose  chief  luminaries  are  alread^  exhibited  to  us,  in  Do 
Beriot,  Ernst,  Vieuxtemps,  Sivori,  Mohque,  &c  The  EdgitM- 
Musicale,  alluding  to  his  performance  at  a  concert  in  Antwerp,  thus 
speaks  of  Mons.  Steveniers  s--**  M.  Sieveniers  is  one  of  the  most 
cfistinguished  violinists  of  the  age.  At  present  he  is  not  sufficiently 
known ;  but  most  assuredly  he  will,  some  fiiture  day,  shine  bright 
among  the  brightest  of  his  compeers.  Since  the  days  of  Paganlni 
we  hare  not  heard  singing  oa  the  violin  so  purely,  so  correctly,  and 
so  delicatelv  rendered,  as  we  heard  firom  M.  8tevenieis  a't  this 
concert.  He  performed  a  concertino  of  his  own  composition,  upon 
nottves  firom  the  Sirine^  and  the  arphges  of  Vieuxtempa.  The  first 
of  these  morceauz  is  a  feithfid  translation  of  all  that  u  lovely  and 
gracious  in  this  charming  opera.     The  arpiges  are  morcewx  of 


10^. 


THE  MUSICAL  WORLD. 


surpassing  difficulty.  M.  Steveniers  interpreted  both  the  one  and 
the  other  with  an  art,  a  taste,  and  an  accuracy  that  could  not  be 
exceeded.  The  applauses  and  the  bi'avos  of  the  listeners  testified 
their  enthusiastic  admiration  for  the  violinist.**  In  a  Dutch  news- 
paper we  have  the  following  notice : — ^  M.  Stereniers  is  unwearied 
m  ms  professional  travels.  On  the  li^h  of  December  he  performed 
in  a  eoAcert  at  FiMjB  Mentis,  (no  pun,  we  believe),  and  obtained 
well-liiiBvited  a^phitise  for  the  elegance  and  brilliancy  of  his 
peHbrmaoc^.  A  few  days  afterwards,  he  was  playing  at 
Rotterdam,  at  Dondrecht,  where  he  was  heard  in  a  charming 
Ftmimisie,  entitled  Le  Souvenir,  an  elegie  of  his  own  com- 
poeitien;  and  a  solo,  I^a  Sirbte,  al6o  composed  by  him,  which 
produced  a  great  effect.  At  Haerlem  his  success  was  equally 
assured,  and* he  obtained  the  admiration  of  the  public,  as  well  as 
the  praises  of  alt  the  artists  who  heard  him.  H.  Stevebiers  per- 
foraied  shoTliy  after  at  Amsterdam,  in  the  Theatre  Italien,  where 
the  iliTour  iie  received  was  at  least  tantamount  to  any  that  was  pre- 
viously bestowed  upon  him.'*  Another  Journal  informs  us  that  M. 
Stevenietfs  is  at  Bemn«  where  he  performed  at  a  concert,  in  the 
presence  of  their  M^festies  the  King  and  Queen,  who  thereupon  were 
so  delighted  with  th6  youuff  violinist  as  to  engage  him  fbr  the  first 
conisert  at  Court.  Verily,  all  these  prstses  and  compliments  incline 
us  much  to  hear  M.  Steveniers,  that  we  ourselves  may  do  homage 
to  his  talents.  We  have  ^tle  doubt  we  shall  ere  long  have  to 
re&tfA  his  first  performance  before  a  British  public. 

MUSIC  IN  dUWLIIt. 

(From  our  oum  Correspondent.) 
Tbb  gn^nd  festival  for  the  relief  of  the  poor  of  this  city  (the  per- 
Ibnqiince  of  which  has  created  the  most  intense  interest  among  pro- 
ffers and  amateurs}  took  place  on  Fridqpr  evening,  the  5th  instant, 
in  the  round  room  of  the  Rotunda,  before  an  audience  densely 
crowded,  and  comprising  the  principal  rank,  beauty,  and  fashion  of 
t^Q  metropolis.  T^ere  could  not  have  beeil  less  than  si^^teen  hun- 
dred persons  present,  and  hundreds  were  dismissed,  who  could  not 
obtain  Admission,  owing  to  the  crowded  state  of  the  room..  Israel 
ui  ^gupi^  the  dioral  masterpiece  of  the  immortal  Handel,  was  the 
oratono  selected  by  the  committee  bf  management ;  and  a  more 
judicious  choice  could  not  have  been  made,  inasmuch  as  they  had  at 
their  coipmand  an  orchestra  consistin|^  of  upwards  of  250  per- 
fbrmers,  composed  exclusively  of  the  pnncipal  professors  and  ama- 
teurs of  this  city.  At  half  pajst  eight  o'clock  precisely,  (the  hour 
named  for  commencing)  his  excellency  the  Earl  of  Besborough,  with 
the  Ladies  Ponsonby,  and  suite,  entered  the  room,  when,  after 
having  pli^yed  "  Qod  mvq  the  Queenj"  the  orchestra  commenced  the 
overture. 

The  following  is  condensed  firom  an  excellent  crl^quo  of  the  per- 
formance, which  appeare4  in  Saunders*  Hews  Letter  of  the 
following  day : — 

'  <<  His  Excellency,  at  the  Patron,  and  the  Rev.  the  Provost,  as  Yice-Presldent, 
with  the  distinguished  body  of  directors,  occupied  reserved  seats  most  remote 
Urate,  ahd  opposite  to»  the  Mchestra.  9he  President,  the  Duke  of  Leinster, 
was  prevMttk  hem  being  prawnt  liy  the  death  of  s  noUe  relative ;  but  bis 
Qmesk  yi  ft  pseuiiiary  way,  Uigely  patronised  the  cbariuble  undertaking. 
Most  of  the  vocd  an)  instrumental  professors  nve  their  valusble  assistance 
on  this  occasion  gratuitously,  and  those  who  cUd  accept  of  terms  made  a 
large  reducdon.  Mr.  Telford,  of  Stepben*s-green,  built  the  organ,  and  gave 
the  -ase  of  it  as  hu  contribution  to  the  cause.  The  performing  members  of 
the  loUowiMsiclit  sodetiss  unitfd  in  the  prmaiations  ibr  this  concert ;— 

The  Hibernian  Catch  Club^^PTesident,  fhe  i^ight  Hon.  the  Lord  Chief 
Justice ;  vice-president,  The  Chief  Remembrancer,  A  Lyie,  Esq^, ;  secretary, 
Itobert  Jager,  Esq. 

Ifhe  Anacreontic  Society.— President,  His  Grace  tho  Duke  of  Ldnster; 
secretary,  S.  i.  Pigott,  Bsq.    Modem  lyre,  in  silver,  an  asore  tablet 

fba[  PhUhaimoBic  aooiety.-^ecretary  and  condiidort  Henry  BusseO,  Esq. 
A  Im  and  wreath  of  shamrocks,  in  silver,  on  dark  green  velvet 

The  Umversity  Choral  Society.— Patron,  His  Grace  the  Lord  Primate, 
vice-ehaacellor  of  the  University;  president,  The  Referend  the  Provost; 
secretary,  Laneelot  Stnddert,  Esq. ;  conductor,  Robert  P.  Stewart,  Esq.  The 
Arms  of  TtMty  College,  in  gald  on  asnre  velvet 
HJm  Orpbeas  Sodety<-*-9aaretarv,  J.  T.  WilUi,  Bs^ ;  oonductoTv  Thomas 
An  open  lyre  In  sflver,j^ndent  from  UD 

con- 
jlvet 

dttccor,  William  Mttrpliy,jun.,  Esq.'  A  modem  lyrtaadoUve-bninch 'wreath, 
cnrmouiit^  br  tke  risiitf  sun  m  gold,  on  roby  valviit, 
The  Dtt^  MadrigM  Society.— President,  T^  ^ht  Honourable  the 
I  CbW9<^]Lor;  secretary,  C.  ?r.  Caimthers^  E8<^.;  cqndttctor/X^Ustavns 


L.  Geary,  Esq.  An  ancient  I;  re  and  wreath  of  laurel  In  sihrer,  on  axuie 
velvet. 

Several  individual  members  and  assodateaof  the  ftUowiag  Ipciaiies  kiAdlK 
came  iorwavd  to  assist  in  the  performance : — 

The  Society  of  Antient  Concerts.— President,  His  Grace  the  Lord  Primalje,; 
vice-president.  The  Right  Hon.  the  Lord  Chief  Justice.  A  harp  in  gold,  qn 
dark  green  Telvet 

The  Ladles' Choral  Society.— Condncmr,  Joseph  Lidel,  Esq.  Xbt  bish 
harp,  with  shamrocks  in  gold,  geranium-oolourea  ribbon. 

The  Philharmonic  Brass  Band. — Secretary,  William  Shaw,  Esq. ;  leader, 
Thomas  W.  Wilkinson,  Esq.  Two  trampets,  saltier-wise,  in  silver,  peiidefcic 
from  a  white  ribbon. 

The  stewards  bore  white  wands,  and  wore  rosettes  of  white  ribbon.  Tbe 
festival  opened  with  the  overture  from  Handel's  oratorio,  *  Esther.'  The 
execution,  under  the  conductorship  of  Mr.  Robert  P.  Stewart*  and  the  leader- 
ship of  Mr.  Richard  Levey,  were  admirable." 

Israel  tr»  Eg^fpt  waa  performed  entirely  froqs  Mr.  Surmas^ 

edition,  but  without  Mr.Perr/s  additional  accompaniments,  wherebj^ 
musical  Dublin  read  musical  London  a  lesson,  wluch  should  bo 
learned  by  rote  at  Exeter  Hall.  The  vocalists,  who  exerted  them- 
selves most  eflSciently,  were  Mr.  Gustavus  L.  Geary  and  Mr.  Rooke, 
(tenors)  Mr.  James  Hill,  (alto)  Messrs.  William  and  Joseph  Robin- 
son, (basses)  Mr.  Thomas  Blanchard,  Miaaea  Searle  and,  00  Ui 
Vega.  The  band  and  the  chorus  were  in  excellent  training.  Bfr* 
Stewart  conducted  ;  Mr.  Levey  led  the  first  part*  and  Mr.  Janiee 
Barton  the  second.  The  following  is  the  sum  up  of  Seund^i 
News  Letter  s — 

''In  conclusion,  we  may  observe  that  fiir  many  years  we  have  not  seen  f 
concert  which  was  so  well  attended.  A  very  great  number  of  persons  who  were 
wnHngto  pay  fbr  admission  were  unavoidably  refused,  as  the  number  oflickels 
exooeded  the  aoeommodation  that  could  be  afforded  to  them.  We  know  not 
whether  most  to  praise  the  philanthropy  which  actuated  so  manv  distinguished 
personages  to  leave  their  homes  in  this  inclement  season,  (if,  mdeed,  sndi  a 
musical  banquet  could  be  considered  even  by  them  a  sacrifice  or  an  iBeoBv»> 
nience)  or  the  benavoknoe  which  prompted  so  many  holding  high  rank  in 
private  society,  and  as  connected  with  smateur  societies,  to  join  in  Uie  business 
of  the  evenimb  which  necessarily  required  many  rehearsals  and  individual  vre- 
paiatlon.  The  stewai  ds,  who  were^  we  beUeve,  composed  of  membess  of  the 
difib^nt  societies,  cootributed  in  every  possible  way  to  the  comfort  imd  acoom* 
modation  at  the  au4j|ence.    ThrtiratorLo  was  concluded  at  a  seasonable  hour.**. 

The  audience  paid  the  most  undivided  attention  and  maintaiim4 
the  atricteat  silence  during  tho  entire  performance;  and  it  iatlie 
unanimous  opinion  of  critics  here  that  it  wimi  t^e  most  succeapQil 
performance  in  this  oity  since  the  festival  of  1831.  In  order  to 
accommodate  those  persons  who  were  disappointed  in  obtaining 
admission  to  the  first  performance,  the  committee  have  detjermineq 
on  having  a  second  on  Friday  next  Indeed,  the  uopreoed^nte4 
suooess  which  attended  their  effiarts  induces  m^  to  oherish  a  hope^ 
that  Dublin  ere  long  will  not  be  without  its  annual  festival.  M^ 
that  day  not  be  iu*  distant.  Q.  $. 

0th  February,  1847. 

P.  S. — Madame  Bishop  has  sinoe  appeared  at  the  Tbeatte 
Roval*  and  at  once  established  herself  as  an  immense  favoarita 
with  the  good  folks  of  our  city  who  had  the  luck  td  hear  heiw 
Madame  Bishop's  voice  is  a  soprano  of  the  very  purest  quality* 
Her  tones  are  flute-like  and  silvery  and  are  so  briluaut  that  onci 
might  fancy  they  sparkled.  She  made  her  first  appearanoein  Balfe^i 
Maid  of  Aitois,  on  Tuesday  evening,  and  her  peiibrasanoe 
altogether  Justifies  thd  highest  encomiuraa  of  the  London  jousnaliw 
The  part  of  Isoline  is  a  very  arduous  one,  but  MadaoM  Bishop 
surmounted  every  difficulty,  and  seemed  to  court  obstacles  fbr  i|o 
other  reason  than  to  show  with  what  ease  she  could  overleap  then* 
She  is  really  a  magnificent  artist  and  a  most  enchanting  singer* 
Her  embellishtnents  are  novel  and  exceedingly  graceful,  and  eaf« 
ecuted  with  such  celerity  and  certainty  as  no  one  can  imagine  what 
has  not  heard  her.  The  Freemon^s  Journal,  of  Wednesday,  gives 
a  very  good  notice  of  Madame  Bishop*8  peifotmanee,  with  aso^  of 
which  I  cordially  agree.  The  following  remarks,  especiatty*  stendll^ 
me  as  being  just  : — **  Her  notes  come  with  thrilling  power  on  lii€ 
ear— her  compass  is  very  great — ^indeed  she  appear^  to  have  sonka 
difficulty  in  restraining  her  powers  within  the  limits  of  onr  theaim 
—she  has  a  fine  clear  intonation,  and  this  quality  appeared  t»  \imi» 
fection  in  the  recitative,  where  she  particularlv  slaone.  We  do  not 
wonder  that  in  Drury  Lane,  where  her  voice  had  its  full  sange,  she 
caused  such  furore/*  I  agree  folly  with  the  observations.  Neal 
week  I  shall  send  you  fiirther  news  about  Mada»e  Bishop,  timtiiy 
you  will  find  room  for 'my  postscriptum,  which  was  penned  at  tJM 
eletenth  liour.  Digitized  by  ^^OO^  It; 


UJJ."".!4i 


THE  MUSICAL  WORLD. 


im 


AMATEUR  MUSICAL  SOCIETY. 

Ths  ftnt  performance  of  the  above  Society,  took  place  on  the 
ereDlng  of  Fn day,  the  4th  inst,  at  the  Musical  Hall,  Store-street, 
Tlie  pmonnaacea  consisted  of  Rossini's  overture  to  X.  Ilaliana  in 
Algien  s  BeethoTen's  symphony  in  C,  No.  1 ;  a  selection  from  the 
opoF»  of  Dan  Giovatmi,  arranged  for  the  orchestra,  by  Signor 
Kegri  ;  a  symphony  of  Haydn's  in  6  ;  and  Weber's  overture  to 
Prcciosa*  Nearly  eighty  peribrmers,  principally  amateurs,  were  the 
interpreters.  The  Hon.  George  Cadogan  undertook  the  part  of 
one  of  the  bassoons,  and  Lord  Arundel  played  the  trumpet  The 
Duke  of  Lehister,  who  was  announced  as  one  of  the  contra-bassi, 
was  absent  from  indisposition.  Among  the  professionals  present 
wevotioed  H.  Blagrove,  W.  Blagrore,  H.  Hill,  and  Kreutzer, 
TioliDs ;  Hill,  tenor ;  Hatton,  Tioloncello  ;  C.  Severn,  double-bass  ; 
Nioholaon  and  Horton,  bassoons ;  Boose  and  Baddely,  clarionets  ; 
C.  Harper  and  Rae,  horns  ;  T  Harper,  trumpet;  HeaJey,  trombone; 
and  Goodwin  and  Seymour,  drums.  It  does  not  come  within  our 
province  to  criticise  closely  amateur  performances  even  though 
there  be  a  good  sprinkling  of  professors  among  the  executants.  We 
may  however  state,  that  the  concert  reflected  the  greatest  credit  on 
die  Soeiety,  and  gave  universal  satislhction  to  a  numerous  and 
fashionable  assembly.  It  would  have  been  impossible  for  anv  band 
to  have  gone  through  their  performaoces  indmerently,  under  the 
gmdance  of  such  a  oondoctor  as  Mr.  Balfe.  A  prospectus  has 
been  issued  in  which  the  following  Friday  evenings  are  set  aside 
for  rehearsals,  when  members  of  the  orchestra  only  are  admissible ; 
viz.,  the  12th  and  26th  inst.  ;  March  12th  and  26th.  The  concerts 
m  the  subscription,  will  be  held  on  the  Fridajs  following ;   Febru- 

Ethe  Is^th ;  March  5th  and  19th ;  April  9th,  16th,  and  30th  ; 
y  7tb,  14tb,  21st  and  28th. 

CONCERTS. 

Mb.  ^lcbofts'  Monster  Annual  Concert  took  place 
on  Tuesday  evening  in  the  Lyceum  theatre,  and  was  in  every 
paapocl  indeed  a  monater  oonoert.  There  was  a  monster  bill 
whioh  c<mtaiaed  a  monater  programme,  in  which  no  less  than 
fifty  (a  monster  number)  morcetnue  were  announced  to  be 
sung  or  played  by  artists  of  monster  reputation.  Then  there 
wsls  a  monster  orchestra,  which  performed  monster  overtures 
of  monster  composers,  and  to  conclude,  there  was  a  monster 
yidi^ooe,  who  exgoyed  themselves  with  monster  delight.  In 
bet.  every  thing  waa  vMmteroua^  not  mon«ir<ms.  The  vocal 
department  oonsiated  of  the  following : — Mesdamea  Albertaazi 
and  F.  lablache ;  the  Misses  Bassano,  E  Birch,  A.  Williams, 
M.  Williams,  Steele,  Reynell,  Hill,  Sabilla  Novello,  and  M. 
B.  Qawes;  the  Messrs.  Allen,  Harrison,  H.  Phillips,  Henry 
Russell,  Guibileif  Sinclair,  F.  Lablache,  Bri^zi,  and  John 
Parry.  The  instrumentalists  numbered,  Madame  Dolcken 
(piaiBo%  Mr.  Benedict,  (piano),  Mr.  Chattertoa,  (harp),  Mr. 
£.  Blagrove,  (conoertiaa).  Master  Thirlwall,  (violin),  Mr. 
Qratton  Cooke,  (oboe),  and  Mr.  T.  Harper,  (comet-a-piston). 
In  addition  to  the  above  the  Lantun  Ethiopian  Serenaders, 
were  engaged  and  appeared  between  the  parts.  The  concert 
was  divided  into  three  parts,  each  part  containg  sixteen  mor- 
uawst  or  thereabouts ;  so  that  it  may  be  imagined  that  al- 
tiioogk  the  entei tainments  commenoed  at  seven,  they  could 
lot  kave  been  terminated  before  the  night  vras  far  advanced. 
Tlie  concert  was  farther  elongated  by  the  numerous  encores, 
WI&  which  the  enraptured  auditors  of  the  Lyceum  witnessed  the 
performance.  Almost  every  thing  was  encored.  Indeed  in 
^me  instances  the  encores  were  persisted  in  before  singer  or 
pei^former  had  finished,  and  he,  or  she,  had  to  commence  the 
sMr«6MMi  de  novo^  The  house  was  crowded  to  suffocation. 
Sigaor  Negri  and  Mr.  Lavenu  conducted  by  turns. 

Tbh  Gesbnwioh  and  Blackhsath  Amatbur  Musical 
SociBTT  gave  the  second  of  their  annual  series  of  concerts,  in 
the  RaQway  Station  Room,  at  Greenwich,  which  was  exceed- 
h^  ^e\l  attended.  .  Tb^  vocalises  were,  the  ^fisses  triDiaoi?, 


and  Mr.  John  Parry.  Mr.  Distin  and  his  four  Sons,  perfi>nB#4 
several  morceaux  on  the  sax«tubas.  Haydn's  grand  sympr 
bony  in  C,  an  overture  by  Romberg,  and  Winter's  overture  to 
Zaira,  were  well  rendered  by  a  small,  but  efficient  band,  under 
the  direction  of  Mr.  Dando.  The  following  distinguiBb/i4 
amateurs  assisted  in  the  orchestra :— the  Hon.  Major  L^gge 

S violoncello,)  Mr.  Brookelbank,  (violin,)  Mr.  Wanosbockt^ 
contra-basso,)  and  the  Messrs.  Finch,  (violas,)  Mr.  £4wa94 
Blackshaw,  presiding  at  the  (piano-forte.) 

Mrs.  Alexander  Newton,  and  Mr.  Gkobox  CA«f  ga^ 
their  annual  concert  at  the  London  Tavern,  on  Monday  evenii^ 
last.  We  have  much  pleasure  in  recording  the  success  i|4uflh 
attended  these  clever  artists.  Mrs.  A.  Newton  song  Ifej^^ 
beer's  difficult  cavatina,  **  Robert  toi  que  j'aime ;"  a  Scotoh 
ballad,  "  Bonnie  Prince  Charlie ;"  and  the]  Polaceaf  bqm 
Puritani."  She  was  warmly  applauded  in  the  first  piace,  imd 
encored  in  the  Polacca,  a  compliment  she  well  merited.  Mr- 
George  Case  played  a  Fantasia,  of  his  own  composition!  on 
the  concertina  ;  likewise  performed  a  solo  on  the  violin,  by  D# 
Beriot,  in  which  he  displayed  a  beautiful  tone,  and  biiUiant 
execution.  The  vocal  and  instrumental  artists  who  assiatal 
on  this  occasion  were,  Madame  F.  Lablaebe,  Miss  S( 
Ware,  Miss  Rainforth,  Signor  F.  Lablache,  Mr.  W.  Hanrison^ 
Mr.  N.  T.  Sporle,  Mr.  John  Parry,  Messrs.  J.  Ward,  RL 
Blagrove,  and  J.  Case.  Mr.  Howard  Glover  presided  at  the 
piano«forte.     The  room  vras  crowded. 

Mr.  Dando's  Second  Quartet  Concert  waa  h^H  ^ 
Crosby-hall,  in  the  Throne  Room,  on  Monday  evening.  Tlia 
room  was  tolerably  well  filled,  in  spite  of  the  weatler„  tbo 
scheme  of  the  concert  presenting  a  fund  of  Intimate  attrae^ 
tion.    The  following  is  the  programme :-— * 

Part  I. -Quartet  in  G  Minor,  No.  8,  (Op.  4«)  for  two  violins,  >iQb,  aiift 
violoDoello,  Spohr,  Messts.  Dando,  Oattie,  W.  Thomas,  and  LacasI  Csntstf, 
Miss  Meswnt,  "  The  Song  of  the  Quail,"  Beethoven,  Quartet  in  A  Mft|# 
(No.  5)  for  two  violins,  viola,  and  violoncello,  Beetkooetu  Mesffe.  Dando, 
Gattie,  W.  Thomas,  and  Lucas. 

Part  II.— Trio  in  B  Flat  Major,  for  pianoforte,  violin,  and  ^Hffpctl)^ 
Mwart  Messrs  Benedict,  Dando,  and  Lucas.  Song,  Miss  Messent,  **  ScenK 
of  my  youth,",  (The  Gipsy's  Warning)  Bensdicu  Quartetlli  B  Flat  U$idl^ 
rOp.  12)for  two  violins,  viola,  and  violoncello,  Mendelnohtu  MesiUi  Da«4^ 
Gattie,  W.  Thomas,  and  Lucas.—  Conductor.  Mr.  Benedict 

The  Quartet  of  Spohr  is  quiet  and  unpretending,  unlik#  Uf 
late  productions  of  that  class,  hut  indicating  all  that  migl;it  bf 
expected  from  his  more  mature  age.  It  is  very  simple  ii| 
construction,  and  comprises  little  more  difficulties  for  HS^ 
violin  than  some  of  l^ozart's  Quartets,  although  scnxM^wbat 
inclining  to  the  ''Solo."  Spohr,  when  he  wrote |^it»  waf 
evidently  thinking  of  Mozart.  The  slow  moven^enti  a 
cantabile  principally  for  violin  and  violoncello,  was  mivdl 
fancied.  The  Quartet  altogether  went  satisfactorily.*  Mis# 
Messent  gave  Beethoven's  song  vnth  great  sweetness.  Tbia 
young  lady  is  much  improved  of  latei,  both  in  voice  and  styla» 
Her  singing  on  this  occasion  was  a  finished  performanoe* 
She  was  deliciously  accompanied  on  the  piano  by  Benedid* 
The  Quartet  of  Beethoven,  which  followed,  is  one  of  the  most 
attractive  compositions  of  the  great  master>  and  was  splendidly 
performed,  Mr.  Dando's  violin  playing  being  remarkable  foi 
the  brilliancy  and  purity  of  its  tone,  and  its  borough  intterpifv 
tation  of  the  meaning  of  the  composer.  He  waa  lond^ 
applauded  in  one  of  the  variations  of  the  slow  moTammMu 
Messrs.  Gattie,  W.  Thomas,  and  Lucas,  \  supported  their 
classical  reputation  throughout  the  concert.  An  apology  waa 
madQ  by  Mr.  Dando  for  Mr.  Benedict,  on  the  score  of  mdis- 
position,  nevertheless  that  excellent  musician  p^fbrmed  Ua 
part  in  Mozart's  trio  most  delightfully^  such  as  might  be 


•  Uhas btm  published  by  Mesin.  Doff  and  HodcMU  stapfaneftrtiV 

Digitized  by  VnOOy  IC 


1T)4 


THE  MUSICAL  WORLD. 


expected  ifrom  the  fisivorite  pupil  of  Weber.  The  larghetto  was 
pUyed  with  great  effect  by  the  three  executants.  The  graceful 
and  plaintive  song  from  The  Gipsy^s  Warning,  was  rendered 
with  exceeding  taste  by  Miss  Messent,  and  was  much 
applauded.  The  Quartet  of  Mendelssohn  was  decidedly  the 
great  feature  of  the  evenipg.  The  performers  appeared  to 
be  summoned  to  their  chiefest  task,  and  laboured  a 
mirveillein  its  accomplishment.  We  have  rarely  heard  more 
exquisite  music  more  exquisitely  executed.  The  whole 
Quartet  (one  of  its  composer's  very  early  works)  produced  an 
immense  effect.  The  canzonetia,  as  a  matter  of  course,  was 
encored  with  enthusiasm.  Thus  a  brilliant  concert  terminated 
with  brilliant  effect,  the  entire  audience  remaining  captivated 
to  the  lalst  note.  Mr.  Dando  deserves  the  highest  credit  for 
his  taste  and  judgment  in  the  selection  of  the  programme. 
The  next  concert  will  be  held  on  Monday,  the  22nd  inst. 

Madaml  Dulcrem's  Second  Soiree. — The  very  incle- 
ment weather  had  little  power  in  influencing  the  fashion- 
able visitors  who  usually  attend  the  classical  meetings  of 
Madame  Dulcken,  whose  saloons,  although  not  crowded,  were 
MHiifntly  attended  on  Wednesday  evening,  to  listen  to  the 
programme  of  vocal  and  instrumental  music,  which  follows : — 
.  FiBST  PART.-^Qiuntett,  No.  11,  in  B  flat  major,  two  violins,  viola, 
^•lonedlo,  and  contra-kiasso,  Messrs.  Blagrove,-  Ruckner,  HiU,  Lucas,  and 
Howell,  Oiulow.  Aria,  **  Madamina,  il  catalugo  d  questo,"  Signor  Fred. 
Lablache  (Don  Giovanni),  Mozart,  Qaintuor,  £  flat  minor,  pianoforte,  violin, 
viola,  violonoellok  and  oontra-basso.  Madame  Uulcken,  Messrs.  Blagrove, 
Hill,  Lucas,  and  How^  HummeL  Aria,  •'Adelaide,"  Signor  Marras, 
Beethove*.  Duet,  the  Misses  Williams,  Mendelstohiu  Grand  sonata,  piano- 
iirte  and  violin,  Madame  Dulcken  and  Mens.  Sainton,  Beethoven. 

Sec^iio  Pabt^— Cappriecio,  pisnoforte,  witli  accompaniments,  Madame 
Dulcken,  Messrs.  Blag^ve,  Ruckner,  Jay.  Webb,  Hill,  Lucas,  Goodban, 
Howell,  &C.,  MenieUsohn,  Aria,  *«  Notte  tremenda,"  Madame  F.  Lablache, 
Morlaechu  Trio,  »  Nigbf  s  Ungering  shades/'  the  Misses  Williams,  (Zelmira), 
SfOhu  Rondo  BrilUante,  pianoforte,  •'La  Gaiet6,"  Weber.  Tarantella, 
pianoforte,  Cftopin.  —  Madame  Dultfken.  Duet,  Signori  Marras  and  F. 
Lablache,  (Guillaume  Tell),  iZosstnt.— Conductor,  Mr.  Charles. Horsley. 
Ondow's  Quintett,  a  composition  evincing  much  of  the  usual 
cleverness,  and  more  of  the  usual  dryness  of  the  author,  was 
nevertheless  performed  with  spirit  and  accuracy,  and  apparently 
.pleased  the  majority  of  the  audience.  Signor  LaUache  sang 
the  ^^  Madamina"  in  a  style  that  more  than  once  reminded  us 
of  his  incomparahle  sire.  Hummel's  quintette,  albeit  the  first 
movement  is  a  lahoured  treatment  of  an  uninteresting  theme, 
18  on  the  whole  one  of  his  most  capital  works  ;  the  Scherzo  is 
lull  of  &ncy,  and  the  finale  is  splendidly  written.  Madame 
Dulcken  rendered  the  pianoforte  part  in  a  style  that  must  have 
ntisfled  the  most  fastidious  Hummelite  present,  and  was  efil- 
eiently  backed  by  the  quartett  of  stringed  instruments. 
Neither  Signor  Marras  nor  the  Misses  "Williams  made  their 
appearance  while  we  were  present,  in  consequence  of  which 
Madame  F.  Lablache  sung  the  air  of  *<  Morlacchi"  immedi- 
ately after  the  quintett.  This  intelligent  vocalist  did  not 
render  herself  justice  by  the  selection  of  so  dull  and  tedious 
H  composition,  which  no  singer  could  make  effective.  It  is 
unnecessary  to  say  anything  in  favour  of  Beethoven's  sonata 
"  The  Kreitzer,"  or  its  mterpretation  by  such  artists  as  Madame 
Dulcken  and  M.  Sainton.  The  applause  as  usual  was  warm 
and  unanimous.  The  Capriecio  of  Mendelssohn  is  incorrectly 
to  styled ;  it  is  the  well  known  Rondo  brilliant  in  B  minor,  one 
of  his  most'efiective  works.  Madame  Dulcken  performed  the 
pianofi>rte  part  very  brilliantly,  but  the  want  of  an  orchestra  was 
severely  felt ;  a  quartett  of  stringed  instruments  being  a  poor 
substitute  for  the  original.  Weber's  sparkling  rondot  and 
the  popular  tarantella  in  A  fiat  of  Chopin,  were  excellently 
ouitad  to  Madame  Dulcken*s  style  of  playing.  The  rest  of  the 
concert  we  did  not  bear.  Mr.  Charles  Horsley  conducted  the 
vocal  moremnuf  in  a  musician*like  manner. 

Himv  PBlXAxri.^-This  populiu*  singer  sustained  a  con- 


cert, single-handed,  at  the  Horns,  Kennington,  on  Thursday 
evening,  with  great  success.  In  spite  of  weather  theattractiou 
had  filled  the  concert-room  and  never  had  artist  less  to  com- 
plain of  as  regards  coldness  6n  the  part  of  his  audience.  At 
least  one  half  of  the  programme  was  encored,  and  when  in 
answer  to  the  rapturous  demand  for  a  repetition  of  his  cele- 
brated '*  Lnughing  song'*  he  gave  **  Dandy  Jem  of  Carolina,** 
with  an  imitation  of  the  banjo  on  the  pianoforte,  the  applause 
was  boundless.  *'  Widow  Machree"  also  cume  in  for  one  of 
the  prizes  of  the  evenii)g;  it  was  re-demanded  with  an  unani- 
mity of  which  none  but  those. who  are  acquainted  with 
Kennington  audiences  can  form  any  but  a  faint  idea.  It  is 
with  pleasure  that  we  record  the  suburban  triumph  of  this 
great  and  deservedly  popular  artist,  and  feel  certain  that  it 
will  be  by  no  means  the  last  we  shall  have  to  register  as 
taking  place  at  Kennington,  for  never  was  singer,  sii^le- 
handed,  better  received  or  more  warmly  shown  by  an  audience 
with  liow  much  pleasure  they  filled  his  concert-room,  than 
Henry  Phillips,  on  this  occasion. 

vsB    ArriviviBS, 

^rom  tit  €xtrmaii  of  6r0t(e. 

Goar/tetMdyhMi  jMys  86. 

PART    \U CHAPTER    I. 

'  In  common  life  we  often  meet  that,  which,  in  an  epic  poem,  we 
are  accustomed  to  commend  as  an  artifice  of  the  poet's,  namely,  the 
oircumstance,  that  when  the  principal  figures  are  removed,  con- 
cealed, or  abandon  themselves  to  inactivity,  their  place  is  supplied 
by  a  second  or  third  person,  hitherto  scarcely  observed,  vho  while 
he  puts  forth  his  whole  activitjr,  appears  to  us  worthy  of  attention, 
of  sympathy,  and  even  of  praise  and  blame. 

Thus  immediately  after  the  departure  of  the  captain  and  Edward 
the  importance  of  the  architect  daily  increased.  On  him  alono 
depended  the  arrangement  and  execution  of  the  many  under* 
takings,  and  he  showed  himself  accurate,  intelligent,  and  active, 
while  he  assisted  the  ladies  in  various  ways,  and  entertained  them 
in  quiet  wearisome  moments.  His  outward  appearance  was  such 
as  to  inspire  confidence,  and  awaken  regard  ;  he  was  a  youth,  in 
the  most  thorough  sense  of  the  word,  well-made,  slender,  perhaps 
a  little  too  tall,  modest  without  being  embarrassed,  confident  with- 
out being  obtrusive.  He  readily  undertook  any  work  requiring 
care  and  trouble,  and  as  be  could  reckon  with  ifn$t  facility,  none 
of  the  affairs  of  the  bouse  were  kefit  secret  from  him,  and  his 
beneficial  influence  was  everywhere  diffused.  He  generally  had 
the  ofiice  of  receiving'  strangers  and  he  would  either  ward  off  an 
unexpected  Visit,  or  kt  any  rate  s6  prepare  the  la(ties,  as  to  prevent 
them  from  suffering  any  inconvenience. 

Among  other  matters,  much  trouble  was  given  him  bv  a  yodu^ 
lawyer,  who,  being  sent  by  a  nobleman  in  the  ueigbbourhood* 
brought  under  discussion  a  matter,  which  though  of  no  special 
iroporunce,  intimately  concerned  Charlotte,  it  is  necessary  to 
note  this  circumstance,  because  it  gave  an  impulse  to  several 
things,  which  would  otherwise  bsve  remained  perfectly  quiet. 

We  remember  the  alteration  in  the  church-yard  undertsken  by 
Charlotte.  All  the  monuments  were  removed  iirom  their  sites,  and 
had  been  placed  in  the  wall,  by  the  socle  of  the  church.  Thefpaoo 
left  was  made  even,  with  the  exception  of  a  broad  path  which  led 
to  the  church,  and  farther  on,  to  a  gate  on  the  opposite  side;  all  the 
ground  was  sown  with  different  sorts  of  clover,  the  verdure  abd 
blossom  of  which  hsd  a  most  beautiful  effect  The  new  graves 
were  to  be  arrarged  in  a  certain  order,  beginning  firom  the  end  of 
the  ground,  but  the  place  was  agsin  to  be  levelled,  and  to  be  sown 
in  a  similar  manner.  No  one  could  deny  that,  when  the  people 
went  to  the  church  on  Sundays  and  holidays^  this  arrangement 
produced  a  cheerful  and  imposing  appearance.  Even  the  clwfy« 
man,  who,  being  advanced  in  years  and  inured  to  old  ca«toins, 
had  not  been  particuiarljr  satisHed  with  the  plan,  now  felt  great 
delight,  when  sitting  at  his  back-door,  under  the  old  lindea  trees, 
like  Philemon  with  his  Baucis,  he  saw  before  him  a  beauaful  varie- 
gated carpet  of  verdure,  instead  ^f)ibifl??S^\  ^  ™®^'*®  ^^'^tT 


THE  MUSICAL  WORLD. 


ro5 


Betidos  this  Mine  carpet  was  serriceafole  to  his  household  establish- 
meiit»  as  Cbailotte  bad  secured  the  use  of  the  piece  of  ground  to 
the  parsooage. 

Nevertheless,  many  members  of  the  congregation  bad  already 
complained  that  tbe  indication  of  the  spot  where  their  forefathers 
reposed  had  been  removed,  and  that  thus  their  memory  hiid,  as  it 
wcTCy  been  obliterated.  The  monuments  now  so  well  preserved 
showed,  indeed,  uho  was  buried,  but  not  where  the  body,  lay,  and, 
as  many  maintained,  the  ** where**  was  tbe  important  point. 

•  This'  was  the  opinion  of  a  neighbouring  family,  wno  had  many 
years  before  reserved  for  themselves  and  theirs  a  certain  spot  in 
tbe  general  place  of  burial,  and  in  consideration  thereof,  bad  made 
a  little  bequest  to  the  church.  Now,  the  young  lawyer  had  been 
sent  to  recal  this  bequest,  and  to  show  that  no  more  payments 
would  be  made,  the  conditions  having  been  broken  for  the  interest 
of  one  party,  and  without  any  regard  to  representations  or  remon- 
atranoes.  Charlotte,  who  had  caused  the  alterations,  wished  herself 
to  apeak  with  the  young  man,  who  warmly,  though  not  incon- 
siderately laid  down  the  arguments  of  himself  and  his  client,  and 
tbos  leave  the  party  at  the  castle  plenty  to  think  about. 

"You  see,**  he  said  alter  a  short  introduction!  in  which  be 
contrived  to  justify  his  intrusiveness,  *'you  see  that  the  highest 
and  the  lowest  are  alike  concerned  in  marking  the  spot  where 
their  relatives  are  buried.  The  poorest  peasant  who  buries  a 
efaQd,  finds  a  sort  of  consolation  in  placing  a  slight  wooden  cross 
vpoo  the  grave,  and  decorating  it  with  a  garland,  that  the  memorial 
my  at  least  last  as  long  as  the  paia,  even  if  such  a  monument,  as 
well  as  the  grief  itself,  b  finallv  destroyed  by  time.  Persons  in 
easy  drcumatauces  substitute  iron  for  wood,  and  adopt  many  modes 
of  seeuring  and  protecting  the  crosses*  thus  obtaining  a  durability 
for  nsany  years.  But  as  even  these  iron  crosses  finally  sink  and 
become  invisible, people  of  property  have  no  more  expedient  method 
than  that  of  setting  up  a  stone,  which  promises  to  last  for  many 
Miei^tions,  and  which  can  be  renovated  and  repaired  by  posterity. 
Nevertheless  it  is  not  tbe  stone  which  is  the  attraction,  but  that 
vhidiifl  laid  beneath  itr-wbieh  is  confided  to  the  earth.  The 
aoietion  is  not  so  much  coneeming  tbe  memorial,  as  concerning 
the  person  himself— is  not  so  much  a  question  of  memory  as  of  sonie- 
thioff  presenL  I  feel  that  I  can  much  more  heartily  embrace  a 
dead  person  who  is  dear  to  me  in  the  grave-mound  than  in  the  mere 
monanent.  The  thing  in  itself  is  but  little,  but  around  it,  as 
around  a  boundary-stone,  should  be  gathered  husbands,  wives, 
lektiooBv  friends,  even  after  their  own  decease,. and  the  living 
shoald  have  tbe  riffht  of  removing  strangers  and  enemies  from  the 
side  of  the  beloved  one  who  is  at  rest. 

"  Hence  I  contend  that  my  client  is  fully  justified  in  recalling  the 
gift ;  nay,  he  even  acta  handsomely  in  confining  himself  to  this,  for 
the  members  of  the  family  are  injured  in  a  manner  for  which  nothing 
can  compensate.  They  must  give  up  the  sweet  though  painful 
leeSng  of  bnnging  an  offering  to  the  dead  whom  they  love—as  well 
an  the  eonsoling  hope  that  they  may  one  day  repose  with  them.'' 

"  The  affidr  is  pot  important  enough,"  replied  ;,Charlotte,  "  to 
incur  tlie  trouble  of  a  lawsuit.  I  so  little  repent  of  what  I  have  done. 
tliat  I  win  make  good  the  loss  which  the  church  has  incurred.  And 
I  mast  honestly  eonfess  thatvour  arguments  have  not  con viicced 
me.  The  pure  feeling  of  a  final  universal  equality,  at  least  after 
death,  seems  to  me  more  consoling  than  this  obstinate,  rigid  con- 
tinuanee  of  our  personalities,  contingencies,  and  worldly  relations. 
What  ia  your  opinion?''  she  said  to  the  architect. 

«« I  would,"  he  answered,  <' rather  not  engage  in  such  a  controversy, 
aerclvethecaf ting  vote.  Let  mo  modestly  confinemyself  to  that 
whtSi  more  immediately  concerns  my  art  and  my  own  way  of  think- 
ing. Since  we  are  no  longer  so  happy  as  to  press  to  our  bosom  the 
remains  of  a  beloved  person  inclosed  in  an  urn— since  we  are  no 
longer  rich  or  cheerful  enough  to  preserve  them  entire  in  laige 
decorated  sareophagi — nay,  since  we  do  not  now  even  find  a  place  in 
tlie  dinrehes  for  ourselves  and  those  who  belontp  to  us,  but  are  taken 
into  the  open  air,  we  have  ail  just  cause,  my  lady,  to  approve  the 
mode  winch  you  have  introduced.  If  the  members  of  a  congrega- 
tion are  plared  together  in  rows,  they  certainly  repose  by  and 
among  those  who  belong  to  them ;  and  as  the  earth  must,  after  all, 
receiTe  us.  I  find  nothing  more  natural  or  more  orderly  than  that 
the  monnda  which  have  only  risen  acddentidly,  and  which  are 
gradually  liaMBg,  should ;  be'  levelled  without  delay,  and  thus  the 


covering,  being  borne  by  all,  should  be  made  lighter  for  every  otoe.** 

**  Then  is  all  to  pass  away  with6ut  any  memorial,  without  stay* 
thing  that  appeals  to  tbe  memory  ?**  objected  Ottilia. 

**  By  no  means"  continued  the  arclitect.  *'  It  is  not  the  memo-^ 
rial,  but  only  the  particular  spot  that  is  to  be  abandoned.  The 
architect  and  the  sculptor  find  it  greatly  to  their  interest,  that  roan 
should  look  for  a  duration  of  existence  from  their  art  and  from  their 
hand,  and  for  this  very  reason,  I  wish  that  well  devised  and  well- 
executed  monuments  may  be  not  scattered  abont  sindy  and  at 
random,  but  set  up  in  a  place  that  will  ensure  durabihty.  Since 
even  the  pious  and  persons  of  rank  have  resigned  the  pHvileae  of 
reposing  personally  within  the  church,  let  us  at  least  nave  there* 
or  in  elegant  halls  about  tbe  cemetries,  monumental  signs  and  in* 
scriptions.  A  thousand  forms  might  be  devised  for  them,  and  they 
might  be  decorated  according  to  a  thousand  fashions.** 

"  If  artists  are  so  rich"  observed  Charlotte.  "  answer  me  this : 
How  is  it  that  we  never  get  out  of  the  shape  of  a  small  obelisk,  a 
truncated  column,  or  a  funeral  urn  ?  Instead  of  the  thousand 
inventions  of  whieh  you  vaunt,  I  have  only  seen  a  thousand 
repetitions." 

*'  That  is  the  case  I  admit,"  returned  the  architect,  "  but  not 
alwavs.  Besidcy  a  special  affair  may  be  made  of  the  feeling  and 
suitable  application.  In  this  case,  it  is  particularly  difiicult  to  give 
a  cheerful  aspect  to  a  solemn  place,  so  as  not  to  be  gloomy,  even 
when  tbe  matter  itself  is  joy  less.  I  have  made  a  large  collection  of 
sketches  for  all  descriptions  of  monuments,  and  will  show  them  when 
oocaaions  serves,  but  the  finest  monument  is,  after  all,  the  likeness  of 
the  man  himself*  This,  moro  than  anything  else,  gives  a  notion  of 
what  he  is ;  it  is  the  best  text  for  a  few  or  many  notes,  only  it  ought 
to  be  made  in  the  person's  best  time,  which  is  usually  missed.  No 
ono  thinks  of  preserving  living  forms,  and  even  if  this  is  done,  it  is 
done  in  an  insufficient  manner.  A  cast  is  quickly  taken  from  a  dead 
body.  The  mask  is  set  upon  a  block,  and  this,  forsooth,  is  called 
a  bust.  How  seldom  is  it  in  the  po«'er  of  the  artist  to  give  it  com- 
plete animation  2" 

*'  )^'ithout  knowing  it  or  intending  it,"  remarked  Charlotte,  '*  yoa 
have  given  the  conversation  a  turn  quite  in  my  favour.  1  be  likeness 
ofamau  is  pertectly  independent ;  wherever  it  stands,  it  stands 
oh  its  own  account,  and  \ie  do  not  require  that  it  Should  mark  the 
actual  place  of  interment  But  shall  I  make  to  you  a  strange 
confession  ?  I  have  a  certain  aversion  from  likenesses  themselves, 
for  they  always  seem  to  be  making  me  a  silent  reproof ;  they  point 
to  something  remote,  something  that  has  departed,  and  remind  me 
how  difficult  it  ia  to  pay  due  honour  to  the  present*  If  we  bear  in 
mind  how  many  persons  we  have  seen  and  known,  and  then  acknoa*- 
ledge  how  little  we  have  been  to  them,  and  tlicy  to  us,  what  are 
our  feelings  !  We  meet  the  witty  without  being  amused,  the 
learned  without  increasing  our  learning,  the  traveller  without 
acquiring  information,  and  the  affectionate  without  giving  them 
pleasure.  And,  alas!  this  is  not  merely  the  case  with  passing 
acquaintance.  Societies  and  families  behave  in  the  same  manner 
to  their  dearest  members,  cities  to  their  most  worthy  citizens,  sub* 
jects  to  their  most  excellent  princes,  and  nations  to  their  most  esti- 
mable  men.  I  once  heard  tbe  question  asked,  why  we  so  unscru- 
pulously speak  well  of  the  dead,  but  only  speak  well  of  the  living 
with  a  certain  degree  of  caution  ?  The  answer  was,  because  we 
have  nothing  to  fear  from  the  former,  while  the  latter  may  some- 
where croas  our  path.  So  impure  is  our  regard  for  the  memory  of 
others.  It  ia  generally  a  mere  selfish  sport,  even  if  it  should  be  a 
matter  of  sacred  earnest  to  preserve  in  full  operation  all  relations 
with  the  survivors." 

(  To  be  continued,) 

S«  To  avoid  misunderstanditv,  it  may  be  stated  that  the  copyriglit  of  this 
traiiilatton  belongs  solely  to  the  translator. 

"  DRAMATIC  INTCLUQENCE. 

Haymark^t.— The  new  comedy.  The  School  for  Scheming^ 
baa  undergone  a  considerable  cutting  since  the  first  night  of 
its  performance,  and  is  much  improved  in  consequence.  The 
second  act*  which,  greatly  to  tbe  weariness  of  the  spectator, 
occupied  nearly  fifty  minutes,  is  now  all  the  better  for  the 
pruning  it  has  received^  and  compaaaes  little  more  than  ha]£ 
that  time.    Thronghout  die  entire  comedy  we  have  nod^d 


m 


THE  MUSICAL  WORLD. 


with  pleasuse  this  judicious  lopping.  Portions  of  the  dialogue 
tlmft  hung  heavy  on  the  first  night  have  heen  removed,  and 
modifications  have  heen  resorted  to,  which  tend  to  make  the 
play  more  dramatic  and  interesting.  The  points,  and  sparkles, 
and  epigrams,  and  repartees,  appear  now  in  a  hetter  light ; 
and  from  the  concision  the  comedy  has  undergone,  tread 
quicker  on  each  others  heels,  and  heighten  the  mirth  of  the 
audience.  We  have  not  the  least  doubt  that  The  School  for 
Scheming  wiU  have  a  long  run  and  continue  to  draw  large 
houses.  The  opinion  we  formed  of  the  drama  on  its  first 
representation  has  not  been  altered  by  seeing  it  a  second  time 
in  an  improved  state.  If  any  thing  we  are  rather  inclined  to 
think  more  favourably  of  The  School  for  Scheming,  than  on 
OUT  first  witnessing  it.  The  theatre  is  crowded  every  night, 
mid  the  comedy  is  rep^ived  with  roars  of  laughter.  We  shall 
give  an  accurate  analysis  of  The  School  for  Scheming  when 
Uie  book  is  sent  us  for  review.  In  the  meanwhile  we  ofier 
Mr.  Webster  our  heartiest  thanks  for  producing  this  season  a 
second  English  comedy,  and  for  his  perseverance  in  upholding 
the  legitimate  drama.  We  trust  the  public  will  not  be  back- 
ward in  supporting  so  spirited  and  enterprising  a  manager. 
Mr.  Webster  has  efiected  move  in  the  cause  of  the  British 
stage,  and  has  done  more  for  our  native  writers  than  any 
single  manager  within  our  recollection.  Such  a  theatrical 
administration  demands  the  gratitude  and  support  of  the 
puhKc  at  large.  The  Invisible  Prince  is  performed  every 
night,  and  has  not  lost  an  iota  of  its  attractions. 

Princess's. — On  Tuesday  evening  Bellini's  opera  seria, 
Norma^  was  produced  at  this  theatre  for  the  double  purpose 
of  exhibiting  Miss  Bassano  in  a  new  character,  and  intro- 
ducing a  young  debutante  to  a  London  theatrical  audience,  in 
the  person  of  Miss  Anne  Romer.  The  latter  young  lady  has 
acquired  no  small  degree  of  popularity  in  the  provinces  by  her 
concert  singing.  At  Manchester,  Liverpool,  and  other  places, 
she  has  made  herself  a  great  &vourite  with  the  public ;  and  all 
the  journals,  without  an  exception,  have  spoken  highly  in  her 
praise.  Miss  Anne  Romer,  who,  by  the  way  is  a  sister  oi  Mr. 
Travers,  made  her  first  appearance  on  the  stage  on  Tuesday 
evening  in  Adelgisa.  She  is  evidently  new  to  die  boards,  and 
her  inexperience  as  an  actress,  of  necessity,  considerably 
marred  her  debut.  Her  fiice  is  exceedingly  expressive,  and 
fill!  of  intelligence  ;  her  form  slight,  and,  to  our  thinking,  as 
yet  too  juvenile  for  principal  parts  in  opera;  her  voice,  a 
soprano,  fresh  and  of  a  charming  quality,  while  her  intonation 
appears  to  us  very  correct.  Miss  Anne  Romer's  dehtO^  on  the 
whole,  may  be  pronounced  highly  successful.  She  was  re- 
ceived with  immense  applause,  and  was  cheered  repeatedly 
throughout  her  performance.  Miss  Bassano's  Norma  is  vastly 
superior  to  her  Anna  Bolena.  Whether  it  be  that  the  music 
of  Bellini  is  more  submissive  to  her  voice,  than  that  of 
Donizetti,  or  that  she  has  made  rapid  strides  in  her  art  lately, 
wc  cannot  say,  but  Miss  Bassano's  performance  on  Tuesday 
evening  was  really  admirable,  and  of  a  higher  order  than  we 
were  led  to  expect  from  what  we  had  seen  of  her  previously. 
The  latter  part  of  her  Norma,  especially,  exhibited  fine  artistic 
powers  combined  with  great  energy.  Her  energy  also  was 
better  regulated  than  when  we  first  noticed  her  in  Anna  Bolena 
and  did  not,  except  on  rare  occanons,  deviate  into  exaggeration. 
Miss  Bassano  has  undoubtedly  fielt  and  considered  the  good 
advice  that  was  proffered  her  1^  the  journals^  and  she  profited 
ki^ly  thereby.  We  axe  much  pleased  at  this.  It  shows  the  lady 
la  open  to  advice,  when  eonscientiously  given,  and  that  she 
receives  the  notification  of  her  faults,  with  no  other  feeling 
than  a  stroi^;  desire  to  amend  them.  With  such  talents, 
and  flvch  dctenainatioDyMisa  Bassano  will  aaancedly  become 


one  of  the  greatest  ornaments  of  our  operatic  stagy^.  Tlie  opf^ 
of  Norma  was  well  got  up,  considering  the  available  mwia 
of  the  establishment,  and  was  excellently  sung  fehroogboot. 
Mr.  Leffler  was  impressive  as  the  high  priest,  Oroveso,  and 
sung  the  music  allotted  to  him  with  effect.  Mr.  Allen's  PolHo 
was  an  excellent  performance,  though  the  music  did  not  seem  to 
befit  the  capabilities  of  his  voice,  as  well  as  the  mu^ip  of 
Percy.  He  gave  the  first  cavatina,  "  O  Adalgisa  joyfoUy," 
very  beautifully.  The  opera  was  listened  to  throughout  widi 
great  delight.  Mr.  Maddox  haa  done  a  great  deal  to  biinfr 
about  a  taste  for  music,  among  certain  sections  of  the  public,  by- 
producing  operas,  which  would  never  be  produced  dsewhera, 
by  providing  the  best  singers  he  could  obtain  to  interpret 
that  music,  and  by  engaging  af  the  head  of  his  operatiq 
establishment  one  of  England's  best  musicians.  '  Thu^ 
far  Mr.  Maddox  has  earned  the  gratitude  of  all  musical 
classes,  but  he  still  has  left  undone  much  that  ought  to 
be  done.  It  is  impossible  to  give  the  requisite  eiect  to 
operas  without  an  efficient  orchestra,  and  this  certainly 
the  Princess's  theatre  cannot  boast  of.  We  have  not  n>ucfi ' 
fault  to  find  with  the  band  individually,  but  it  lacks  a^erio^i 
force,  and  in  such  operas  as  Giselle,  Anna  Bolena^  fn4 
Norm4t,  appears  lamentably  deficient.  We  assnsa  th^  «ch> 
terprising  manager  of  this  theatre  that  we  speak  to  hina 
with  a  view  solely  to  his  advancement,  oonvhieed  &at  tf  ho 
were  to  step  a  little  beyond  his  present  line  of  operations,  h^ 
would  soon  find  the  benefit  that  would  accrue  therefrom. 
There  is  another  point  upon  which  we  would  venJtujre  tp  pjjer 
counsel  to  the  management  of  the  Princess's,  and  that  ^,  t9 
eschew  altogether  the  production  of  foreign  operas,  wbi9h  w^ 
in  every  respect  unsuited  to  our  native  singers,  and  bring  theni 
into  invidious  comparisons  with  other  artists.  Hie  avtistis' 
themselves  may  be  led  away  with  a  notion  that  they  are  In- 
tended to  fill  up  the  place  of  a  Malibran,  or  rival  a  Grid  i 
but  even  if  they  had  well-grounded  hopes  to  do  one  or  thd 
other,  they  had  better  make  &eir  greatness  evident  by  origin^, 
endeavours,  than  dream  to  do  so  by  the  hopeless  attempt  U^ 
supersede  old  and  established  fiekvourites.  The  production  of. 
Loder's  opera,  Giselle,  convinces  us  that  our  native  singm 
should  confine  themselves  to  native  music,  and  not  wander 
into  the  mazes  of  the  Italian  school,  alike  unsuited  to  thei^ 
style,  their  taste,  and  their  physical  means.  We  truj9)i  tb^i 
ere  long  we  shall  have  to  congratulate  Mr.  Maddox  on  th^ 
production  of  such  another  opera  as  the  Giselle  of  £dimi4 
Loder.  We  hear  of  good  things  likely  to  take  place  at  iSkm 
Princess's.  Macready  is  engaged  for  a  Bmited  number  of 
nights.  Mademoiselle  Nau  wUl  appear  soon  after  jSaster; 
and  a  new  opera,  by  an  established  native  composer^  is  in 
progress. 

Frbnch  Plats. — Since  our  last  we  have  h^  the  J}QCteur 
^oir,  a  melodrama  of  interminable  length  (seven  acta)— a 
sufficiency  of  dullness,  and  an  occasional  good  scene,  giving 
full  scope  to  the  great  powers  of  M.  Frederick  Lem&itre,  and 
showing  Mademoiselle  Clarisse  in  a  much  more  favourable 
light  than  any  part  she  has  hitherto  undertaken.  Plays  in 
France  are  in  general  the  production  of  a  joint  stock  com- 
pany, and  to  this  we  must  attribute  the  feebleness  of  some  pf 
the  parts  as  compared  to  the  vigour  displayed  in  oAerSu  We 
frankly  confess  our  distaste  for  the  so-called  French  drama. 
If  we  have  occasionally  to  quarrel  with  the  tameness  of  the 
pure  classical  school — and  we  must  not  be  supposed  to  include 
Racine,  Corneille,  and  Voltaire  in  our  condemnation ;  we 
are  merely  alluding  to  the  modem  authors,  their  imitate^  at 
an  immense  distance,  such  as,  for  instapcsj^,  the  author^  of., 
Jeanne  d' Arte,  olftvtQtmx  VvrgkUee  to  our  osirten  kwit^ 


w^^rwiwrs^rT-iptwwpir—wnwJiwi  "■■■ 


THE  MUSICAL  WORLD. 


m 


edge,  and  others — yfe  are  horror-struck  with  the  monstrous 
oMtioBS  of  the  modem  school,  followers  of  M.  Victor  Hugo, 
but  whom  they  in  no  wise  imitate,  except  in  their  exaggeration 
oChis  beauties,  which  they  manage  to  tranform  into  monstrous 
ahmvdities.  With  this  frank  confession  we  may  be  excused 
fbt  having  at  times  been  led  into  a  severity  on  the  actor  not 
nmlted  to  a  certain  degree,  and  which  should  more  properly 
have  fisdlen  on  the  work  of  which  he  is  merely  the  interpreter. 
Tbe  task  of  the  critic,  under  these  circumstances,  is  unusually 
arduoujs ;  for  however  well  a  passion  may  be  rendered  by  the 
actovy  he  dare  not  give  him  his  full  meed  of  praise,  if  it  be 
ezptasaed  in  hinguage  which  shocks  his  judgment  and  under* 
standing.  We  are  not  prepared  to  affirm  that  the  Docteur 
Noir  deserves  the  condemnation  we  have  just  passed  on 
the  generality  of  pieces  of  this  class ;  it  is  infinitely  superior 
to  the  Dams  de  Saint  Tropez.  Its  principal  fault  is  its 
gveat  length,  but  we  are  inclined  to  applaud  it,  inasmuch  as 
it  displays  great  honesty  of  purpose ;  it  is  a  manfy  appeal 
against  the  prejudice  of  races,  it  is  a  fervei^it  intercession  for  a 
miich  injured  and  unjustly  proscribed  portion  of  our  fellow 
cf^tores,  it  is  a  severe  and  just  eastigation  on  Qolonia\  ii^ann^rs. 
apd  custoiQs.  There  is  also  some  tact  in  the  co^iceptipn  of  die 
character  I  the  old  marchioness  is  a  good  sp^cimea  of  the  old 
aehool  who  considered  the  blacks  as  people  of  a  difierent  espec^^ 
the  CSievaher  de  Sainte-Luce  represents  the  young  courtier  of 
the  reign  of  Louis  XYlth  to  the  life,  and  Barbantine  is  a  fair 
ap^men  of  the  rich  colonist  before  the  revolution — proud  and 
i^orant,  conceited  and  arrogant,  ostentatious  and  avaricious. 
J^  liUl  4etail  of  the  plot  would  lea4  us  to  a  review  of  each  in- 
dpvidiial  ch^iracter,  and  indeed  to  a  mere  translation  of  tbe 
pieoe ;  we  shall  endeavour  to  give  our  readers  an  insight  into  it 
withovt  anneying  them  with  too  minute  particulars.  The  first 
act  U^kes  place  at  the  Island  of  Bourbon,  the  period  a  few 
years  before  the  first  French  revolution,  at  the  house  of 
Madaipie  la  Marq^uise  de  la  Reynerie  (^Madame  Grassau), 
widow  of  the  late  governor,  who  has  living  with  her  an  only 
dnqg^tec  Pauline  (M^emoiselle  Clarisse),  and  a  niece  Aur^lie 
(Mademoiselle  Khin) ;  there  is  a  grand  Jke  at  the  govern- 
ment hense,  to  which  the  principal  personages  of  the  island 
have  been  invited,  men  of  colour  rigorously  excepted  of  course, 
bt|fe  Aur^e,  who  does  not  share  her  aunt's  prejudices^  has 
taken  upon  herself  to  invite  Fabien,  Le  docteur  noir,  whom 
she  esteem^  without  ever  having  seen  him,  but  who  is  the 
subject  of  universal  admiration  from  his  skill  in  treating  ^ 
epidemical  disease  which  has  exercised  violent  ravages  in  the 
iaibnd.  On  being  informed  of  this  invitation,  the  Marquise 
is  violently  wroth,  and  desires  Barbantine  (M.  Cartigny) 
to  expel  hmi  from  the  house  without  ceremony,  should  he 
dare  to  make  his  appearance.  He  does  come,  but  is  kindly 
received  by  Pauline  and  Aur^lie,  who  furnish  him  with  ^n 
excuse  for  withdrawing  without  insult.  Barbantine  indeed 
attempts  to  execute  the  office  he  has  undertaken,  but  his 
arrogance  falls  before  the  doctor's  coolness,  and  the  latter 
deptfta  in  peace.  The  ball  now  takes  place,  and  Pauline  is 
invited  to  dance,  by  her  cousin,  the  Chevalier  de  Sainte-Luce, 
bamshed  from  France  for  having  killed  a  husband  who  had 
the  audacity  to  discourage  his  attentions  to  his  wife ;  but  the 
disease  has  already  extended  its  ravages  to  tbe  highest  parts 
of  the  island,  and  Pauline  is  the  first  attacked  by  it.  She 
is  immediately  abandoned  by  all,  except  her  mother  and 
cousin^  who  implore  the  assistance  of  the  flying  attendants 
and  slaves.  Vfien  hope  seems  lost,  Fabien  appears  led  in  by 
Lia  (Mademoiselle  Yall^)  a  young  Mulatto-girl  in  Pauline's 
selviee.  At  first  his  services  are  haughtily  reftised  by  the 
Mftr^oise  i^hat  the  doctor  disarms  her  prejudices  by  exdaim- 


ing :  **  Madame,  let  roe  cure  her  first,  you  can  then  expel  Qi,% 
if  you  will."  This  was  admirably  given  by  Mr.  Lemaitre,  ap^ 
drew  down  9  burst  of  applause  as  the  curtain  slowly  decended 
on  the  first  act.  The  second  act  opens  on  the  doctor's  habi« 
tation,  he  is  absent;  and  we  learn  from  an  old  negro  whom  b<t 
has  saved  from  the  effects  of  the  plague,  and  to  whom  he  has 
given  his  liberty,  that  Fabrien  is  quite  an  altered  man ;  he  has 
allowed  a  passion  for  Pauline  to  take  possession  of  his  heart ;  he  is 
unfortunate,  and  passes  his  days  wandering  among  tbe  moun- 
tains, except  when  exercising  tbe  duties  of  his  profession,  ef- 
pecisdly  to  the  poor«  whom  he  attends  in  preference  to  <^ 
others.  Barbantine,  the  Chevalierde  Sainte-Luce,  and  Aur^Ua 
come  to  pay  the  doctor  a  visit,  but  not  finding  him  at  l^ome, 
leave  the  house  and  are  succeeded  by  Pauline^  who  has  also 
come  to  thank  bim  for  his  attention  during  her  illness  ;  tb^ 
doctor  arrives  and  she  explains  the  motive  of  her  visit,  his  neart 
is  touched  at  her  kindness  and  condescension,  but  is  over« 
I  whelmed  with  bitterness  when  she  offers  him  a  purse. — "  I 
'  thought  you  had  been  eenerous,**  he  exclaims^  iiji  the  fu^esa 
of  his  grief;  but  bis  joy  returns  when  she  explain?  th^^ 
she  merely  considers  the  money  as  a  charity  dep^psite^  m. 
his  hands  to  relieve  the  wants  of  his  poor  clients.  PaulipQ  ^ 
visit  has  another  object,  it  is  to  consult  the  doctor  on  the. 
health  of  Lia,  her  faithful  attendant.  Lia  is  brought  for- 
ward and  in  an  eloquent  scene^  in  which  Mademoiselle 
Valine  displayed  much  feeling,  he  declares  her  malady 
incurable,  for  the  poor  girl  loves  a  white  man  (Hoger)  tli^ 
intendant  of  the  Marquise.  Pauline,  however,  resolves  to 
efiect  the  cure,  and,  in  the  course  of  the  e^suing  convej^aa^iop,- 
leads  the  doctor  to  suppose  that  she  has  perceived  ^  fiVfi)?% 
and  returns  it ;  she  then  departs  on  her  mission  pf  lov^  ^^j^ 
charity.  Pauline  is  scarcely  gone,  when  the  pld  neg^o  enten| 
exclaiming  that  a  man  is  attacked  by  a  serpent;  I^abien  sjfiTien 
a  hatchet  and  rushes  out ;  he  returns  leading  the  phevalfer^ 
from  whom  he  learns  that  he  is  about  to  be  married  to  Pauline. 
The  Chevalier  leaves  with  a  guide,  and  Fabien  seizes  his  gun  to 
fire  on  him,  but  a  cross  which  he  always  wears,  the  last  gift 
of  his  mother,  inspires  bim  with  more  generous  sentiments. 
The  third  act  takes  place  by  the  seaside;  the  doctor  an4 
Pauline  are  together  ;  j'abien  has  resolved  to  die,  but  not  alone, 
and  has  allureid  Pauline  to  this  place,  from  which  escape  is 
impossible  when  the  tide  is  coming  in.  He  now  confesses  Ilia 
love,  reproaches  her  with  her  pride  and  perfidy,  and  tells  her  the 
fate  which  awaits  her;  in  vain  she  supplicates  htm  to  have 
mercy,  to  spare  her  life — ^he  is  inflexible  ;  the  sea  ascends 
h%her  and  higher^escape  is  now  impossible.  At  this  supreme 
moment  Pauline  confesses  her  love  for  the  negro,  and  fall^ 
senseless  into  his  arms.  There  was  much  good  acting  in  thi^ 
scene,  rather  exaggerated,  perhaps^  at  times,  by  Mademoiselle. 
Clarisse,  but  very  affecting  on  the  whole.  In  the  fourth  act, 
Pauline,  miraculously  saved  by  smugglers^  resolves  to  marry 
Fabien ;  she  communicates  to  him  her  determination  ;  ho 
refuses  at  first,  but  is  eventually  bKo^Rght  over  to  her  purpose. 
They  are  united  ;  but  the  uniojpi  has  scarcely  been  blessed  by 
the  priest,  when  she  learns  from  her  cousin  that  her  mother  has 
been  saved  from  shipwreck,  and  wishes  her  to  join  her  in 
France.  Her  anguish  is  extreme,  ^ut  she  obeys ;  and  starts, 
accompanied  by  Fabien,  yrhon^  she  cannot  muster  courage  to 
acknowledge  as  her  husbflind,  Lia,  (her  cousin)  and  the  Cheva- 
lier de  Sainte-Luce.  The  flflh  act  is  the  best  of  the  piece ;  at 
a  grand  assembly  of  her  friends  and  relations,  the  Marquise 
announces  the  marriage  of  Pauline  with  the  Chevalier.  The 
latter  has  some  suspicion  of  her  attachment  for  Fabien  ;  and*  in 
order  to  test  it,  resolves  to  accumulate  every  outrage  upon  him. 
At  his  request,  the  doctor,  who  50|iga|>||J^«y8^6H9^R? 


108 


THE  MUSICAL  WORLD. 


tor  and  expelled.    The  Chevalier  treats  him  with  the  ut- 
most indignity,  tramples  him  under  foot,   and,  through  his 
suggestion,    the   Marquise    resolves    to    send    him  hack  to 
Bourbon.     Tlie  Doctor  breaks  his   sword  in  his  rage;   but 
Pauline  cannot  bear  the  ignominious  treatment  of  her  husband 
any  longer — she  breaks  through  all  restraint,  and  declares  her 
marriage  to  her  mother.     In  this  scene  Mademoiselle  Clarisse 
was  truly  great ;  her  acting  was  natural*  and  told  wonderfully 
— it  was  sublime.      The  old  Marquise  is  horrified  at  the  very 
idea  of  such  degradation,  and  receives  with  transport  the  doc- 
tor's declaration  that  the  secret  shall  remain  buried  between 
them,  and  that  he  will  leave  Paris  for  ever.     Both  Mademoi- 
selle Clarisse  and  M.  Lemditre  were  called  at  the  fall  of  the 
curtain  to  receive  the  congratulations  of  the  audience,  an  honour 
which  they  certainly  well  deserved.     The  sixth  act  rises  on 
the  Bastiie: — the    chevalier    is    immured    within  its  walls, 
for  having  insulted    Barn&ve,    a    member    of    the   States- 
General  ;    but,   underground,  in  the  damp,  gloomy  vaults, 
we  find  FabicDy  who  has  been  confined  there  by  a  letire 
de  cachet  at  the    request   of  the   Marquise.      Years    had 
passed  away  and  no  tidings  had  reached  him  from  without, 
when  one  day  he  recognized  Andr^  at  work  on  the  ramparts, 
he  raised  his  voice  and  was  luckily  heard.  The  young  Andr6, 
whose  mother  he  had  formerly  saved,  manages  to  throw  a  stone 
into  his  cell,  to  which  a  paper  is  attached ;  from  this  he  learns 
that  efforts  will  be  made  for  his  deliverance,  and  that  a  death 
has  taken  place  at  the  Hotel  de  la  Reynerie,  but  just  as  he  is 
about  to  read  the  name  the  jailor  enters  and  takes  away  his 
lamp  by  the  governor's  order.  Fabien's  despair  is  now  greater 
dian  before  ;  he  fancies  it  is  Pauline  who  is  dead.     But  the 
revolution  advances   with  rapid  strides,  the  Bastille  is  taken 
and  he  is  free,  and  learns  that  it  is  the  Marquise  and  not  Pau- 
line who  is  dead.     This  sudden  revulsion  entirely  overwhelms 
his  feeble  reason,  weakened  by  solitary  confinement,  and  he 
becomes  mad.     The  seventh  act  passes  in  Britany  during  the 
reign  of  Terror.     Pauline  has  just  escaped  from  prison,  but 
her  hiding-place  has  been  denounced  by  Andr6,  who  believes 
her  the  instrument  of  Fabien's  captivity.      Fabien  is   still 
mad ;  he  recogni.ses  no  one ;  not  even  his  wife,  who  has  confided 
her  secret  to  the  Chevalier  and  her  cousin.     By  degrees,  how- 
evcf,  his  reason  returns,  when  the  infuriated  mob  threatens  to 
tear  his  wife  to  pieces,  and  finally  he  recovers  it  entirely,  after 
having  received  a  bullet  fired  at  his  wife  by  some  one  in  the 
crowd.     He,  howeveri  still  has  strength  enough  to  declare  the 
truth,  and  then  dies.     This  act  was  also  well  managed,  and 
created  much  enthusiasm.     Tlie  two  principal  actors  again 
bowed  their  thanks  to  the  audience  at  the  end  of  the  piece. 
We  must  not  omit  to  mention  that  the  mise  en  se4ne  was  ex- 
cellent, and  the  decorations  in  excellent  keeping.    Le  Docteur 
Noif  has  been  played  thrice.     Lem&itrc  will  next  appear  in 
Les  My 8t ires  de  Paris.  J.  dv  C         e. 

"  SONNET. 

MO.    XZI. 

Look  not  as  though  some  sorrow  fiU'd  thy  heart. 

Checking  those  amiles  thst  once  were  wont  to  play 

Round  thy  sweet  lips,  so  innocently  gay. 
That  thy  pure  soul  was  in  a  glance  confess'd. 
Each  look  of  sadness  seems  to  me  addrc8s*d. 

And  in  its  quiet  moumfolness  to  say 

Twas  I  who  chas'd  thy  happiness  away, 
Twas  I  who  caua'd  thee  sorrow  and  unrest 
Reproach  me  not,  I  sutTer  iTiore  than  ihou; 

Grief  comes  not  o*er  me  as  a  gentle  sadness. 

Killing  each  joy  with  soft  hut  chUly  breath ; 
It  fl<*rcely  rends  my  heart,  it  bams  my  brow. 

That  1  cuuld  shoot  aloud  for  very  madness, 

Or  rush  for  refuge  to  the  arms  of  death.  N.  D. 


FOREIGN  INTELLIGENCE. 

Milan. — The  popular  pianist,  Emile   Prudent,  has  been 

playing  at  the  Philharmonic  Society  at  Milan. 

Vienna. — Monsieur  Lavigne,  the  celebrated  oboist,  haa 
given  a  concerts  at  which  he  was  well  patronited^-Madame 
Schuman  late  (Clara  Weick,)  haa  giten  several  concerta  at 
Vienna  with  great  success.  She  int^ds  giving  concerts  at 
Brun,  Prague,  Dresden,  Leipzig,  and  Berlin.  It  is  reported  ahe 
intends  visiting  London  during  the  approaching  seaaon. 
Jenny  Lind  has  not  yet  sung  in  Meyerbeer's  opera.  The 
Camp  of  Silesia^  the  rehearsals  of  which  are  numerous,  and  the 
stage  appointments,  they  say  are  being  prepared  with  great, 
splendour — Dohler,  the  pianist,  is  at  Moscow,  we  understand 
he  will  visit  Paris  during  the  present  season.  M.  Blaea, 
the  celebrated  clarionet  player,  has  given  concerts  with  success* 
and  has  departed  en  roufe  for  Cracow  and  Warsaw,  with  hU: 
wife — Balfe's  popular  opera)  the  Bohemian  Girl^  haa  met  with 
great  success,  and  will  be  immediately  produced  in  Munich* . 
Brunswick,  Limberg,  Hamburg,  and  several  German  Towns*. 

"  The  Wild  Free  Wind,"  the  Indian  jSaiden^s  Song ;  mmg  by 
Miss  Mabt  Kbblet  ;  the  words  by  Shirlbt  Brooks  ;  and  the 
music  by  ALBZANoaa  Lbb.    Lboni  Lbb  and  Coxhbad. 
Mr.  Alexander  Lee's  ballad  has  already  receifed  its  meed  of 
popalarity,  by  being  frequently  encored  at  the  Lyceam,  as  it  was 
warbled,  very  neatly,  by  Miss  Mary  Keeley,  in  Shirley  Brooks* 
favourite  hurletta.  The  Wigwam.    The  soug  is  written  in  the 
conjposer*s  best  style,  and  is  deserving  the  popularity  it  has  already 
received.    The  poetry  is  neat  and  pointed.    The  frontispiece  is 
accompaDied  by  a  lithograph,  purporting  to  be  a  likeness  of  Miss 
Mary  Keeley,  as  she  appeared  singing  Mr.  Alexander  Lee's  sonar  in  ' 
Cora,  in  The  Wiywam,     Were  the  song  no  better  than  the  like* 
nees,  we  could  hardly  have  awarded  it  so  much  praise  as  wo  have 
done.  ■■ — 

^*C(mstancy  ;  or,  they  say  that  other  ^es  are  bright  J*  Ballad  i 
the  poetry  by  Dblta  ;  the  music,  dedicated  to  Miss  Wilson,^ 
T.  M.  MuDiB.-^CRAMBa,  Bealb,  and  Co.,  London.  Wood  sua 
Co  ,  EoxNBuacH. 

This  is  a  model  of  what  a  ballad  should  be.  Nothing  could  be 
more  perfect.  The  melody  is  simple  and  vocal,  and  at  the  same 
time  hii^hly  expressive.  The  accompaniment  displays  the  art  of  a 
thorough  musician  while  it  never  outrages  propriety  by  affected 
and  unnecessary  elaboration.  The  wor£  are  good  and  develope 
without  effort  a  sentiment  which  is  agreeably  natural  aod  poetical  • 
The  key  of  the  song  is  A  flat ;  [the  melody  comes  within  tne  ran^e 
of  ordinary  voices,  and  the  accompaniment,  with  all  its  el^nco 
and  completeness,  is  compassable  by  pianists  of  the  most  mooerate 
capabilities.  Musicians  will  admire  this  ballad  as  the  leisure* 
thought  of  an  accomplished  musician,  and  the  ktty  will  find  an 
irresistible  charm  in  iu  fluent  melody  and  genuine  fi>ellng«  We 
recommend  it  strongly  to  Miss  Dolby,  in  whose  healthy  and  un-» 
affected  style  we  trace  precisely  the  means  of  interpreting  it  with  ., 

entire  effect, 

«•  The  Polka  Waltzes  ;*  ^  G.  H.  Lake.  J.  Scatbs,  Frith-street. 
The  Polka  Waltzes  of  Mr.  Lake  should  have  been  termed  the 
**  Polka  Walfz,**  as  the  subject  is  merely  varied,  and  runs  to  the 
end  without  Interruption.  The  theme  is  taken  from  the  most 
popular  of  all  Strauss's  Polkas,  and  is  transferred  into  8-4  time* 
without  any  violation  of  the  primitive  tune. 

ORIGINAL  CORRESPONDENCE. 

EXETER  Hall— HAYDNS  ORATORIO- MR.  H.  PHILLIPS. 
To  <M  Rditor  o/the  "  Musical  World,*' 

85,  Hart  Street,  Bloomatmn/,  Bth  February,  1847. 
Si  a,— In  your  journal  of  last  Saturday,  I  read  an  article  with  acme 
surprise,  and  I  must  say  with  much  regret,  on  the  subject  of  my  singing 
the  lecond  night  of  the  Creation  at  Exeter  Hall.  J  say  with  refrret, 
because  in  a  journal  like  yours,  it  is  a  pity  to  see  a  letter  inserted  which 
is  one  string  of  fnlnhoodt  from  the  commencement  to  the  end  ,•  written 
either  in  exlrtm/g  ^gnerunce  or  malice.  It  is  well  known,  perhaps  almost 
proverbial,  that  i  do,  and  hone  ever  used  less  ornament,  in  any  style  of 
singing  than  other  En  jlish  vocalista ;  this  fact  more  particularly  attaches 
to  my  share  of  Sacred  Mutfc*  Indeed,  sir,  when  you  remember,  that 


THE  MUSICAL  WORLD. 


169 


fkoni  tbe  age  of  seven  to  tbe  pi  esent  time  T  have  never  once  ceased  toiling 
to  gain  c  knowledge  of  all  the  mured  toriters,  from  Henry  Purcell  to 
Spobr;  and,  further,  that  my  early  education  was  received  in  the  then 
moat  rigid  school  of  the  conceits  of  aadent  music,  and  under  the  con- 
ttiBt  correction  of  such  men  as  KuyvetU  Faufrkan,  Bellamy,  Oreataren, 
ftc.,  Ac..  Ac,  is  it  likely  that  I,  of  all  others ;  and  in  fact,  the  only  one  now 
in  exercise  of  his  profession  who  has  been  so  educated  as  to  forget  him- 
self in  one  of  Haydn's  finest  works,  and  thus  offend  the  two  susceptible 
can  of  my  Uamed  friend  vho  has  to  exposed  himself.  I  think  it  scarcely 
leqnires  comment,  for  the  fad  is  this,  and  had  my  cowardly  assaUanl 
pusetsed  a  score,  and  been  able  to  read  it,  he  wonid  have  discovered  that, 
instead  of  my  using  umucessary  omammts,  I  did  not  even  sing  the 
embellishments  invariably  printed  in  the  scores  of  the  Creation  i  again, 
the  fellow  tells  a  falsehood,  when  he  says  Miss  Birch  was  encored,  for  on 
the  night  to  which  he  alludes,  she  was  not.  Now,  had  this  learned  dolt 
takes  an  eaiiy  dinner  that  day  ?  I  suspect  so— from  the  effects  of  which 
be  coold  not  have  recovered ;  at  all  events,  it  evidently  emanates  from  a 
fool  or  a  knave,  and  as  the  act  of  a  man  who  would  scarcely  hesitate  to 
do^  or  write  anything ;  and  if  the  fellow  has  the  courage  of  a  Hen 
Partridge,  let  him  show  his  thick  head  from  behind  his  flctitions  initisls, 
•ad  at  once  60^  announce  himself,  as  I  declare.  I  am,  your  most 
obedient  servant,  Henry  Pbilups. 


REISSIGER'S  NEW  OP£RA. 

To  the  EdUor  of  the  "  Musical  World," 

Six»— WiU  you  be  so  kind  as  to  inform  me,  if  the  music  of,  *'  Der 

SchUfbruch  der  Medusa"— "The  Shipwreck  of  the  Medusa,"  a  new  opera 

ffon  Reisaiger,  Kapelemeister  at  Dresden,  is  to  be  obtained  in  London, 

and  where.— Yours  obediently,  "  A  Subscribbs," 

MADAME  SCHWfESO. 

Tbthe  Rditor  of  the  "  Musical  World.** 

StR,— 4n  panising  your  interesting  work,  I  observed  a  communication 

ftom  a  subscriber  in  search  of  my  address.    Have  the  goodness  to  inform 

him  or  her,  that  any  comnuinications  will  find  me  at  No.  14,  Little 

FoctkBd  StKet,  Oxford  Street.— Your  most  obedient  servant, 

HaRRIST  SCHWIRSO. 

MISCELLANEOUS. 

Hee  Majestt's  Thbatrr  will  open  for  the  season  on 
Taesday  next*  with  Donizetti's  opera,  La  Favorite^  in  which 
Signori  Gtardoni  and  Saperchi  will  make  their  first  appearance 
in  this  country ;  and  a  new  ballet  by  M.  Paul  Taglioni, 
entitled.  Corolla ;  or,  The  Inconstant  Knight ;  the  music  by 
Signer  Pugni,  in  which  Madlle.  Carolina  Rosati  will  make  her 
debtit. 

Tae  Catch  Club,  established  in  1762,  will  commence  its 
hannonkmemeetings,  at  the  Thatched  House  Tavern*  March  5th. 

Thb  Msmbrrs  of  thf  Western  Madrigal  Society  meet 
every  other  Saturday,  to  practise,  under  the  direction  of  Mr. 
Torle. — Secretary  and  Treasurer,  Mr.  George  Budd. 

Miss  Susan  Cushmak. — It  is  stated  that  this  fair  lady,  the 
sister  of  the  Miss  Cushroan,  was  married  a  few  days  ago,  to 
Mr.  Muspratt,  one  of  the  sons  of  Mr.  James  Muspratt,  ,of 
Seaforth  Hall.  She  is,  with  her  sister,  fulfilling  some  country 
engagements,  previous  to  her  retirement  from  the  stage. — 
JAverpool  Albion. — [The  Times  has  contradicted  this  au- 
thority.— Ed.]  , 

Lablache  the  Great  was  bom  at  Naples,  December  6th 
1794.  His  mother  was  a  native  of  the  Emerald  Isle — at  least 
she  was  of  an  Iriah  &mily ;  and  his  father  was  a  merehant  at 
Marseilles,  which  city  he  left  in  1791,  and  settled  at  Naples. 

Hrre  Buddeus,  the  pianist,  who  was  here  about  three 
seasons  ago,  is  at  St.  Petersburg,  where  he  has  had  the  honour 
of  plajing  at  Court  several  times.  He  intends  to  pay  London 
a  visit  in  the  spring. 

Me.  Jobn  Parrt  is  engaged  to  sing  at  Liverpool,  Man- 
d^ester,  Preston,  Halifax,  &c.,  &c.,  which  will  occupy  about  a 
fortnight. 

Miss  Helen  Faucit  and  Mr.  Paumier  have  been  pe- form- 
ing a  round  of  characters  with  signal  success  at  Glasgow. 
The  journals  of  the  city  are  extravagantly  eulogistic  of  the 
charming  actress,  but  not  more  than  jumps  with  our  own 


opinions.  Mr.  Panmier  has  also  been  spoken  of  for  hi^ 
excellent  performance  of  the  leading  characters'  he  has 
represented  with  Miss  Helen  Faucit.  His  Claude  Melnotte, 
according  to  all  accounts,  was  a  most  admirable  piece  of 
acting.  In  tenderness  and  pathetic  passages  this  gentleman 
appears  to  have  few  equals.  He  is  a  tremendous  favorite  with 
the  Glasgow  folk.  When  shall  we  again  behold  Miss  Helen 
Faucit  on  the  London  boards  ?  Shame  on  all  metropolitan 
managers  who  would  leave  their  theatres  deprived  of  so  much 
grace  and  elegance ! 

Mb.  J.  L.  Hatton  gave  his  vocal  entertainment  at  Man- 
chester, on  Saturday  last,  with  great  success ;  and-he  performed 
at  Streatham,  on  Monday,  to  a  numerous  audience. 

Miss  Anne  Rohee,  who  made  a  successful  debut  on  Tuesday 
evening  at  the  Princess's  Theatre,  is  a  sister  of  Mr.  Travers,  of 
Drury  Lane,  and  cousin  to  Miss  Romer. 

Mclodists.— The  prize  offered  by  W.  Dixon,  Esq.,  for  a 
cheerful  song,  to  be  sung  and  accompanied  by  Mr.  J.  L. 
Hatton,  will  be  awarded  at  the  meeting  of  the  Melodista^ 
Club,  on  Tuesday,  the  23rd  instant. 

The  Glee  Club,  which  was  established  in  1787,  will 
hold  its  third  meeting,  this  day,  at  the  Crown  and  Anchcr 
tavern.  Sir  Felix  Booth,  Bart.,  president. 

Mr.  Horton. — This  clever  oboist  is  engaged  by  Mr.  Lum- 
ley  as  principal  oboe  in  the  band  of  Her  Majesty's  Theatre^ 
we  understand,  at  very  liberal  terms.  Hence  we  presume 
that  M.  Lavigne,  the  Belgian  oboist,  is  not  coming  afler  all. 
Mr.  Horton*s  engagement  will  be  beneficial  to  the  establish- 
ment ;  he  is  a  talented  and  improving  artist,  and  one  of  the 
best  professors  of  the  oboe  in  this  country. 

Mr.  Keabnb.— The  benefit  for  the  widow  and  orphans  of 
this  lamented  musician  is  appointed  to  be  held  on  the  17th  of 
March  The  principal  members  of  the  Philharmonic  Society, 
of  which  Mr.  Kearns  was  an  associate  for  many  years,  have 
volunteered  their  services.  The  following  gentlemen  and 
musical  professors  have  consented  to  act  as  a  committee  of 
management:  viz.,  Messrs.  J.  L.  Hatton,  Harper,  J.  F. 
Loder,  R.  Ollivier,  W.  L.  Phillips,  with  Sir  George  Smart,  as 
chairman ;  Mr.  Thomas  Chappell  as  treasurer ;  and  G.  A. 
Macfarren  as  secretary.  Signor  Costa  has  proffered  his 
services  as  conductor,  and  Mr.  Martin  has  given  the  gratuitous 
use  of  his  rooms.  The  concert  will  be  on  a  very  grand  scale. 
The  orchestra  will  be  full  and  complete,  and  the  first  vocalists 
in  the' metropolis  have  consented  to  devote. their  energies  to 
this  charitable  endeavour  to  procure  the  mite  of  pity  and 
sympathy  for  the  widow  and  the  orphan.  We  trust  that  there 
will  be  no  lack  of  patronage  on  the  present  occasion.  Ever}' 
musician  and  every  amateur  in  London  should  present  or  send 
his  donation.  The  public  will  assuredly  be  dcubly  enticed  t6 
attend,  first  by  their  own  charitable  feelings,  and  again  by  the 
splendid  treat,  which,  we  have  no  doubt,  will  be  held  out  to 
them  in  the  programme. 

Sacred  Harmonic  Society. — Handel's  Dettingtn  Te 
Deum,  his  anthem,  •*The  king  shall  rejoice,"  Mozart's  Twelfth 
Service,  the  Ancient  Hymn,  ••  Alia  Trinita  Beata,"  and  other 
pieces,  are  to  be  performed  on  Thursday  evening  next. 

Mr.  Perceval  is,  we  are  told,  engaged  as  second  C(M<ra« 
basso  by  Mr.  Lumley  ;  M.  L'Anglois  is  to  be  the  first  Mr. 
Perceval  has  been  for  sometime  first  contra-basso  in  the  Drury 
Lane  band,  and  is  an  excellent  player.  *His  father  was  an 
eminent  violoncellist. 

Mendelssohn. — **  We  are  enabled,'*  says  the  Morning 
Chronicle,  to  '*  confirm  the  announcement  respecting  Mendeh^ 
sohn.  Mr.  Buxton,  his  publisher,  having  received  a  letter 
from  that  distinguished  composer,  dated  Leipsjg,  the  2nd  inst., 
promising  to  send  the  rest  of  EHjah,  which,  up  to  that  date. 


110 


TflE  MUSICAL  WORLD. 


was  tiot  completed*  and  naturally  engrossed  all  his  attention. 
Mfendelssohn  expresses  his  satisfaction  at  the  arrangements 
tnadc  by  Mr.  Buxton  for  Exeter-halL" 

Mr.  Henry  Phillips's  Entertainment. — The  Athenaeum 
Comments  very  severely  upon  the  monological  concerts  given 
by  our  fivourite  English  vocalist.  "We  cannot,*'  remarks 
our  cotemporary,  alluding  to  Mr.  H.  Phillips's  vocal  enter- 
tainment, at  Sussex  Hall,  ''look  temperately  on,  and  see  music 
&UB  degraded  by  those  who  should  know  better.  The  con- 
sciousness that  a  great  public  for  the  best  works  is  rapidly 
encreasing,  (Query — the  consciousness,  the  public,  bV  the 
Works  ?)  makes  it  disgraceful  when  the  artist  who  might  lead 
chooses  to  mislead  it, — places  himself  behind  the  Harlequin, 
ttie  street  ballad-singer,  the  anybody  who  would  "go  any 
lengths  rather  than  go  home  with  his  tin-tray  empty."  Of  a 
verity  there  is  more  truth  and  plausibility  than  grammar  in  the 
Writer's  remarks ;  but,  nathless,  we  cannot  attach  the  same 
quantum  of  blame  to  Mr.  H.  Phillips  for  pursuing  a  career 
that,  harmless  in  itself,  brings  him  popularity  and  Wealth. 
The  system  of  giving  these  monologue  concerts  originated  with 
the  depression  of  English  opera,  and  was  only  prosecuted  when 
singers  were  driven  from  the  stage,  and  were  compelled  to  dis- 
play their  abilities  on  another  arena.  It  is  certain  that  Mr. 
fi.  Phillips  Was  at  the  head  of  our  native  vocalists  on  the  stage, 
but  he  did  not  always  receive  parts  adapted  to  his  means  and 
tibilities ;  his  services  were  frequently  set  aside  for  those  of 
inferior  artists,  and  he  did  not  always  obtain  remuneration 
tantamount  to  the  talent  that  gained  him  so  high  a  reputation 
with  the  public.  When  an  artist,  by  giving  concerts,  whicb 
solely  depend  upon  his  own  efforts,  can  gain  quadruple  the 
Imiount  ne  would  receive  from  his  weekly  salary  at  the 
theatre,  there  is  surely  some  apology  for  his  following  this 
worldly  wisdom.  If  there  be  any  blame  attachable,  it  is  to  be 
applied  to  the  public  who  supports  such  entertainments,  not 
tb  the  artist  who  gives  them.  For  our  parts  we  can  see  no- 
thing reprehensible  in  the  course  Mr.  H.  Phillips  is  pursuing. 
We  regret  exceedingly  that,  in  the  present  dearth  of  singers, 
so  superior  an  artist  as  Mr.  H.  Phillips  should  be  absent  from 
the  stage. 

The  Round,  Catch,  and  Canon  Club,  founded  by  the  late 
Mr.  Hawkins,  will  shortly  resume  its  very  pleasant  meetings. 

ADVERTISEMENTS. 

ASSEMBLY    ROOMS, 

i[iONG'S    ROTAL    HOTIL, 

eurroNi  near  Bristol. 

MSB.  Loiio  h(t^  MspectfKlly  to  inform  the  Public,  that  the  above  Hooms  are 
lit  Ibr  Goocerti,  Lectures,  &c.,  on  the  Ibllowinir  terms,  Tii.— 


The  iMTfSt  Eootn,  for  a  Mom1n[|^ 
Do.  Do,  for  an  Evening 

The  Smaller  Room  for  a  Morning^ 
Do.  Do.    for  an  Evening^ 

OliftOD,  Bristol,  Dec.  IS,  1846. 


^  9,  d. 
>  S  3  0 
.830 
,    1  11    6 

.  ais  6 


JUU-IEN'S   ALBUn   FOR   1847. 

In  consequence  of  the  extraordinary  sale  of  this  splendid  work  (which  has 
been  pronounced  by  the  unanimous  voice  of  the  public  press  of  the  United 
Kingosm  '*the  best  and  most  perfect  work  of  the  kind  that  has  ever 
■pptared"),  and  the  great  number  of  persons  who  have  been  unable  to  procure 
Mtflte,  If.  JULLIEN  has  the  honour  to  announce  that  he  has  been  induced  to 

Publish 

A     aiXTH     EDITION, 

WITH  EXTENSIVE  ADDITIONS  AND  OORRBCTIONS, 

Tlus  edition  contuns  nearly  fiftv  pieces  of  the  newest  and  most  fashionable 

itatki  Und  instrumental  music,  including  all  the  novelties  to  be  introduced  in 

tbe  f)(rth0pmiQg  lasson.    N.B.  The  price  of  Jullien's  Album  is  18s.  and 

£U  Is.    The  contents  if  purchased  separately  would  cost  nearly  £6, 

iOYAJL  JffUSICAL   OOmSRVATORT,    214^    RSOBNT   8T. 

To  behadof  alljrespectable  Music  mid  Booksellers  in  the  Kingdom. 


Waili^'s   20   Guinea   Cottage  Matoo-trorteii 


ARE  NOW  SELUNG  AT  THE 

Manufactory,  71,  Xaeadenliall  Stt*eet 

(Removed  from  1  and  2,  Liverpool  Street,  Bishopsgate  JSItr^eUJ  ^  ^ 
These  Instruments  are  well  manufactured  of  the  best  seasoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  ttro  vcairs  warranty  g^iven  with  each  instru- 
ment ESTABLISHED  TWENTY-ONE  YEARS,  The  onlv  house  in  London 
where  a  sood  sound  instrument  pan  be  obtuned  at  the  above  low  price,  (for  caah 
OUrt). ,  SMALL  PROFIT  AND  QUICK  RETURNS  I  ^^ 

JOHte  WABRBN,  71»  LeadealiaU  St.,  opposite  Aldfirate  Vamp. 

'"^  Mb.  OBO.   XSA&SRALI. 

Respectfully  announces  that  he  will  give  his 
FIRST     PRACTICAL-     LECTURE 

On  ftc  att  of  sbrnging, 

With  Anecdotes,  and  numerous  Illustrations  from  the  most  admired  endent 

and  modern  composers,  at  the 

1CU8IC   HALL,   8TOSE   STREET,   BEDFORD  SQUABE^ 

On  MONDAY  EVENING,  February  \6ih. 
To  commence  at  Eight  o'clock  precisely,  and  terminate  at  half-past  Ten. 
Tickets,  2sh  and  reserved  seats  Ss.  each.,  may  be  had  of  all  tbe  princiyJ 
Music  War^ouses  and  Librarians,  and  of  Mr.  George  Marshall,  27,  Wdbeck- 
street,  Cavendish-square. 


Just  Publtolieil  by  R.  MllaiiS,  140,  New  Bottd  Btrvet, 

No.  4  OP  GERMAN   SONGS, 
**HOPPNUNG;»» 

tHB  PC^TRY  BT  SCHILLER.  THB  ENGLISH  WORDS  BY  DflSt 
MUSIC  BT  HENRY  WYLDE,  AssocUte  or  the  Royal  Acadmy. 

Also,  by  the  same  Author,  (first  Sonata  dedicated  to  C.  FOTTER«) 

"RHAPSODY,** 

BOOR    OF   GERMAN    SONGS. 

In  the  Press-^**  Caprice^*  for  the  Piano-forte. 


MEDICAIs  OAIsVANISM. 

B,  TH< 

nte-8tre< 

Fkraday,! , , -,  ,  ^^ 

the  required  intensity  and  quantity  of  electricity  tor  medical  use,  thereby  eflfect- 
inf;  both  a  saving  of  expense  and  trouble  to  the  invalid,  and  pladng  in  ha  handa 
an  effective,  powerful,  and  simple  instrument,  that  may  be  exdted  at  a  min'ute'ft 
notice,  and  without  trouble.— Price,  £i»  Ss. ;  j^S.  lOs.;  and  j^S.  5a. 
PHILOSOPHICAL  APPARATUS.— Every  description  of  Apparatus  connected 


solving  Views,  FnotOBnrapny,  Sic)  manuiactnrea  ana  soia  oy  tiorne,  i  nor 
and  Wood,  successors  to  Edward  Palmer,  123,  Newnte  Street,  I/mdon. 

Foreign  orders,  enclosing  a  remittance  or  order  tor  payment  in  London, 
prompiTy  attended  to. 


DR.   8TOLBBRGPS   VOICE   I/>ZENGB^_ 

Is  acknowledged  as  the  best  specific  after  three  years*  trial,  for  improving 
the  voice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
dergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
tluoats. 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop: — 

"Deab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  thi 
efficacy  of  Dr.  Stolbero's  celebrated  Lozenob  is  perfe^y  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  clear,  and  my  ihroat  quite 
free  from  reiaxation.    I. am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP.' 

"  18th  November  1846.— Jermyn  Street." 

Barclay  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard: 
W.Edwards  and  Newbery  and  Sons,  St.  Paul's  Churchyard;  Sanger,  ana 
Difltrichseii  and  Hannay,  Oxford-streets  and  retail  by  all  reipfcliblt 
Chymiiti  in  tbe  Kingdom. 


THE  MUSICAL  WORLD. 


ill 


TO  AMATEURS  AND  PEOFB8SOR8  OF  THE  VIOLIN 
AND  TENOR. 

k  J.  STEWART'S 

REGISTERED  VIOLIN  AND  TENOR  HOLDER. 
J.   HART 

BflipectftiUy  inlbrms  Amateiin  tnd  ProHnion  of  the  Ylolin  tad  Tenor,  tbat  he  is 
BOW  pnoured  to  fwnplf  them  with  the  aboye  INSrr&UMKNT.  vilch.  ftwcMeeT 
wmmtaum  and  eOaiaqr*  mrpMieienyfhiiigof  the  kfaidthat  hai  yet  Deenolbred 
to  the  pabtte.  J.  H.  is  borne  oat  in  tUe  aaiBtion  by  the  opinion  of  10016  of  the 
4nt  TtoUiilito.of  tk^  ooutrj,  who  have  acknowiedfed  Its  fOMrtority  by  adoptiiiff 
the  Mae,  oonoeiTii^  it  to  be  the  grand  deeideratum  to  the  above  initnunenia. 

JUST  IMPORTED,  A  GASfi  OP 

FINB    ROMAN    STRINGS, 

Of  irUA  a  IMh  inpply  wiB  be  received  every  thxee  moatha. 

T  HART'S 

MvBlMl  laatniBMat  War«ho«s«y  lA,  PrlacM.atrMt,  MohOf 

When  nay  b^  aera  a  ilne  coIYectlou  of  Ovmoaa  and  other  Inttnimciiti,  c<Mn« 
priainff  Stradinarint,  Ooamerios,  Amatl.  and  other  cdebrated  makers. 

"  NBW   80NO8 

AND 

PIANOFORTE     MUSIC, 

ParHcnlarig  adapted  for  Teaching. 

^lANOFORTC    MUSIC. 

WU  of  Battle's  opera,  the  Bondman,  arranMd  by  Charles  W>Gnover  ..8  0 
''Tlrty  shy  there  is  some  distant  land/'  from  the  Bondman,  by  W.  C.l    ^   5 

jRuitasia  on  "  Sol  csmpo'deDa'ffioria^'*  lirom  BehMrio,  by  P.  HQnten      ..80 

;*MelodleADemande,»»  op.  147,  ditto         ..  ..       8   0 

''Betoor  an  Chalet,'' airnationiO,  op.  144,  ditto  SO 

«LaSerenadVop.l4«.ditto  ..       8   0 

Hie  ftvoorito  air  **LocjNea]e,"  arranged  by  Chanlieu         t  0 

WHO  "VaPwdero,"  ditto    ..       ..       ..' 10 

<«PeiUL>' by  Rimbanlt.  (very  easy)  10 

JlMfa^^dittOLdito      ..       10 

ne  ceiaSrated  '<  Bridal  Polka,"  (4th  edition.)  Solo  and  Duet,  each . .       ..80 

„ SONQS. 

**  Dream  OB,  yoong  hearts,"  bySporiej  a  gay  metody,  with  a  very  easy 

aooomjManeat^andplaanngwoitb;  (QdnleditlM)      SO 

^llielritfiBmigrant,''wordsbyl^yDairertn,maaicbyBa^  ..3   0 

<>  In  the  Greenwood  lVee,>'aa  snag  by  Miss  Steele,  music  by  B.Blchaida   S  6 

Dltto,aaaDoet  ..       ..  ..       ..       ' SO 

**  Oo^meoiory  go."  one  of  the  lhvouritosoi«s  from  the  Bondman,  Balfe  ..3  0 
^^T^'S'^lMre  is  some  distent  land,"  song  by  Mr.  HaiTison  ..SO 

•iw«a  Sprtog,"  song,  G.  A.  BtacfMrren  T? SO 

OHAPPfiLLy    50^   NBW    BOND    8T&BBT. 

HENRY  SUS8£LL  AT  THE  STRAND  THEATRE. 

flB^T  RUS8ELL,  eonMser  of  Woodnmn  Spare  that  IVee— Tko  Ify 
Orecn— The  Old  Arm  Chair— a*be  Maniac— I'm  Afloat— The  Ship  on  Fire— 
Soma  Love  to  Roam— The  Gambler's  Wife,  &c.,  will  have  the  honour  to  give 
hia  VOOAL  BRTBRTAIMMENTS,  intanpersed  with  Anecdotes  of  Negro 
Ui»  and  Chavactff,  en  Momdat,  Pebniarr  32,  and  following  evenings.  Mr. 
Russell  will  introduce  a  selection  of  his  latest  Compositions,  including  die 
delineations  of  Lord  Byron's  celebrated  Poems,  Mazeppa,  and  the  Prisoner  of 
Chllkm— The  Wife's  Dream— The  Felon's  Last  Night— The  Wants  of  the 
People— The  Tme  Men  of  Old^Hood's  Inimitable  Song  of  the  Shirt,  which 
has  ezdted  the  most  intense  interest— The  Slave  Ship— The  Newfoundland 
•"  -The  Life  Boat— There's  a  Good  Time  Coming,  Boys— I'm  Afloat— The 
^eftbe  Reveller— The  Peuper's  Drive;  together  with  his  celebrated 
1:— The  Ship  on  Fire— The  Maniac— The  Gambler's  Wife— The  Idiot 
Boy.  Mr.  RoasetL  will  accompany  himself  on  Kirkman  and  Sons'  newly- 
faivented  Grand  Fonda  Piano.  Dress  Boxes,  Ss. ;  Stalls,  2s.;  Pit,  Is.; 
Gallenr,  M.  Box-office  open  from  1  till  4.  Doers  open  at  half-past  7 ; 
eo'ntet  to  commence  at  8  o'clock  precisely.  Books  of  the  words,  6d.  each. 
The  entertainments  will  be  varied  each  evening. 

GENUINE  BUSINESS   FOR  SALE. 
Metin.  FUYTICK  Ar  SIMtPflON, 

Auctioneers  of  Music   and  Literary  Property^ 
ABB  itrerauorse  yo  orrsa  voa 

PRI  V ATE    SALE 

A  genuine  old  esUblished  and  highly  respceteble  Business,  devoted  to  Ae 
itanaflictnre  of  a  fluMonable  Musical  Instrument,  in  extent  of  patrensge 
Mtend  only  to  the  Phmolbrte.  The  stock,  consisting  of  finished  Instniments 
hi  the  ware  rooms,  and  on  hire,  materials  and  all  re<iuisites  for  carrying  on 
^  bnsiness,  with  the  remainder  of  the  lease  of  the  premises,  and  the  good- 
]HB,  weald  be  included  in  the  purchase.  The  death  of  the  hito  Proprietor 
Oirae  eiifoyed  the  hiehest  reputetion  and  distinguished  patronsjn  for  tne  last 
*>ty  Tears)  is  the  sole  reason  for  the  disposal  of  the  concern.  This  Business 
#oiqd  be  a  valuable  acQunct  to  that  of  a  manufacture  of  Flsnofortes,  or  other 
Viisicil  Initrumenti.  Principals  only,  who  can  command  not  lew  than 
£2000,  may  apply  by  letter  to  Futtick  and  Simpson,  191,  Piccadilly. 


NOW  RBADT. 

OORNBR'S  HISTORY   OF  ROMB; 

Compiled  from  1 


9m accepted  modem  English  and  Foreign  authorities:  and  printed 
ly  with  CoaNBa's  HisroaiCAXi  Wobss,  te  8<^1  aiMlJMpUy 
:,  forming  a  complete  History  of  every  Nation  in  Europe. 


6K 


THB  HISTORIES  OF  •  th«  Q^^o&. 

England  and  Wales— Ave  flue  phites  and  map 4s. ^8s*  OdJ 

Irdand-^three  line  plates  and  map 8a Ss,  Sd. 

SootUmd— three  fine  pUtes  and  map Ss. Ss.  6d. 

Ptaaoe— three flne platesand  maps  ................ ....  Ss. Ss.  6d« 

Spain  and  FortugaT-three  fine  plates  and  map 8s. Ss.  6d. 

Denmark,  Sweden,  and  Norway— two  Sne  plates  and  map  Ss.  M^ 

Qeimaoyt  including  Austria-thieeflne  plates  and  map  ••  Ss  fiL 

Turkey  and  Ottoman  Empire— three  fine  plates  and  map Ss.  ed. 

PMaaoaBdRussia—thrm  fine  platea  and  map •  ^.  ^Sd. 

Italy  and  Switzerland -three  fine  plates  and  map m,  6d. 

Holland  and  Belgium— two  fine  plates  and  map Si.  Od, 

THe^jectoffh»sewoits-<ecnaarlyaaltodtofchoolsaBdP|mlHpa'  ii.tttfrur- 
nish  the  reader  with  a  Ihlthftil  Mstory  of  each  nation,  interspersed  Willi  an 
accurate  account  of  the  religioa,  cniioms,  national  cnaractenstics,  state  of 
civilisation,  and  domestic  habite  of  the  people,  in  vartous  periods  of  their  history : 
to  attract  the  attentkn  of  the  risiag  generation  by  pvitx  of  lapgnage  and 
deameas  of  detail,  end  thn  vender  easy  and  pleaaant  the  attdnaetft  of  a  iuio#> 
ledge  of  the  leading  evente  of  history. 

To  show  how  these  truthfhl  histories  are  appreciated,  it  may  be  mentioned  that 
8.000  England,  6,000  Ireland,  5,000  Scotfamd,  6,000  Prance,  and  4,000  Spain  and 
ItartugaC  have  been  sold. 

Second ewuoo,  emarged,  is.  UT doth,  usetul andPiacucal  Works,  now  readn 
and  may  be  obtained,  by  order,  of  every  Bookseller  in  the  Kingdom.  Price  Is.  Od« 
cloth,  the  Sixth  edition,  enlarged,  with  the  proper  method  of  using  Guano  as  a 
Manure,  In  a  dry  or  liquid  state. 

PRICE'S  MODERN  GARDENER:  cj.  Insteoctipni,  the  lenlt  or 
experience  for  forming,  planting,  and  managing  the  kiteben,  flower,  pleaaure,  and 
fhiit  garden,  hotbed,  and  green^ionse.  Wtta  dfrectionk  as  to  the  pn^cr  soils,  the 
times  and  method  of  manuring,  towing,  planting,  pruning,  and  grafrng ;  obeora* 
tlona  on  the  nature  and  progress  of  vegetation  in  pllanta,&c.  By  T.  Pricey  Market- 
gardener  and  Nurseryman. 

PMoe  Sk  ctolh.orS^6d>  iB  leather. 

made  eaay  t  oemg  tbe  best  and  easiest  methods  oc  correctly  performiM  all  the 

--A.. 1 — i^  t ^^x.t^  M — m.^    ""^ith  prcKier  instrunion 

gto  cool 

, a  sinftlA 

,^ , of  game,  pes    .,  .  ,  . 

made  dishet ;  and  also  for  making  and  baking  pio%  tsrts,  patties^  eaataidib  8to. 
The  whole  written  ftemexperisnoe.    ByaLady. 

Also,  price  Sd.  sewed, 
THE  COOKMAID'8  CUIDE  for  the  prooer  Performance  of  all  the 
household  work  expected  to  be  done  by  tbe  Cookmaid:  with  a  few  general  Mca 
•■■-''*-'  "'^^-<- — »»-^- « — ,_>,    By  the  same  author. 

the  best  methods 
By^  tiie  author  of  "The  Mtdd^ofJjKmirfc's  < 


for  cooking,  abridged  from  the 


where  a  cook  is  kept.    B) 


*  Codtry  Msde  Easy.^ 
Price  6d*  sewed. 


of 
wk 
Guide.' 


various  duties  of  the  hqnseinaidln  n 


I  Complete 


THE  SNAJD-OF-ALL-WOmC^  COlU 

ain  instructions  for  the 


tehed. 

OU17,  aSaBounB&ng  meS  at  littte 
ad  iMlles  to  aaake  pfessnta-   By  the 


propermethods  of  arn 

UkUsUy  required  from  servante  of  alLwork  in  [ 
*  Tbe  kousemaid's  Complete  Guide." 

Price  6d.stiteh 

CHEAP  capKERYFOR  THE  WC 

them  bow  to  cook  a  variety  ot  warm,  savoui* 
expenae;  an  exceUent  book  for  clergymen  and  1 
anther  of  <*Cookery  made  Easy." 

Price  is.  6^  in  dotii  letter^ 

prai^ied  at  the  best  esublishmenta  in  London  and  rais,  for  aekiar  aH  kliMS  ef 
pastry,  jellies,  blsnc-manger,  cresBs,  &c-,  and  preserving  fruits*  With  the  art  of 
sugar-boiling,  making  losenges,  drops,  pipe  barley-sugsr,  carraway  comfltt,  ke» 
By  George       d.  ^^^  ^  ^  ^  ^^^^  lettered, 

Aulw'nnSlTT^mh  practkaT  dhnectiens  for maBng  Sn  aA fiai^biS&tSv 
Sims,  cskes.  drops,  ginaerbread,  spioe  nuts.  Sec.,  adapted  either  for  the  use  or  the 
trade  or  private  tsmilies,  formina  the  second  part  of  the  Confoctioner's  and 
Pastry.Cook>s  Guide,   By  George  Read. 

Price  is.  sewed, 

bcl^apwAoroMlHiiidndreMlpufimaltStMaeSM.pMtiT,  ac.,  firtalli,  imM,  tM,  ^Hb% 

wItiB  tot tft ordnNrinff. a* ifvliMl ■•  MMMt.nBkia« and  wpsSitc^,  iIm  smiMn8ymeri>g mI 
tadaylac.  dy^nc.  tUiotas.  iMkering.  JaiMnnliiff,  Tantahiiif,  Pnaeh  poUdUat.  ec  a  Ith  dtwifylttl 
tncraTliin,  by  J.  Stoke*. 

ham  to  aiMruln  th«  good  or  bad  qualitita,  and  driaet  the  fkulu  of  bonaa,  llltutrattd  bj  aectir«t« 
•ncnviiifa.  By  Jama*  Milla.  M.  V.C.  TUid  BdiOoa,  anUised  mi  Imi  lorcd.  la  Sd.  cloth, 

naj  be  raadUy  Ibund.    By  S.  tlurlow.    li.  boond. 


l4>]iaON:-*0EAM  £  CO.,  TUREADKKOLS;  8TA! 

And  naj  bt  eWdaad,  by  ovdtr,  «r«a  BMkMlltn*: 


^jgtt: 


nt 


THE  IfLVaHGAL  .WORLD. 


JULL1EN'«      ALBUM 

POR  1847,    ' 

A  MM«  bM«tlftd  OhrUtauM  Presant,   lf«w  TcaVs  out, 
And  Streanes. 


M. JULLIEN 

Hu  the  honor  to  announce  that  his 

UJOilCAh    ATSnXfAh    FOR    1847 

'    '•  fl^  FttUishtd,  and  i»  by  lar  the  best  work  of  the  kind  that  has  ever 
^^  appeared ;  contains  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AKD 

rOURTEEN   OF   INSTRUMENTAL 

,      ss:  w  §  s  ©, 

The  creater  part  of  which  have  never  before  been  published,  the  copyrights 
IliMliiflietfi  purchased  ezpYessly  fbr  this  wofk/at  an  iipoiense  cost,  with  the 
▼lew  of  rendetf  ng  it  inmeasureably  superior  to  any  of  its  predecessors. 
'  Tlie  portion  wlilch*  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jollieit,  at  tlie  request  of  numerous 
ti4«eiitial  patronS,,tp  include  them  in  this  Selection. 

Tlie  Illustrations,  in  addition  to  the  elaborately  executed  CoTtis,  Title,  and 
l>edlcMlOn  pUges,  inelude 

TWO  MAONiFicfairr  views 

.        '       .  OF    THB 

Stiurlotr  ^f  ®o\>eitt«^atlint  C^eatre, 

^e  otie  taken  during  the  brilliant  scene  exhibited  in  that  spleodid  arena  of 
Oie  occasion  of  M.  JUtLIBN'S  GRAND  BAL  MASQUE;  the  other  a 
yi&NV  OF  THIS  THEATRE  TAKEK  DURING  THE  CONCERTS, 
tfw.geoBpiog  of  Ibt  Figvea  in  both  Views  exhibiting  the  audience  in  a 
iWinii'  at  once  l^(^'Ukt  mid  ekgamt.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Also M  will  -form  a  deligbtfiil  Souvbmie,  and 
to  those  .who  have  not  had  thb  opportunity,  it  will  convey  an  accurate  idea  of 
Hie  ^oigMtts  scene. 

A   8PLPKDIDLY-C0LQDRSI> 

PORTRAIT 

Of  the  celebrated  Danseusci 


In  the  admired  Pas,  LA  CASTIGLIANA. 
AN   ORIOINAIi  8ITBJRGT, 

"THE     FORTUNE     TELLEB/ 

.    .     lUn^tming  Bakee.*8  beantifiil  BaUad  of  that  : 


The  whole  of  this  department  of  the.AX|BUM  has  been  under  the  active 
aHperiateadfnee  of  J.  BRANDARI),  £s<t,  whose  pencil  only  .has  been 
esnployed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  ALBUM,  and  in  proof  of  its 
vatl  wperUriiy  over  all  others,  than  to  call  attention  to  the  names  of  the 
CmUHhmtorit  ^ere  will  be  Ibund  the- prindpalf  talent  ih  Europe:  via. 

BORHMI,'  VBRDf,  DOKlZBTTf,  RUBINI,     • 

ROCH-ALBBRT,  HCELZKLL,      GOLDBERG,  SCHIRA, 

8CHULZ.  ST<SPEb,         DUPREZ,  JOSE  GOMIS, 

MASARNAU,  MARATZBK,   BALPE.  JULLIEN, 

HAT  ION,  BARRET,         ALEXANDER  LEE,  KCBNIG, 

KNIGHT,       .    ,  BAJCEH,'  FARMER,  LINLEY, 

LAKE,  PITZBALL,      MOULD,  HURRAY,  ' 

PORt^sT,  ALBERT  SMITH,      DESMOND  BYilN, .    &c. 

-  It  will  thai  be  peredved  that  in  addition  to  the  latest  compositions  of  the 
^ctt  English  Composers,  the  ALBUM  will  contain  some  of  the  newest  and 
most  popular  forotiuctions  of  Italy,  Germany,  France,  Spain,  &&,  a  carefhl 
lelteCioir  of  which  has  been  n^de  from  those  works  that  isre  now  attracting 
the  attention  of  the  Continental  diletantL 

Price  18s.  and  jSI.Is. 

ROYAL   CONSERVATORY   OF    MUSIt 

21^  Bsafi2rr*STSEBT,  and  4ff,  Eikq-Stbeet. 


.  i 


No:  5,   St.- JAMES'S    S.TRE#r,  '" 


'UDNDON. 


TrmH9€9. 


DiftH^n, 


Henry  Pownall,  Bm. 
Clattde  Bdwaid  Scott,  Xiq. 


Henry  Broadwood,  Bsq«,  K.P. 
SfarJaatiesOanniehiei,BMt«         • 
Charles  Farebrother,  Esq.,  AldfimMi 
William  Tulloh  ITimv^. 
John  Oardfaier,  Esq.     * 
Aaron  Aaher  Goldsmid.  Bsq. « 
Henrv  Wttliam  PownaA,  Esq. 
Scott,  Bart.;  and  CO. 


Sir  A.  Brydfes  Henniker,  Bart. 
B.  Bond  Canb^U,  Esq.,  M.P. 

CnAinMAN,  Lientenant-Colonel  Lord 

•  Arthur  Lennox. 
DBPiTTY^HAiaMAN,  T*  C  Onmgcr, 

John  Afthbumer,  Bsq.,  M.D. 
T.  M.  B.  Bataid,  Kaq. 
PhUipP.Blytb,£sq. 

BmUtertf  Sir  Clatide 
*  Asffsilor«,  Messrs.  Davles,  Son,  and  OsMpMHc 
.  A^sonmceton  the  lives  of  persons  in  every  station  of  lilie  aod  evvy  part  of  the 
worldngranted  on  a  plan  which  combines  the  utmost  amount  of  oeneflt  to  the 
funilies  ol  the  assured  ai  deatk,  with  evety  attainable  advantage  daria^'lf/'ey 
which  the  system  of  Life  Assurance  is  capable  of  alTordlng. 

It  aflbrds  iieriect  s«cari4y  in  a  subscribed  Cfiiftal,  %*h1^B  guarantees  the  pronmt 
settlement  of  every  chdm,  with  participatiiig  aod  non-participathig  rates  on  the 
lowest  sb^e,- especially  fbr  terms  of  years. 

The*AsBuitd  can  antidpste  or  obtafai  the  advance  of  the  Ail)  amount  *of  the 
Policy,  on  giving  amnoved  available  security  Ibr,  a  certain  number  of  annual 
payments,  as  explained  by  the  Prospectus. 

Every  fiscility  is  afforded  to  persona  acsuring  the  .Uvea  of  others,  so  aa  to  render 
such  Policies  dftctual  securities.     >  .    -  .    \ 

'  A  new  plan  of  gradpal  or  accumuhUive  Assunnoe,  particularly  adapted  foi; 
young 'lives,  and  for  sach  as  cannot,  without  inconvenience,  undettalie  thf^ 
pay&iept  of  a  fbcM  premimn,  securhif  at  onee  provliion  in  case  of  prematdre 
deiitb,  and  anaceumulating  fund,  avansble  daring-life,  should  occasion  require*, 
.  Annvitibs,  Bndowmknts,  Advances,  and  Loaxs,  on  liberal  terms.        . 

Detailed  Prospectuses,  with  forms  of  Proposal,  and  every  information,  may  h^ 
had  oif  applicatioo/eitber  personally  or  by  letter^  at  the  Conipaoy's  Oflfces.       .. 

llie  usual  commiaion  to  Solicitors  and  Agents.    ' 


H.  D.  I^ATSNFoaT,  JUerttpfg. 


ROYAL    ITALIAN    6PERA| 

TImI  nobility,  g^try,  and 


QOVCNT   CAKOCN.; 

lublic  are  reftpccrfdlly"  informed^  that  the     "^ 
_  KW  TUBaTRE'  •  .   ,  , 

Win  Opm  die  lint  Week  fat  Aprils 

For  the  perfbrmance  of  the  LYRICAL  DRAMA,  on  a  Kale  of  effideiieyfaiev^ 
department  never  bclbre  attcmpnd  la'  thU  eottntiy.  ,. 

THE    BALLET 

WiB  include  the  names  of  the  most  celebrated  artiste,    tlie  proqpectaa  ftir  te 
arrangement  of  the  season  is  issued.    Mr.  Beale,  Director. 


GRAND  SCOTTISH  CONCERT,  ,       . 

•  FOR  THE  EttltF  OF  .       » 

THE     SitTRESSCD    H  I  C  H  LAN  DCWtf, 

AT  THB 

<Attten'0  (Esmatt  Ifteoms,  f^anobtr  SBtuate^' 

0;i.f^  eveiHng  of  THURSDAY.  2M  of  FEBRVAttYf  18*7. 

TO  COMMENCE  AT  EIOUT  O'CLOCK.  .  ' 

Under  the  inamedi«le  Patronage  of 
HSft  QBACieini  MikJeWT,  TUB  ^vbhiv. 

Vt»t  MaiMiy  flis  Qttfm  Ddwwf f 
H.  B,  It  die  D««  orCaadM4i« 

ii,m.aui»  DuflkMofc 

Tb«  riuckcM  ttr  Banllute 
rat  D«alMli«)f  BMtlMMb 
The  DifckMt;  qfUtetaBMS 


R.  M.n.PilnMAltert 

H.  a.  II.  tlM  Ddehnsof  Knit 

U.  a.  H  tbf  D«^«u  «l  OI 

The  D«ke  of  "* 

The  Dakt  or 

Tbe  Duke  of  ateli«o«d  j 

Tb«  Dttk*  of  MoBtroM 

ni«Dukror8«ilb«ff1aiid 

Tbr  laH  of  IcUnMtt  nd  UHaSoi 

IW  Bart  of  Ztttand  ■        .       . 

The  ImI  of  asKli  '      ^ 

Thi>  Lord  and  UAf  WiUoiVbr  D'Kmtor 

The  Lord  sad  Ladv  Lovai 

Lieutenant-Oenerai  l^rd  Saltoan 

TtlBHIGRLAKD  SOClftTT  OF  LON'i^ON.' 


tbe  Dowueir  DvrhcKs  of  tfedJte4  ' 
DuefteMi 


Tbe  I 


«r  MontrttK 


Tbe  Pirbe*  oT  Sothei  —^      ^^ 

The  Cowtfts  i)t  Eclinton  and^alon 

tile  C6«iAten  of  ZetkMd 

The  CMiHtRW  Pf  Mwch 

The  Lord  uid  Lady  John  KimeU 

The  ChUhotia 


.:;. ;) 

The  ProgrBmme  will  include  the  names  of  the  most  distinguiehed  artiateay 
manyofwjfomhaTe  already  yoAiOteered  their  nluhble  serrices  Jn  aid  of 

THIS  ClURITT.  •   * 

Tickets  to  be  h^d  a(  all  the  arincipal  Music  Sellers,  and  the  Concert  Rooma, 
Hanover  Squai«,  attbe  foUomng  prices  :*-Xickeb,'  lis.'  64. ;  Double  Ticket^ 
I5s  ;  Single  Reyerved  Seat^  15s. 

AU  communicstion%  made  to  the  "Committee  of  the  Grand 
Conc«*rt,  for  the  Relief.of  the  Distressed  Highlanders,"  to  be  addressed  to  the 
Hanover  Square  Rooms. 

FFinted  and  PubUAe.1,  for  the  PrOprJeton,  at  the  '.'Mastan  Steam  Press," 
William  Spcncbb Johnson,  69,  St»  Martin's  Lane,  In  thepariiliot 
Martin's  in  the  Fields,  in  the  County  of  Middlesex  L  whene  aU 


jHsnipi  •  111  line  Ktvntmi  aw  iHF'\rfw«M»i>7    wi  «»> w^mpw **«* t   vvhv**    *u  wtmwmvmtw^  . 

tioQS  for  the  Kdttor  are  to  be  addressed  post  paid.  To  be  had  of  0.  Puifces^ 
Dean  Street,  Sobo;  Strange,  Paternoster  Ror;  WtsAeart,  Dublin;  l*d  alL 
BooUeHera^turdkr,  Abni«Ti«h,i»5^^^g^  ^^  VriUOy  IC 


(PUSLISHKD   KVCRV    SATURDAY   AT   NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

jTjji^BOf  IrtgMiHim.iir  liimiBi.  I1t«  f  MjfililflB  Vwrtaaapad)  to  be  ftrwardad  by  Monty  Order  or  tomtmfStampm 
to  «ho  PaUlolMr,  W.  S.  JotaMo,  '<Mmmm  aM«m  PrMs,"  00,  It.  Martla'a  I«a«,  CDuHriac  Orou< 
.  S«b«erib«r  1«  oatttlod  toMi  Admiioto«to«aAiia.«alOoBMrt,aBA  aPloee  of  K«ot«,Croc«lar  MtMle  alM)  Ko»«iay. 


^o,     S.— Vol.  XXII. 


SATURDAY,  FEBRUARY  20,  1847. 


cPRlCB 
{flTAMISD^rOl 


CB 


HER   MAJEtTY'8   THEATRE. 

.J^jBL^^  LuMLET  commenced  his  campaign  for  1847,  on  Tues- 
fimLy    ^  -veiling,  somewhat  earlier  in  the  field  than  has  recently 
be^sxm     SiiiB  wont.     The  reason  is  very  ohvious : — Her  Majesty's 
7*l:m<^Ksa.'K^xe  gets  nearly  two  months  start  of  its  formidahle  op- 
pox»c»s:s.t,  the  Royal  Italian  Opera;  ample  time  to  establish 
7^^E^1  #^       firmly  upon  the  soil,  and  to  acquire  a  large  amount  of 
f^^^^M.'M^^  presH^in  its  favoor.     In  our  remembrance  of  Opera 
^^^^fts^^^sB  no  season  has  opened  more  worthily ;  and  when  the 
^S<^'«:sltie8  under  which  Mr.  Lumley  has  been  placed  are 
l^^^i^^    into  considerationt  the  result  is  highly  creditable  to 
U    p^'mm  j^milji  as  a  manager  and  to  his  spirit  as  a  speculator. 
^1  'ms^^       evident  that  no  money  has  been  spared,  and  that  the 
<fcc*  "^^.^-^or^s   determination    to    provide  sumptuously    for   his 
pfif*-  <«..^-si8  has  been  carried  out  by  effident,  zealous,  and  active 
rs.     Before  we  enter  upon   a  detailed  account  of  the 
»>:^mances  pf  Tuesday  evening  letus  consider  those  new 
P^!i^r  ^y=^*'^tt  the  general  appearance  of   things  which  call  for 
ff^'^^^^^k-^al  notice.    We  must  begin,  then,  with  rendmng  homage 
^P  ^'   -^  ^  it  is  so  supereminently  due,  that  to  overlook  it> or  even 
^0^^^"^c^deHrate  it,  or  still  further  to  speak  of  it  without  entiin- 
^^^^^^*^*^»  ^^^^  ^  nothing  less  than  monstrcms  injustice.     Mr. 
^^^^^1^^,  our  countryman^  whose  engagement  aa  director  of  the 
0^^^^^  ^tra  has  been  so  testily  rated  in  certain  quarters,  has 
"^^^^-^^  up,  as  we  shall  endeavour  to  show,  a  trump  card  for 
^^^  establishment— aye,  the  ace  of  trumps.    It  was  only  last 
^$)^mn  that  Mr.  Lumley  was  made  thoroughly  aware  of  the 
aifficolties  under  which  he  was  placed  by  the  secession  of 
more  than  five -sixths  of  his  band  and  chorui.  The  importance 
of  these  adjuncts  of  the  Opera  establishment!  the  perfection  to 
which  they  had  been  drilled  by  long  experience  of  &ignor 
Costa'.":  most  able  eurveiUanee^  and  the  seeming  impossibility 
,  ^i    :.i    \  -^placing  them   by  anything  approaching  to  a  worthy 
"Ojl^i.^cutute,  scarcely  admitted  of  a  question.      Singers  and 
^  .♦a;:jv  rs  could  be  obtained  for  more  or  less  money,  but  an 
•  •-  L'  sira  composed  of  the  flower  of  the  instrumental  talent  of 
it  J  resident  profession,  and  furthermore  quintupled  in  value 
"by  many  years'  training  in  the  establishment,  under  a  con- 
ductor of  remarkable  talent,   as  much  respected   for    the 
independence  and  liberality  of  his  private  character,  as  for  the 
knowledge  and  ability  which  in  his  peculiar  walk  enabled  him 
to  set  competition  at  defiance — an  orchestra,  in  most  respects 
admirable,  and  in  many  respects  incomparable,  it  was  not 
unreasonable  to  suppose  could  hardly  be  replaced  without  years 
^  of  toil  and  the  roost  singular  good  luck.    It  is.  all  very  well 
to  blink  the  question,  but  it  is  not  the  less  a  solemn  truth,  that 
Signor  Costa  and  His  orchestra  were  the  soul  of  Her  Majesty's 
.  Theatre.     We  say  this  with  the  less  hesitation,  since   we 
cannot  be  accused  of  overrating  the  worth  of  the  late  conductor. 
With  all  these  facts  before  us,  we  cannot  but  own  the  surprise 
and  gratification  with  which  we  heard  the  overture  to  La 


Favorita,  and  the  majority  of  the  choral  pieces,  executed  on 
Tuesday  night  by  the  artists  whom  Mr.  Balfe's  judgment  and 
activity  had  enabled  him  to  ^et  together  on  so  short  a  notioe 
and  so  trying  an  occasion.  Two  months  ago  not  one  engage- 
ment had  been  made;  so  that  in  two  months  Mr.  Balfe 
not  only  contrived  to  hear  and  pronounce  a  verdict  on  every 
individual  of  the  collective  force»  but  to  practice  them  in  con« 
cert  so  as  to  produce  an  effective  and  striking  ensetMe.  Tak- 
ing chorus  and  band  together  it  is  easy  to  calculate,  from  ovr 
experience  of  such  matters,  that  Mr.  Balfe  must  have  givea 
audience  to  at  least  five  hundred  persons.  Besides  whicht  to 
our  knowledge,  many  of  the  foreigners  who  came  to  him  with 
great  names,  he  was  compelled,  conscientiously,  either  todismist 
or  displace,  and  to  find  substitutes  and  leaders  from  EngUah 
artists.  Thus  M.  Elie,  who  was  to  have  been  the  first  flute^ 
though,  we  believe,  acknowledged  a  good  soloist,  was  found 
quite  out  of  his  element  in  an  orchestra,  and  an  English  pro* 
fessor,  Mr.  Clinton,  was  engaged  for  that  post.  M.  Elie  came 
also  with  the  reputation  of  a  first*rate  piccolo  player ;  never- 
theless the  piccolo,  on  Tuesday  night,  was  snatched,  at  the  lati 
moment,  from  one  of  the  Casino  handa  of  the  metropoliso  A 
certain  M.  Bahr  was  engaged  as  first  horn,  and  arrived  with 
an  enormous  continental  repute;  but  what  was  the  result? 
In  trying  the  capabilities  of  the  orchestra,  the  conductor  found 
it  necessary^to  remove  M.  Bahr,  by  degrees,  from  the  seat  of 
comopri$no  to  that  of  como  ultimo,  and  on  Tuesday  Mr.  Catch- 
pole,  an  English  artist  from  one  of  our  theatre-orchestras,  played 
the  first  horn>  and  M.  Bahr  the  fourth.  The  Morning  ChronicU^ 
in  noticing  the  absence  of  M.  Elie  from  the  ranks,  also  sig- 
nalizes that  of  M.  Lavigne  the  oboist.  In  answer  to  which  it 
is  only  necessary  to  state,  that  M.  Lavigne,  for  reasons  of  his 
own  with  which  we  have  nothing  to  do,  has  not  made  his 
appearance  yet  in  London.'  In  his  absence,  Mr.  Horton,  aa 
English  artist,  and  nearly,  if  not  quite,  as  good  an  orchestral 
performer,  occupied  the  post  of  first  oboe  on  Tuesday  nigh^ 
and  accomplished  its  duties  most  ably.  The  first  bassoon, 
M.  Templini,  is  equal  to  any  bassoon  in  the  world.  The  ease 
with  which  he  takes  the  high  notes  is  astonishing,  and  he 
only  wants  an  increased  volume  of  tone  (which  he  cannot, 
with  his  talent,  fail  of  acquiring)  to  become  snother  Baumann. 
M.  L'Anglois,  the  primo  conirdbasso,  and  Signor  Fiatti,  the 
jpnmo  violoncello,  stand  in  no  need  of  our  praise ;  they  are 
acknowledged  fiist-zates.  Then,  among  the  violins,  we 
have  such  excellent  players  as  M.  Pluys,  from  Brussels, 
Mr.  Collins,  Mr.  Sidney  Smith,  Mr.  Day,  and  many  other 
established  English  players.  The  trombones  and  trumpets  axe 
highly  efficient,  though  perhaps  a  litde  too  loud.  The  tenors  are 
good,  but  there  are  scarcely  enough  of  them.  The  violoncellos 
and  basses  are  excellent,  but  exhibit  the  same  deficiency.  The 
strength  of  the  band  is.  thus,  divided  :— -vtoZtW  28,  tenors  Q, 
pioUmceUoi  8,  double  bastee  8,.  and  the  uanal  complement  (tf 


V 


114 


THE  MUSICAL  WORLD^ 


^UltltttfieiiHIinA  ''kitdkte  f^tsJi/bmr  (We  upeukft^  ' 
our  own  survey  on  Tuesday  night,  not  from  any  printed 
authority.)  In  LaFavorita,  Donizetti  has  writteu  four  trumpet 
parts,  and  four  trumpets  were  there  for  the  occasion  ;  besides 
a  haip,  absolutely  essential  in  French  operas.  Altogether  the 
band  numbers  about  80,  more  or  less.  Its  general  effect  is 
striking,  but  of  course  it  wants  the  refinement  which  will 
come  with  constant  practice.  At  all  eventsi  if  we  except  that 
of  the  Royal  Italian  Opera,  no  such  band  exists  in  this 
country,  and  its  present  comparative  inferiority  to  its  rival  is 
rather  the  consequence  of  inexperience  than  of  inefficient 
mvitemls  for  ultimate  perfection.  The  choral  forces  are  thus 
divioed  isoprani,  33  ;  tenori^  27 ;  bassi,  20;  in  all  80.  The 
soprani  and  tenori  are  very  good — but  the  hassi  are  superb. 
In  regard  to  this  department  of  liis  company,  we  strongly 
suspect  Mr.  Lumley  will  have  the  advantage  of  his  opponents. 
Now,  We  put  it  to  any  reasonable  person,  whether  what  Mr. 
Balfe,  alone  and  unaided,  has  contrived  to  bring  forward,  in  such  , 
a  remarkable  condition  of  excellence,  in  these  most  important  i 
departments,  does  not  entitle  him  to  unlimited  ctedit.  Mr.  \ 
Lumley  has,  indeed,  been  most  fortunate  in  securing  the  co- 
operation of  a  director  at  once  so  able,  so  zealous,  and  so  untiring. 
The  house  was  filled  to  overflowing  on  Tuesday  night,  an  ' 
event  that  was  pretty  nearly  certain  to  occur,  the  circum- 
stances of  the  moment  considered.  Mr.  BaJfe  made  his 
appearance  in  the  orchestra  a  few  minutes  after  eight,  and  his 
Ipresence  was  acknowledged  by  a  rapturous  burst  of  applause. 
The  execution  of  the  overture  to  La  Favorita,  a  brilliant,  if 
not  a  profound  composition,  at  once  demonstrated  the  quality 
of  the  orchestra.  The  crescendos  were  admirably  managed,  • 
ih^  fmHssimos  terrific^  and  the  general  performance  splendid 
and  effective.  The  overture  was  loudly  encored,  the  Allegro 
MossOf  in  C  minor,  repeated,  and  the  question  of  the  orchestra 
at  once  thoroughly  established.  Mr.  Lumley  had  vanquished 
bne  great  difficulty,  and  the  audience  were  eager  in  acknow- 
ledging it.  La  Favorita  is,  perhaps,  the  masterpiece  of  Doni- 
zetti, and  is  certainly  one  of  the  most  elaborate  and  difficult 
of  his  operas.  It  is  one  among  many  proofls  which  the  com- 
poser has  given  to  the  world  of  a  magnificent  talent  that  in 
too  many  of  his  works  has  been  unworthily  compromised. 
This  opera  was  first  produced  at  the  Academie  hoyale  in 
Paris,  on  the  2nd  December,  1840.  It  was  written  for  the 
RenaUianee^  but  that  theatre  being  closed  it  was  transferred 
\o  the  other.  The  story  of  the  drama  may  be  best  told  in  the 
woi^s  of  a  paper  which  was  distributed  in  the  boxes  of  Her 
Majesty's  Theatre,  on  Tuesday  night,  a  useful  and  elegant 
t>amphiet,  serving  the  double  purpose  of  a  bill  of  the 
evening's  entertainments  and  a  compendium  of  appropriate 
ehit-chat  on  musical  matters  in  general : — 

"The scene  passes  in  the  kingdom  of  Castile,  in  1540.  Leonora  de 
XSmnatn,  celebrated  for  her  wit  and  beauty,  is  loved  by  Alfonso  XI., 
IQDg  Hi  Ctttilek  of  whom  she  becomes  the  favourite.  The  ascendancy 
wliioh  she  acqairM  over  the  monarch  becomes  so  great,  that  he  resolves, 
in  order  to  espoase  her,  to  repudiate  the  Queen,  his  wife.  The  Pope  in- 
terferes, and  menaces  the  King  with  excommunication  if  he  persist  in 
his  projedt.  In  the  meantime  the  Moors  threaten  the  kingdom  of 
-GattOe.  Alfonso  XI.  hastens  to  meet  and  give  them  battle ;  the  result  Is 
a  decisive  victory,  owing  cUefly  to  Fernando,  a  yon^ful  captain  of  his 
army.  Fernando,  formerly  a  novice  in  the  convent  of  Santiago  de  Com- 
postella,  has  seen  and  loved  Leonora,  of  whose  name  and  rank  he  is 
Ignorant.  Carried  away  by  his  passion,  he  has  quitted  the  convent, 
obtained,  by  the  favour  of  Leonora,  a  brevet  of  captain,  and  by  his  valonr 
tketrinrnphofthe  King's  arms.  Overwhelmed  already  by  the  ftivours 
of  his  sovereign^  fae  asks  of  him  the  hand  of  the  noble  oliriect  of  his 
^ection ;  and  the  King,  who  has  discovered  the  love  of  Leonora  for 
Fernando,  determines  on  the  sacrifice  of  bis  own  sentiments,  and  gives 
Ws  consent  to  the  marriage.  The  favourite  informs  her  lover,  by 
Itttsft  of  her  idatloii  with  Alfonso.    UMdrtnnately  her  confidant,  Ines, 


%  ttohbli  t«  Iu4  ^<c($i#iiMlll.  |ifcm£  imprisoMl  b^oite  M  tlia  iQng, 
and  the  marriage  is  accomplished.  HRer  the  ceremony  Fernando  per- 
ceives that  the  eyes  of  aUare  turned  away  from  him,  or  exhibit  marks  of 
evident  contempt.  He  Ihiperioosly  demands  the  cause ;  and  is  informed 
that  he  has  wedded  the  mistress  of  the  I^ing.  Fernando,  indignant,  ntteis 
imprecations  oa  his  bride,  throws  his  knightly  MvoM  at  Alfonso's  feet, 
abdicates  his  recentlyoacquired  titles,  and,  heart-broken,  returns  to  the 
convent  to  take  fifs  vows.  Leonora,  in  despair  at  the  irremediable 
mfsTortune  Mie  hi*  M-oaght  wpoA  her  loreiv  detunlbes,  befbn  ilie  diet, 
to  see  hhn  once  man  a&d  oteia  his  pardon.  Habited  as  a  novice,  she 
penetrates  the  convent,  is  recognised  by  Fernando,  whose  love  returoi 
at  her  sight,  and  who  proposes  that  they  fly  together  far  from  Castile. 
It  is  too  Iste :  Liconora  expires  at  her  lover's  feet— 4>ut  pardoned  and 
happy." 

A  Uner  subject  for  an  opera  seria  would  be  difficult  to  naract 
and  Donizetti,  in  his  musical  treatment  of  it,  raises  himdelf 
so  far  above  his  former  self,  that  musicians  fiedl  to  recognise 
the  elegant  Neapolitan  trifler  save  in  the  pretty  fluency  of 
certain  of  the  eabalettasy  and  the  occasional  sacrifices  of  strict 
taste  at  the  shrine  of  vocal  display.  We  have  neither  time 
nor  space  to  analyse  the  music  as  it  merits.  A  brief  abstract 
of  the  different  pieces  must  suffice,  until  a  better  occasion 
serves  our  turn. 

The  opera  is  in  four  acts,  and  at  the  Academie  Boyale 
occupies  the  whole  night  in  performance,  an  example  whidi 
it  would  have  been  advisable  for  Her  Majesty's  Theatre  to 
follow,  since  the  second  act  comprises  an  entire  ballet^  whidi 
renders  another  ballet  during  the  evening  superfluous.  As  it 
happened,  Donizetti's  music  was  mutilated,  and  the  audience 
kept  in  the  theatre  till  nearly  two  o'clock,  a  consummatloti 
devoutly  to  be  undesired,  The  overture  to  La  Favorita  dhiefly 
deserves  noting  as  one  of  the  very  few  complete  orchestral  pie- 
ces with  which  Donizetti  has  favoured  us.  In  odier  respects 
it  is  an  ordinary  French  prelude,  noisy  and  brilliant,  but  some- 
what vapid.  It  served,  however,  to  show  off  Mr.  Balfe's  ordies- 
tra  to  good  advantage,  on  Tuesday  night  The  first  act  begins 
with  a  choral  movement  for  men's  voices,  in  C,  well  writteui 
and  in  dramatic  keeping  with  the  ecclesiastical  character;  it  {a 
sung  by  the  monks  of  the  monastery  of  St.  James,  proceeding 
to  their  orisons  in  the  chapel.  The  sequences  and  sus- 
pensions in  this  chorus  are  natural  and  easy,  and  indicate 
Donizetti's  knowledge  of  harmony  to  be  greater  than  the 
world  has  given  him  credit  for.  After  some  recitatives, 
Fernando,  the  young  novice,  reveals  his  love  for  a  lady 
whom  he  has  seen  while  at  his  devotions,  to  Balthazar, 
his  friend  and  Superior  of  the  Monastery.  This  lady 
is  Leonora,  the  Favourite.  The  tenor  air  which  Donizetti  has 
written  here,  in  A  major,  **  tJne  ange,  une  femme,"  is  equally 
simple  and  expressive.  The  first  couplet  is  plainly  accomp^ 
nied,  the  second  is  set  off  by  new  phrases  for  the  wiifST 
instruments.  Then  follows  a  duet  for  tenor  and  bass,  in 
which  Balthazar  reproaches  Fernando,  while  the  young  novice 
endeavours  to  excuse  his  passion  for  the  fair  unknown.  Tins 
duet  is  an  exceedingly  fine  composition,  expressive  and  dra- 
matic— the  instrumentation  is  superb — the  bassoons  and 
violoncellos  are  employed  with  great  skill  and  characteristic 
effect.  A  cantabile  phrase  for  the  tenc  ,  in  D  flat,  is  hi  itself 
beautiful,  and  contrasts  well  with  the  ^rave  tone  of  what 
precedes  it.  This  cantabile  occurs  twice  and  the  second  time 
gives  way  to  a  brilliant  coda.  An  air  and  chorus  for  female 
voices  in  F, ''  Rayons  dor^s,"  for  Inez,  the  favorite's  waiting- 
maid,  and  the  attendants,  is  deliciously  fresh  and  soothing, 
charming  as  much  by  its  unpretension  as  by  its  grace.  Another 
air  and  chorus,  for  the  same  persons,  in  D,  **  Doux  zephyrs," 
is  equally  pleasing,  though  of  an  opposite  character,  the  style 
being  sparkling  and  joyous  instead  of  melancholy.  Some  re- 
citative for  Inez  and  Fernando  gives  way  to  a  duet  fbrlieonora 


THE  MUSICAL  WORLD. 


115 


and  the  latter,  in  C,  whiob  involves  two  i^reeable  notkfif  one 
in  A  minor,  pasfionate  and  tender,  the  ot^er  in  the  original 
key  of  the  doet.  A  martial  air,  in  A,  for  Fernando,  is  bold 
*nd  anfanated,  demanding  a  large  d^^ree  of  energy  on  the 
puit  of  the  singer  \  with  this  ends  the  first  Act  The  air  was 
omitted  by  Signor  Gardold  oH  Tuesday  night,  which  was  to 
bd  refpretted,  shiioe  it  is  one  of  the  most  effective  pieces  in  the 
o]^rft,  and  ^^kys  Doniaetti's  knowledge  of  the  orahestra-  to 
grant  advantage]  moreover,  wi&oot  it,  the  cnrtain drops  on  an 
anti^cmax. 

Act  II  opens  with  a  noisy  instrumental  fragment,  introduc- 
tory to  the  appearance  on  the  sc^ne  of  Alphonso  XI,  King  of 
Caatllei  Some  accompanied  recitative  leads  to  a  larghetio  in 
A  miAor  for  the  King,  followed  by  a  inaderato  in  F.  The  first 
is  beautiful,  the  second  spirited  but  not  stnkingly  new.  The 
instnlmentation  throughout  is  admirable,  and  the  whale  is  an 
effective  display  for  a  bass  voice.  A  duet  for  Leonora 
and  the  King,  bemning  in  E,  and  ending  in  A,  contains 
a  pleasing  lar§hem  in  si2c<-eight,  for  the  latter,  and  con- 
dndes  with  a  slow  eabaletia^  in  thirds  and  sixths^  which 
has  no  other  diaracteristic  than  triviality.  Next  comes  a 
ballet,  consisting  of  Ibur  pieces:—- an  introduction.  Vivace 
in  B  flat— a  pas  de  trots,  in  various  movements  and  keys — 
a  pas  d!s  six  of  equal  variety-»and  a  pas  tTensemble  in  D, 
minor  or  major,  throughout  This  dance-music  cannot  be 
compared  to  that  in  Guiliaume  Tellf  or  La  MuettSy  or  even 
Robert,  for  fancy  and  melody ;  but  it  is  good  enough  in  its 
way,  sparkling  and  natural,  brilliantly  arranged  for  the  or- 
diestra,  and  absolutely  necessary  to  the  design  and  complete- 
ness  of  the  opera.  It  was  therefore  to  be  lamented  that  the 
autAorides  of  Her  Majesty's  Theatre  should  consent  to  so 
great  a  liberty  being  taken  with  Donizetti's  score  as  was 
involved  in  its  omission  on  Tuesday  night.  The  Chro- 
nkle  is  right  iA  complaining  of  the  loss  of  the  dhertisse^ 
WieniSt  though  we  have  sought  in  vain  throu^out  the  score 
(ibr  die  loan  of  which  we  are  indebted  to  our  kind  fiiend, 
Mr.  C.  It.  Wessel)  fbr  the  dances  m  the  first  act,  equally  re^ 
gretted  by  the  Chfonicle.  The  finale  to  the  3nd  act  is  longand 
fragmentary;  but  it  is  highly  dramatic,  fiill  of  contrast,  and 
abounds  in  masterly  points  of  musicianship,  developing  with 
great  felicity  one  of  the  most  striking  situations  of  the  drama 
— >the  refesal  of  the  King  to  abandon  Leonora,  and  the 
anathema  of  the  Pope  pronounced  by  the  monk  Balthazar. 

The  third  act  is  a  master-piece  in  its  peculiar  school.  It 
contains  a  trio  in  D,  for  Leonora,  Fernando,  and  Alphonso,  ill 
wych  the  plaintive  and  exquisite  melody  for  the  basS 
^oortant  amour,'*  that  has  captivated  the  ear  of  all  Frances 
and  will  doubtless  produce  the  same  efieet  in  England,  plays 
the  most  important  part — a  song  for  Leonora,  beginning  with 
a  passionate  and  beautiful  recitative  in  A  minor,  leading  to 
a  cantabile  in  C,  **0  mon  Fernand,"  which  is  almost  as 
popular  as  the  melody  to  which  we  have  just  alluded ;  and  ^ 
cabaletta  in  £  major,  which  albeit  it  has  much  energy,  and 
flow*  easily,  is  the  least  interesting  portion  of  the  song,  which 
sina  more  on  the  score  of  irregular  tonality  than  on  any  other-^ 
a  pretty  and  effective  chorus  of  nobles,  in  A,  ingeniously 
mingled  with  recitatives  and  solos-^and  the  magnificent  j^a/4, 
the  grand  point  of  the  opera,  which  contains  among  other  fin^ 
things,  the  unison  diorus  in  F,  for  male  voices,  which  bronglit 
out  Mr.  Balfe^s  chorus  on  Tuesday,  with  astounding  effect 
The  situations  comprised  in  this  finale  are  wonderfully  dra;>- 
matie  and  exciting — the  heroism  of  Fernando,  and  the  disgrach 
of  the  favorite*  intermingled  with  the  various  incidents  ansinb 
horn  ^e  pasriont  and  obs^rvaticms  of  the  spectators,  afi 
artfkiBy  combined  by  the  dramatists  H  M«  Scribe,  Royert  anp 


Vaez.  A  pecvdiarity  in  this  finale,  wherein  it  appears  that 
Donizetti  has  either  not  studied  or  has  disregarded  die  iaoMs 
left  by  Mozart  and  other  great  masters, 

"  ThoM  dssth-like  children  of  the  chidden  ctoud," 
is  the  utter  contempt  he  displays  for  relative  tonality.  The 
finale  begins  in  D  minor,  passes  through  a  great  variety  of 
keys,  and  finally  settles  in  C  major,  in  which  key  it  concludes. 
Among  the  modem  Italians,  Rossini  is  the  only  ofli^,  #e 
believe,  who  adheres  upon  principle  to  the  natund  lAWi  of 
tonality.     Donizetti  sins  like  the  rest  of  them. 

In  the  fourth  act  Donizetti  has  embodied  the  gravity  of  the 
ecclesiastical  style  in  his  music  without  overloading  it  >prith 
extra-elaboration.  The  chorus  of  monks  in  E,  JE^thazar's 
solo  in  G,  and  another  short  choral  movement  in  C  which 
follows,  are  solemn  and  impressive,  though  studiedly  simpfe. 
Fernando's  well  known  cavatina,  "  Ange  si  pur,"  in  C,  is  a 
melody  that  appeals  at  once  to  universal  appreciation,  and 
once  heard  can  never  be  forgotten;  nothing  can  be  more 
simple  and  unpretending,  while  nothing  can  be  more 
tender,  and  although  it  is  perfectly  origins],  it  iS  so  natural 
that  it  comes  upon  the  ear  like  the  recollection  of  a  melody 
heard  in  childhood.  The  recitatives  and  choral  fragments 
which  follow  are  scarcely  less  unaffected  and  beautifbl.  The 
effect  of  the  monks'  hymn,  in  A  flat,  sung  from  beh&id  the 
scenes*  with  the  accompaniment  of  an  organ,  is  grave  and  in 
good  keeping  with  the  situation.  Tlie  recitative  for  Leonora  and 
Fernando,  which  opens  with  a  passionate  instrumental  intro* 
duction  in  C  minor,  is  very  fine.  The  duet  for  Leonora  ttid 
Fernando  is  also  a  beautiful  composition,  though  Its  tonal 
construction  is  singularly  incoherent.  For  example,  tfie 
opening  Allegro  for  Fernando  begins  in  A  minor ;  it  has  an 
episode  in  C,  which  leads  to  an  accompanied  recitative  in  £ 
fiat;  a  larghetto  for  Leonora  in  A  flat  minor  then  occurs, 
which  gives  way  to  a  cabaletta  in  A  flat;  some  more 
redtative  in  C  minor  brings  us  back  once  more  Ui  A 
minor,  and  leads  to  a  second  cabaletta  in  C,  which,  as  the 
duet  attains  the  climax,  is  interrupted  by  a  cadence  into  A 
fiat,  the  renewal  of  the  monks'  chorus  already  alluded  to.  tn 
spite  of  this  apparent  rambling,  however,  the  duet  is  full  of 
musical  beauties,  and  abounds  in  fine  dramatic  points.  The 
opera  concludes  with  an  Allegro  Afitato  in  B  flat  minor,  a 
short  movement  of  great  energy  and  intensity,  illustrating  very 
beautifully  the  sad  catastrophe  of  the  drama — the  death  of 
Leonora,  after  Fernando  has  forgiven  her,  and  avowed  the 
unchanged  love  he  bears  her. 

This  hurried  sketch  (intended  exclusively  fbr  our  musieal 
readers)  can  give  but  a  faint  notion  of  the  merits  of  Xa  FaverUa, 
which,  if  not  absolutely  a  work  of  genius,  approaches  aa 
nearly  the  mark  as  high  talent  and  consummate  experience 
can  accomplish.  That  Donizetti  has  both  these  can  hardly 
be  questioned,  and  the  splendid  manner  in  which  he  has  here 
exhibited  them  declares  him  beyond  a  doubt  one  of  the  first 
musicians  of  the  present  epoch,  and  the  Italian  who  nearest 
approaches  in  excellence  the  gifted  "  Swan  of  Pesaro." 

But  it  is  time  to  speak  of  the  style  in  which  the  opera  was 
given  at  Her  Majesty's  Theatre  on  Tuesday  night,  and  of  the 
debutantes,  about  whom  so  much  expectation  had  been  raised. 
We  have  said  enough  of  the  band  and  chorus  to  make  our 
opinion  of  their  capabilities  known.  We  may  add  that  the 
chorus  in  F,  fbr  male  voices,  in  the  finale  to  the  second  act, 
was  so  finely  sung  that  the  audience  unanimously  called  for 
its  repetition.  The  debutantes  were  all  successful.  Signor 
Gardoni  (Fernando),  the  tenor  fh>m  the  F^ch  Academies 
achieved  a  complete  triumph.  His  voice  is  a  Intimate  tenor 
of  rare  quality,  round  and  beautifnl  in  the  middle  tdnes,  dear 


'116 


THE  MUSICAL  WOKLD, 


*iid  **  silvery"  in  the  high  ones.  Over  this  voice  the  singer  has 
acquired  a  complete  control,  which  ensures  that  invariable 
correctness  of  intonation  that  yields  to  no  other  charm  in 
vocalism.  His  execution  is  chaste  and  unerring,  and  his  style, 
though  full  of  energy  and  passionate  expression,  is  wholly 
divested  of  affectation  and  exuberance.  In  short.  Signer 
Gardoni  is  an  artist*  in  the  best  sense  of  the  word,  and 
ft  Tocalist  of  the  very  highest  pretensions.  His  reception 
was  enthusiastic  His  air  in  the  first  act,  "  Une  femme,  une 
ange,"  at  once  proclaimed  his  excellence  to  the  audience,  and 
won  their  unanimous  suffirages*— it  was  boisterously  encored. 
A  similar  compliment  was  paid  to  the  cavatina  of  the  fourth 
act,  '*  Ange  si  pur,"  and  tbe  enei^y  and  dramatic  force  dis- 
played in  the  finale  to  the  third  (for  he  not  only  sings,  but 
acts  admirably)  gained  unbounded  applause  for  the  young 
singer.  Signer  Gardoni's  success  is  indisputable,  and  he  is 
likely  to  prove  a  most  valuable  acquisition  to  Mr.  Lumley, 
whose  discretion  and  judgment  were  never  better  exercised 
than  in  his  engagement.  Mr.  Lumley  will  not,  we  suspect, 
have  reason  to  repent  his  moiety  of  the  dedit  of  50,000  francs 
incurred  by  the  engagement  of  this  new  tenor,  the  signal  for 
whose  popularity  in  this  country  was  given  on  Tuesday  night 
in  a  manner  that  could  not  be  mistaken. 

Signer  Superchi  (Alphonso  XL),  the  new  barytone,  for 
whom  Verdi  did  (according  to  the  Post),  and  did  not  (accord- 
ing to  the  Chronicle]  compose  his  opera  of  Emani  (a  matter  of 
mighty  import  truly  !)  is  also  an  acquisition  for  Mr.  Lumley. 
With  the  slight  tendency  to  fiat  intonation  which  would  seem 
to  beinseparable  from  barytones,  he  has  an  agreeable  and  capable 
voice»  a  chaste  and  uninflated  style,  and  an  easy  deportment, 
which  gives  an  air  of  natural  propriety  to  all  he  does.  Signer 
Superchi  was  encored  in  his  duet  (with  Leonora)  in 
the  second  act^  and  much  applauded  in  the  romance, 
*'  Pourtant  amour,"  of  the  trio  in  the  third  act.  Signer 
Superchi  is  not  a  Tamburini,  but  he  is  worth  a  dozen 
Fomasaris.  Again  we  must  be  eulogistic  in  favour 
of  Signer  Bouch^  (Balthazar)  the  third  debutante,  who 
has  a  bass  voice  that  charms  alike  by  flexibility  and  sympa- 
thetic quality  of  tone.  Without  being  great,  Signor  Boudi^is  a 
light  good  singer,  and  though  not  a  striking,  a  sensible  actor, 
and  one  who  makes  his  presence  in  the  concerted  music 
invaluable.  He  was  well  received  and  frequently  applauded 
through  the  opera,  losing  no  point  where  his  powers  as  a 
vocalist  could  be  manifested  without  undue  obtrusion.  Thus 
fiu  for  three  of  the  debutants.  Madlle.  Nascio>  the  fourth,  who 
undertook  the  subordinate  part  of  Inez,  lacked  power  to  give 
expression  to  the  pretty  and  natural  music  that  Donizetti  has 
written  for  the  character.  The  part  of  Leonora  (the  favorite) 
was  supported  by  Madlle.  Sanchioli,  one  of  those  new  im- 
portations who,  last  season,  were  made  unduly  prominent  by 
the  management  of  Her  Majesty's  Theatre.  We  own 
that  our  recollections  of  Madlle.  Sanchioli  left  us  little 
disused  in  her  favor,  but  we  were  agreeably  disappointed. 
It  18  one  thing  to  scream  through  a  ridiculously  unvocal 
partition  of  Verdi,  and  quite  another  to  siuff  through 
a  thoroughly  vocal  part  like  that  of  the  Favorite.  Verdi 
is  ruining  all  the  voices  in  Italy,  and  it  is  a  fact  to 
which  we  can  bear  testimony,  that  Miss  Hayes,  one  of  the 
most  popular  and  gifted  dranuitic  singers  that  the  Italian 
stage  possesses,  makes  a  clause  in  all  her  engagements,  that 
she  shall  not  be  asked  fx>  sing  in  any  of  Verdi's  operas. 
Donizetti  on  the  ether  hand  is  a  thorough  master  of  the 
capabilities  of  voices,  and  even  in  his  most  elaborate  bravuras 
consults  them  with  effect,  and  writes  vocally.  Moreover  the 
pan  of  Leonora  was  written  for  a  mezzo-soprano,  Mad.  Stoltz 


and  the  voice  of  Mdlle.  Sanchioli  is  an  indisputable  mean* 
soprano.  The  consequence  is  that  she  sings  Uie  music  with 
ease,  and  those  who  heard  her  on  Tuesday  night  could 
scarcely  believe  they  were  listening  to  the  prima  damui  whom 
they  recollected  last  season  labouring  with  evident  agony 
through  an  incoherent  rhapsody  of  passages,  totally  unsuited 
to  her  voice,  or  indeed  to  that  of  any  earthly  singer.  The 
hyena-tribe  of  vocalists  might  perhaps  do  justice  to  Signor 
Verdi's  effusions,  but  they  are  suited  to  nothing  human.  It  must 
be  mentioned  also  that  Madame  Sanchioli  has  greatly  improved 
in  style.  Her  acting  no  less  than  her  singing,  is  thrice 
more  natural  and  easy  than  it  was.  On  the  whole,  indeed,  she 
sustained  the  part  of  Leonora,  if  not  greatly,  at  least  sensibly 
effectively,  and  artistically.  The  andienoe  was  not  slow  in  re- 
cognizing Madame  Sanchioli's  great  improvement,  and  applau- 
ded her  Uberally  and  frequently.  If  she  thus  continue  to  pro- 
gress, there  is  no  knowing  to  what  a  height  she  may  ultimate- 
ly attain  in  her  art  On  the  whole,  we  have  seldom  heard  an 
opera  more  satisfactorily  represented  in  all  its  parts,  than  La 
Favorita  on  Tuesday  nighL  If  this  be  the  result  of  competi- 
tion, Mr.  Luroley.'s  best  friends  will  not  be  sorry  that  the  exis- 
tance  of  a  rival  establishment  should  have  been  the  cause  of 
weakening  his  energies.  After  the  third  and  fourth  acts  of  the 
opera,  Signor  Gardoni  and  the  other  principal  singers  were  re- 
called ;  and  at  the  conclusion,  the  young  tenor  reappeared,  ac- 
companied by  Mdlle.  Sanchioli,  at  the  unanimous  desire  of 
the  audience.  Mr.  Lumley  was  then  called  for,  and,  subse- 
quently, Mr.  Balfe,  both  walking  successively  across  the  stage 
amidst  loud  and  general  applause.  The  Italian  version  of  La 
Favorita,  by  Signor  Jannetti,  Mr.  Lumley's  Poet-Lauieat,  is 
excellent ;  but  the  English  version  of  that  version  is  filled  with 
glaring  errors  and  mistranslations,  from  one  end  to  the  other. 
The  Ballet  must  be  dismissed  in  as  few  words  as  possible. 
Mr.  Lumley,  ever  active  in  this  department,  for  which  his  thea- 
tre has  long  been  famous*  has  provided  us  several  new  dan- 
cers, and  a  new  entertainment  to  exhibit  their  attractions.  The 
title  ib,  Coro/MT,  or  the  inconstant  Knight.  The  story  is  foun- 
ded on  the  beautiful  and  popular  German  romance  of  Undine^ 
by  LaMotte  Fouque ;  and  condensing  the  opera  version,  may 
be  thus  narrated  :— 

"  Sir  HUdebnnd  of  Ringoletten  the  devoted  admirer  of  the  Duke's 
daughter.  Bertha,  is  required  by  her  to  dare  the  adventures  of  the 
£Dcbanted  Forest,  and  Is  for  this  purpose  presented  bj  the  lady  with  an 
enchanted  scarf,  whose  magic  powers  are  to  seive  him  in  his  enterprise. 
In  the  hut  of  a  fisherman  he  sees  Coralia,  the  niece  of  Fraisondin,  the 
spirit  of  the  waters.  He  saves  the  girl,  by  means  of  the  magic  scarf, 
from  death,  risked  by  her  heedlessness  and  after  avowing  his  love  for  her 
espouses  her  forgetful  of  his  faith  to  Bertha.  His  return  to  the  coast  is 
followed  by  the  appearance  of  the  fisherman  and  his  wife  to  claim  the 
daughter  of  the  duke  as  their  own,  lost  at  the  time  they  first  found  the 
infant  niece  of  the  water  spirit.  Indignant  at  the  want  of  feding  with 
which  Bertha  treats  her  parents,  the  duke  determines  on  abandoning  her, 
and  Coreha  in  pity  offers  her  a  residence  in  the  castle  of  Sir  Hildebrend, 
which  Bertha  accepts,  but  here  the  ancient  love  revives  and  Sir  Hilde- 
brand  forgets  his  passion  for  Coralia.  Fraisondin,  who  visits  the  castle 
from  the  bubbling  waters  of  a  fountain  in  its  precincts,  inspires  Coralia 
vnth  Jealousy  and  confirmed  in  this  idea  by  the  sight  of  the  magic  scarf, 
with  which  she  maintains  the  passion  of  the  knight,  she  tean  off  her 
wedding-ring  and  plunges  in  the  fountain,  while  the  avenging  Fraisondin 
dngs  Sir  Hildebiand  to  destruction.*' 

Mdlle.  Carolina  Rosati  arrived  ivith  a  preliminary  flourish  of 
trumpets  from  the  Morning  Post  and  other  papers.  Contrary 
to  custom  she  justified  most  that  had  been  predicated  in  her 
favour.  She  hiss  an  expressive  face,  and  a  slight  and  graceful 
figure.  Her  execution  is  extremely  natural,  and  easy,  and 
perhapst  for  this  reason,  seldom  or  never  surprises.  Her 
action  and  miming,  however,  are  not  original,  the  charming 
lUid  incomparable  Carlotta  Grisi  being  her  evident  type^and 


THE  MUSICAL  WORLD. 


117' 


who  that  attempts  to  soar  in  Act  element  can  hope  totriomph  ? 
— "  who  can  imitate  that  which  is  inimitable  ?"  (as  Byron  said 
of  Scott  in  a  foot-note — thinking  quite  the  opposite  all  the 
while.)  Neverthelesst  Mdile.  Rosati  has  great  and  incontesti- 
hle  merits,  and  was  often  and  deservedly  visited  by  marks  of 
undeniable  approval  from  the  audience.  But  the  triumph  of  the 
evening  was  ^e  Pas  de  Roiitret,  danced  by  a  very  young 
debutante  (who  exhibited  no  signs  whatever  of  debutantish 
nervousness),  Mdlle.  Marie  Taglioni»  daughter,  we  are  told,  of 
M.  Paul  Taghoni*  the  inventor  of  the  present  ballet,  and  by 
consequence  niece  to  the  great  Taglioni  herself.  Whether 
Marie  Taglioni  will  ever  be  Maria  Taglioni— t.  e,  worthy  of 
her  name — remains  to  be  seen.  She  is  as  pretty  and  quaint 
in  personal  appearance  as  can  well  be,  and  her  Chinese  coiffure 
adds  to  the  piquant  originality  of  her  countenance.  Then  her 
figure,  tres  prononc^  for  her  years  (some  seventeen,  they  say) 
is  exquisitely  mouldedt  after  a  model  that  Utian  would  have 
exulted  over.  Her  feet,  like  little  mice,  run  here  and  there, 
with  a  quickness  almost  imperceptible,  as  the  deceptive 
twinkling  of  those  £u:-off  suns,  which  astronomers  have  dubbed 
**  fixed  stars."  Then  her  legs  (dare  we  name  them  I)  are,  as  it 
were»  chiselled  from  the  sloping  limbs  of  one  of  Raphael's 
(not  Canova's)  **  Graces."  Altogeiher  there  is  something  so 
young,  so  singular,  so  fresh,  so  pretty,  and  so  generally  attractive 
about  little  Marie  Taglioni  that  no  wonder  everything  she  did 
was  applauded  to  the  very  echo.  Still,  prejudice  apart,  she 
already  exhibits  unusual  talent,  and  moves  about  with  grace ; 
her  limbs  are  as  pliant  as  they  are  well  moulded,  and  Uiere  is 
an  originality  of  eouhur  in  mnch  that  she  effiscts.  There  is, 
so  to  speak,  a  sinuousness  in  her  motions  that  makes  it  appear 
as  though  she  were  not  an  osseous  biped.  In  some  oi  her 
attitudes  we  remarked  a  tendency  to  voluptuousness  that  in  one 
so  young  excites  admiration  and  delight,  but  would  hardly  be  so 
graceful  and  so  innocent  in  adult  woman-hood.  The  other 
dancers — M.  Louis  D'Or  (a  novelty  from  Paris)»  Madame 
Petit  Stephan  (whom  all  of  as  know  and  admire),  Mdlle. 
Honor6  (an  excellent  coryphee),  Mdlle*  Carolina  Bancourt 
(another  handsome  and  flexible  importation  of  whom  more 
anon),  and  MM.  Gosselin,  Venafra,  and  Gouriet  (veterans 
highly  esteemed  in  their  walk,  or  rather  "step"),  exerted 
themselves  efficiently,  and  gained  their  full  meed  of  approval. 
The  baliet  is  magnificently  got  up  in  all  its  appointments,  and 
the  scenery  is  highly  creditable  to  the  talented  Mr.  Marshall 
and  his  assistants.  Some  of  the  scenic  contrivances  are  as« 
.  tonishing,  when  the  resources  of  the  theatre  in  this  particular 
are  taken  into  consideration.  The  performances  concluded 
about  a  quarter  to  two  o'clock. 

So  much  for  the  opening  of  Her  Majesty's  Theatre  on 
Tuesday,  Feb.  16tii,  1847.  That  Mr.  Lumley  has  fought 
manfully  against  adverse  circumstances  cannot  be  denied. 
The  wonder  is,  after  what  has  happened,  that  he  has  gathered 
confidence  and  force  enough  to  fight  at  all.  Now  that  he  is 
in  the  field,  however,  in  advance  of  his  powerful  adversary, 
he  must  stand  to  it  like  a  hero.  There  are  many  who  would 
rejoice  at  the  downial  of  his  establishment ;  but  we  are  none 
of  these,  whatever  he  may  think,  and  whatever  they  may  tell 
him,  who  are  not  our  well-wishers,  nor  his  most  prudent, 
however  they  may  be  his  most  zealous  adherents.  Mr.  Lumley 
has  begun  the  season  nobly»  and  has  bravely  defied  adversity. 
Let  him  proceed  in  this  fashion*  and  he  will  find  among  his 
warmest  backers*  all  those  who  respect  truth  and  detest  puffing. 


PROVINCIAL  INFORMATION. 

OuE  eontemporaries  in  the  provinces  are  eager  to  give  their 
leaden  as  much  musical  news  as  possiblci  and*  sooner  than 


not  be  prepared  with  a  budget,  they  coin  it  from  their  own 
brains.  Take  the  following  example  from  The  Liverpwd 
Chronicle,  the  writer  of  which  would  appear  to  know  more 
than  all  the  London  papers  put  together,  and  what  is  stranger, 
more  of  some  people's  afiairs  than  they  know  themselves : — 
Observe  what  is  stated  of  Mr.  Bunn,  in  relation  to  the  Jenny 
Lind  business,  and  of  Mr.  Balfe,  quoad  the  dispute  between 
the  Drury  Lane  lessee  and  himself,  on  the  first  night  of  The 
Bondman, 

"There  ii  still  some  resson  for  tapponng  that  Mrs.  Butler  and 
Macresdy,  by  their  uoited  efforts  in  one  eftablisbnient,  before  the  season 
is  over,  will  rc(ioice  the  hcutt  of  the  lovers  of  the  "  legitloiatef"  by 
presenting  our  standing  plays  in  the  metropc^s.  Whether  at  Drury 
Lane,  or  not,  It  might  be  premature  at  present  to  state;  one  thing  I  ean 
vouch  for,  the  opera  and  ballet  al  that  gigantic  theatre  have  for  some 
nights  past  ceased  to  draw,  and  that  though  Mr.  Bunn,  the  lessee's  name, 
does  not  appear  in  the  newly  issued  programme  of  the  Royal  Italian 
Opera  at  Covent  Garden,  he  is  assuredly  engaged  at  that  establishment, 
and  steps  across  to  assume  the  direction  sometime  before  the  commence- 
ment of  the  season,  protracted  till  after  Easter.  This  engagement  will 
oblige  Mr.  Bunn,  active  as  he  is,  to  withdraw  either  in  part  or  altogether 
from  Old  Drury;  nearly  all  the  chief  dancers  and  coryphees  at  Drury 
Lane  have  been  engaged  at  the  two  rival  Italian  houses ;  this  puts  an 
end  to  the  ballet  at  the  Lane,  instead  of  which  spectacle  is  to  be  introduced 
should  the  theatre  continue  open,  If  not,  why  then  we  may  have  Butler 
and  Macready.  Bunn,  I  have  it  flrom  good  authority,  is  most  anxious  to 
keep  his  promise  with  the  public  in  respect  of  Jenny  Lind,  the  Swedish 
nightingale ;  he  has  refused,  within  the  last  few  days,  no  less  a  sum  than 
£3,000,  offered  by  the  lessee  of  Her  Mi^esty's  Theatre,  to  give  up  all 
claim  to  Jenny.  Bunn  still  refuses,  but  I  have  reason  to  beUeve,  were 
he  allowed  to  present  the  ttAt  and  aceomplished  Swede  on  the  boards  of 
Drury  Lane  for  but  one  night— and  that  the  first,  he  would  accept  the 
above  sum^-then  she  might  warble  where  sheUked.  Balfe  and  Bunn  have 
sometime  since  made  up  their  differences,  the  former,  I  believe,  ac- 
knowledging that  he  was  in  the  wrong;  he  found  Aiult  with  Harrison's 
dress  in  his  new  opera  of  the  Bondmamt  imagining  that  It  had  come  from 
the  pega  of  the  Am  de  Pripperie,  which  it  certainly  did  not,  whatever 
might  be  said  of  some  of  the  others.  However«  the  parties  have  come  to 
an  understanding.  Monday  night  was  a  mebmdioly  one;  the  theatre 
was  devoted  to  a  benefit  for  the  Irish  and  Scotch,  the  weather  was  incle- 
ment, and  the  company  scant." 

The  Mrs.  Butler  and  Macready  speculation  is,  as  the 
Chronicle  would  say»  mere  moonshine,  and  the  rest  of  the 
information  is  ahout  as  authentic.  But  our  contemporary 
will  ohsenre,  *'  A  newspaper  must  haye  news  or  itunfolfils  its 
mission ;"  and  this,  we  presume  must  senre  fbr  an  apology,  in 
the  absence  of  a  better. 

MADAME  ilSHOP   IN  THE   PROVINCCt. 

{From  ottr  0¥m  Corrupondemt.) 

DUBLIN,  Monday,  Feb.  16. 
I  iNTSifDBD  to  have  written  before  this,  but  the  last  week  has  been  a 
very  busy  one  indeed  with  us.  Only  imagine  a  lev^,  drawing-room, 
and  ball  at  the  castle ;  a  concert  numttre  for  the  benefit  of  the  poor ; 
amateur  theatricals ;  and  last,  though  not  least,  Madame  Bishop  at  the 
Theatre  Roy  alkali  in  one  week.  But  do  not  believe,  because  I  have 
paid  my  devoirt  at  the  vice-regal  court,  danced  a  quadrille  or  polka  at 
the  ball,  or  undertook  to  exhibit  my  histrionic  powers  at  the  performance 
of  the  amateur  actors,  that  1  have  therefore  n^ected  musical  affairs,  or 
have  forgotten  my  promise  to  you  concerning  Madame  Bishop,  about 
whom,  1  am  well  convinced,  the  great  mass  of  your  readers  are  particu- 
larly interested.  WeU,  then,  passing  over  the  concert  montire  on 
Friday,  the  12th  (which  was  nothing  else  than  a  repetition  of  the  one 
given  the  previous  week,  and  was  as  thinlv  attended  as  the  first  was 
crowded],  I  will  introduce  you  at  once  to  Madame  Bishop's  performances 
at  the  Theatre  Royal,  Hawkins-street.  I  have  already  told  you  la 
general  terms  of  the  immense  success  she  obtained  In  the  Maid  tf 
Artoit  on  her  dehut;  but  I  think  it  will  be  agreeable  to  the  spirit  of 
criticism,  and  but  doing  justice  to  the  charming  artist,  to  name 'a  f^w 
particulars  of  the  performance.  The  reception  the  audience  gave  to 
Madame  Bishop  was  most  enthusiastic.  After  the  opening  recitative— 
one  of  the  very  highest  efforts  of  vocalisation  I  ever  heard— the  singer 
was  compelled  to  pause  for  sevend  seconds  in  acknowledgement  of 
the  aodamations  ftom  all  parts  of  the  house.  Throughout  the 
whole  opera  she  was  listened  ^j^^e^P^*^  bresthless  attention. 


118 


THE  MUSICAL  WOMD. 


Everf  motion  of  the  artist  was  watched,  every  note  was  felt,  and  the 
audience  from  the  first  scene  were  bound  in  the  spell  of  the  enchantress. 
You  yourself,  \r\ko  have  been  frequently  in  our  fair  city,  and  have  wit- 
nessed the  impulsiveness  of  our  theatrical  assemblies,  can  un4er8tand 
the  furore  of  an  Irish  auditory  when  swayed  by  genius.  The  desert 
scene  Is  by  Isr  the  best  portion  of  the  opera  both  as  a  vehide  for  the 
singer  and  actor ;  and  in  this  grand  scene  Madame  Bishop  shone  truly 
pre-eminent.  Nothing  could  be  more  exquisitely  expressive  than  her 
pathos,  and  nothing  more  unpretending.  It  was  the  deepest  passion 
seemingly  evolved  without  an  effort.  The  rondo  finale,  one  of  the  most 
difficult  moreeaux  we  have  heard,  was  splendidly  given,  and  rapturously 
encored.  It  was  an  amaalng  display  of  vocal  facility  and  brilliancy. 
Madame  Bishop  was  tumultuously  called  for  at  the  end,  and  I  do  not 
think,  that  even  with  the  recollection  of  continental  applause  ringing  in 
her  ears,  she  will  soon  forget  the  warm  greeting  she  obtained  from  poor 
Faddy.  It  is  really  the  opinion  of  those  oonvexaant  with  theatrical 
raattora^  that^Madame  Bishop  baa  been  the  most  tremendous  hit  at  the 
theatre  for  many  years.  OnThursday  an4  Friday  la80fmawhbuh  was  played, 
Madame  Bishop's  Amine,  on  the  whole,  is  a  better  performance  than  her 
Isoline.  It  is  more  eomp)ete,  more  touching,  if  less  grand;  and  tbe 
music  of  Bellini  is  better  fitted  to  her  voice  than  that  of  Balfe,  which  was 
written  for  a  powerful  contralto,  not  for  a  brilliant  soprano.  1  need  not 
acquaint  you  that  poor  Malibran's  voice,  notwithstanding  its  enormous 
compass,  was  in  reaiity  a  contralto.  To  specify  Madame  Bishop's  best  mm** 
oMttM  in  the  opera  of  Sonnambula  would  be  to  name  every  portion  she  s«ng. 
From  the  opening  ncitative*  and  aria  *^  Petfest  Companion,"  to  the  bril- 
liant finale,  all  was  perfect.  On  Saturday  The  UtM  if  Arlm$  was  repeat- 
ed by  particular  desire  of  His  Excellency  the  tord  lieutenant.  The 
house  was  crowded  with  all  the  fashionable  residents  in  the  metiopolis» 
and  presented  an  unusually  splendid  appearance ;  the  whole  of  the  vice* 
regal  party  seemed  highly  delighted  with  Madame  Bishop's  performances. 
Next  wiaek,  Madame  Biehop  is  announced  to  appear  in  an  English  ver- 
sion of  Dooiseitt's  celebrated  open,  V  BHtiar  d'Amore,  and  also  in  Anna 
JMfiui.  His  Royal  Highness,  Prince  Qeorge  of  Cambridge,  patronises 
tkie  Theatre  on  Saturday  next,  and  has  commanded  the  performance  of 
the  Moid  of  Attoit,  Monday  the  aad  Inst.,  is  fixed  for  the  prima  dimna'i 
benefit.  Two  drcumstaneea  in  the  engagement  of  M  adame  Bishop  at  our 
Theatre,  are  suffidently  to  be  regretted.  The  first  is.  that  so  great  an  ar* 
tist  should  come  amongst  us  at  such  a  deplorable  time— deplorable  both 
as  regards  the  state  of  the  country  and  the  iodemency  of  the  season.  The 
second  drcnmstanoe  whieh  is  a  cause  of  regret,  is,  that  this  great  artist 
shooM  be  so  inefficiently  supported.  Surely  some  blame,  as  regards 
want  of  foresight,  must  attach  to  Madame  Bishop  in  this  instance.  Could 
tht  not  find  in  all  London  some  deserving  artist  who  could  take  part  with 
her  in  op^ra,  and  support  her  as  she  ought  to  be  supported ;  or  was  she 
so  ill-judging  as  to  fancy  second,  or  third-rate  tenors,  and  basses  were  to  be 
found  belonging  to  theatres  out  of  the  metropolis]  or  that  the  manager 
of  proTincM  Theatres  could  supply  \h»m  t  Wheresoever  the  fault  lies,  the 
evU  consequence  has  fnUen  on  Madame  Bishop ;  for  great  as  her  success 
has  been,  and  splendid  the  triumphs  that  awaited  her,  her  performances 
have  lost  much  of  their  importance  by  tbe  incomplete  manner  in  which 
they  were  represented.  When  Orisi,  or  Castellan,  comes  to  Dublin,  does 
one  or  the  other  oome  unattended  by  an  cffident  support  f  Will  the  one 
perform  without  Mario,  or  the  other  without  Lablache  ?  No,  they 
arq  too.  good  judges,  and  are  wdl  aware  that  the  greatest  talent,  single- 
handed,  has  up-hill  work  of  it.  It  is  a  matter  of  tbe  utmost  surprise  to 
me  that  Madame  Bishop  has  not  brought  her  own  party  with  her.  It  is 
astonishing  how,  with  little  or  nothing  to  assist  her  performance,  she  can 
produce  tbe  Immense  effect  she  dpes ;  and  by  her  sole  powers,  histrionic 
nnd  lyric,  keep  the  audience  interested  for  three  or  four  hours.  Next  Tues- 
4«y»  the  first  philharmonic  concert  takes  place.  The  charming  duet  singers 
t>e  Misses  Williams,  are  engaged,  as  is  also  your  celebrated  (x)ndon 
pianist.  Mad.  Dulcken.  I  was  not  little  amazed  at  apH/f  pon/t&e— I  can  call 
it  nothing  less — ^which  has  appeared  here  in  all  our  papers,  respecting  a  new 
Cadenza  received  direct  from  Dr.  Mendelssohn,  expressly  written 
tor  Madame  t)ulcken,  and  which  is  to  be  introduced  by  her  in  his  second 
concerto  on  Tuesday  next.  I  have  heard  of  a  steam-boat  going  to  a 
certain  j^lace  direct,  and  of  pampers  of  wine  sent  direct ;  but  a  travelling, 
or  transmitted  Cadenza  I  have  never  had  the  luck  to  hear  of  before.  I 
forgot  to  mention  in  my  theatrical  notice  that  our  spirited  manaifer, 
Mr,  Calcraft,  brought  out  the  operas,  as  regards  the  tni$e  en  scene, 
scenery,  dresses,  &c.,  with  exceeding  care.  The  procession  was  splendidly 
xnana£^d.    You  shall  have  more  news  next  week.    Yours  ever, 

C.R. 

[Our  correspondent  seems  not  to  understand  entirdy  the  meaning  of 
of  the  word  Cadema,  as  applied  in  the  announcement  of  Madame 
Dulcken's  forthcoming  performance  at  the  Dublin  Philharmonic;  nor 
does  he  seem  to  read  aright  tbe  paragraph  in  the  joMmal  which  gave  the 
statement.    The.  part  of  the  nara^n^ph  alluded  to  is  as  follows  :— 

"  We  dnderstana  Mad«  Duuen  has  JuM  tecdved,  direct  from  Germany,  | 


a  new  (Mmn^JuU  qfmwaad  betni*^  pamageMt  ivt  Dr*  Mfnddsiolm's 
seeond'concert,  vmtten  expressly  for  her  by  the  authors  ttod  which  will  be 
performed  for  the  first  time  In  public  at  thtf  concert  Of  this  sodety  on 
Tuesday  next" 

A  cadeaxa  in  a  concerto  is  a  very  different  tjiing  from  n  ftiden^^  in  « 
vocal  tnorceau.  It  is  a  brilliant  development  ^  some  motive  of  the 
concerto,  and  is  written  so  as  to  employ  the  executive  power  of  the 
pianist  to  the  greatest  advantage.  *  From  the  intimacy  existing  between 
Madame  Dulcken  and  Dr.  Mendelssohn,  we  have  no  doubt  that  tbo^ 
cadenMa  was  written  expressly  by  the  great  oompoaev  for  the  frir 
pianist— £d,  M,  W.] 


JFrom  tie  iSttrman  of  €rpti^f. 

CfonHmiedflr^mpa^  104. 
PART    M.-^r*GHAPTSa    IL 

MovBD  by  thie  oocurrence,  and  by  tbe  o^nversation  to  whiob  it 
ba4  given  rise,  they  went  the  next  day  to  the  place  of  bqrial,  for 
the  decoration  and  enlivening  of  which  the  architect  had  already 
made  many  a  felicitous  proposal.  He  was  also  to  extend  bic  caret 
to  the  church,  a  building  which  had  attracted  hit  attention  from 
tbe  first. 

This  church  bad  stood  fbr  many  centurien.  It  was  a  speeiineii 
of  the  German  art  and  manner,  built  in  due  proportion,  and 
decorated  in  a  becoming  style.  One  could  easily  citsoera  thai  tbo 
builder  of  a  neighbouring  conveoi  bad,  with  jud^ent  and  love  of 
the  work,  displayed  his  talent  in  this  little  building  also,  which 
always  bad  a  pleasing  and  solemn  effect  on  tbe  beaoTder,  although 
the  new  disposition  of  the  interior,  in  accordance  with  the  Pro- 
testant form  of  worship,  had  deprived  the  edifice  of  somewhat  of 
its  majesty  and  repose. 

The  architect  found  no  difficulty  In  obtainmg  from  ChaTlottt  % 
moderate  sum,  with  which  he  intended  to  improve  both  tbe  oolaidt 
and  inside  of  the  church,  and  bring  it  more  Into  bnripony  with  t)|e 
cei|ietry«  He  was  himself  an  adept  in  manual  labour,  and  some  of 
the  workmen,  who  had  been  employed  on  the  summer-bouse,  yr^xe 
readily  retained  until  this  pious  work  was  finished  also. 

While  they  were  occupied  in  examining  the  building  with  all  its 
appurtenances,  there  appeared,  to  the  great  astonishment  and  de* 
light  of  the  architect,  a  little  mner-chapel,  which  had  almost  passed 
unnoticed,  and  the  style  of  which  was  still  more  ingonkms  and  Hght 
than  that  of  tbe  church,  while  the  ornaments  were  more  fleaJng 
and  elaborate*  It  contained,  moreover,  several  carved  and  pamtod 
relics  of  that  older  form  of  worship,  which  knew  so  well  how  to 
mark  the  different  festivals  with  curious  oiclures  and  utensils,  every 
one  of  them  in  a  manner  peculiar  to  itself. 

The  architect  was  obliged  to  include  this  chapel  in  his  plan, 
with  the  special  purpose  of  making  this  limited  space  a  moonment 
of  former  times,  and  the  taste  which  prevailed  in  them.  Me  hod 
already  thought  of  adorning  the  emoty  spaces  in  the  vaults  accord- 
ing  tQ  hia  own  ianoy,  pleased  with  tne  opportunity  of  showing  bis 
talent  as  a  painter ;  but,  for  the  present,  aq  kept  his  intention  a 
secret  from  the  other  inmates  of  tbe  house. 

In  the  first  place,  according  to  his  promise,  he  showed  the 
ladies  his  different  copies  and  sketches  of  ancient  monuments, 
vessels,  and  other  things  of  a  similar  kind,  and  the  conversation 
being  directed  to  the  simple  grave-hillocks  of  the  northern 
people,  he  bronght  forward  his  ediection  of  the  various  weapons 
and  imj^lements  which  bad  been  found  in  them,  lie  bad  all 
these  things  very  cleanly  and  portably  arranged  in  drawers  and 
compartments,  upon  boards  covered  with  clotn,  so  that  old  and 
solemn  as  they  were,  they  derived  something  of  smartness  from  his 
method  of  keeping  them,  and  might  be  looked  on  just  as  pleasantly 
as  the  box  of  a  dealer  in  fashions.  Now  he  had  once  begun  the 
work  of  exhibiting  them,  as  the  solitude  needed  some  diversion,  he 
made  a  practice  of  bringing  out  a  portion  oi  his  treasures  every 
evening.  They  were  chiefly  of  Qerman  origin,  consisting  of 
bracteatesa  solid  arms,  seals,  and  other  things  of  the  sort.  All  of 
them  directed  the  imagination  to  an  earlier  period,  and  as  the 
architect  illustrated  his  entertainment  with  the  earliest  attempts  at 
printing  and  wood-cutting,  and  the  oldest  cooper-plates,  while  the 
church  every  day,  in  accordance  with  his  design,  approached  both 
in  colour  and  ornament  to  the  character  of  antiquity,  the  whole 
party  bad  frequently  to  ask  themselves  whether  ibey  leaHy  were 


THE  MUSICAL  WORLD. 


119 


lirtnipia  madern  times — whether  it  was  not  a  dream  that  they 
were  thus  ^^rying  among  other  manners,  habits,  and  modes  of  life 
and  conviction. 

In  this  respect,  a  large  portfolio,  which  the  architect  at  last 
produced,  had  an  excellent  effect.  It  contained,  for  the  most  part, 
mere  skeCehei,  but  as  these  had  been  actually  traced  upon  the 
origioaJs,  they  perfectly  retained  their  antioue  chf^racter,  which 
nre  the  greafeat  delight  to  the  spectators.  From  all  the  different 
rorns  peered  forth  the  purest  stat^  of  existence,  and  they  were 
forced  to  acknowledge  that  all  were  good,  if  not  in  the  noblest 
style*  A  cheerful  disposition,  a  willing  acknowledgment  of  some- 
thing to  be  revered  above  us,  a  quiet  resignation  in  love  and  hope 
were  expressed  in  every  face  and  gesture.  The  old  man  with  his 
baJd  head,  the  boy  with  his  flowing  locks,  the  cheerAid  youth,  the 
eanMsl  man,  the  transfigored  aiint.  the  soaring  angel,  all  seemed 
h^ipy  in  ipnpoent  contentment  and  pious  expectation.  The  com- 
monest event  had  in  it  a  touch  of  heavenly  life,  and  an  act  of  wor- 
ship seemed  suitable  to  their  very  nature. 

To  such  a  region  most  of  them  looked  as  to  a  golden  age  that 
had  passed — a  lost  paradise.  Perhaps  Ottilia  alone  felt  herself 
amoDff  congenial  beings. 

wEo  oouM  have  resisted,  when  the  architect  offared  to  peint 
the  spaces  between  the  arches  of  the  chapel,  after  these  figures, 
and  tans  to  leave  a  oneniori^  in  e  place  where  he  had  spent  so 
happy  a  time.  I}e  sti^t^  his  vl^ws  on  this  subject  witn  soqie 
degree  of  melanoho^,  fpr  h9  coqld  see  from  the  very  nature  of 
aflairtto  that  hk  sqjouni  in  so  perfect  a  society  could  not  last  for 
even  oay»  that  perhaps  it  wouM  be  brought  to  a  speedy  tei^ 


Altogether  these  days  were  not  rich  in  events,  but  they  aflbrded 
abundant  occasions  for  serious  conversation.  We,  therefore  take 
the  opportunity  of  communicating  some  of  the  remarks  which 
Ottilia  noted  qown  in  her  diary,  to  which  we  can  find  no  better 
ittrednetion  then  «  simile  wUcb  was  forced  upon  i|9» «  we  contem- 
pla^d  her  ^fu^ming  leeves. 

Y^ e  have  h^ard  of  a  peeuliar  arrangement  in  the  ^plnglish  navy. 
All  the  ropes  ef  the  ripyaJ  fleet,  from  the  strongest  to  the  slightest, 
are  so  spun>  that  a  red  thread  goes  through  the  whole,  which  cannot 
be  taken  out  ^thont  undoing  the  entire  rope,  and  which  allows  it 
to  be  seen,  even  in  the  smallest  pieces,  that  they  belong  to  th^ 
crowo*- 

Tbna  thronflrh  Ottilia's  diary,  there  is  e  thread  of  inclination  and 
^U^hifieot  wVm^  at  once  unites  end  marks  the  whole.  Hence 
these  remarks^  reflectiona,  extracted  aphorisms,  and  wbi^tever  there 
is  of  the  sort*  have  quite  a  peculiar  importance,  when  considered 
with  respect  to  the  writer.  Every  sinc^le  passage  selected  and 
communicated  by  us  will  sufficiently  testify  tnis  fact. 

sxraACTB  FROM  Ottilia's  diaxt. 

^  To  rest  he|-eafter  by  those  whom  we  love  is  the  pleasantest  anti- 
ctoatioh  which  man  can  form,  if  be  looks  beyona  the  present  life. 
**  xo  be  collected  to  one's  own^ — that  is  such  a  feeling  expression ! 
^ere  are  several  kinds  of  monuments  and  testimonials  to  bring 
nearer  to  us  that  which  is  remote  or  has  departed  ;  but  none  are 
so  important  as  the  portrait.  The  portrait  of  a  beloved  person, 
even  when  unlike,  has  a  charm  about  it,  just  as  it  is  oftentimes 
pletsiqg  to  dispate  with  a  friend.  We  feel  in  a  pleasant  iiianner 
that  we  are  two,  and  yet  cannot  be  severed. 

^^ We  often  behave  to  an  individual  actually  present  as  if  he  were  a 
portrait.  He  need  not  speak  to  us,  look  at  us,  or  trouble  himself 
about  us.  We  see  him,  we  feel  our  relation  to  him,  a  relationw  hich, 
perhaps,  may  grow  closer,  without  anything  l>eing  done  by  him, — 
withont  his  ever  feeling  that  he  is  to  us  no  more  than  a  portrait. 

We  are  never  satisfied  with  the  ^itraits  of  those  we  know. 
On  this  acoonnt  I  have  always  pitied  portrait^ppters.  We 
T9rf  seldopi  efact  from  popple  a<i  impossibility,  ^nd  yet  we  dp 
it  in  tnis  yery  case.  The^r  ^ave  to  include  in  tneir  picture  the 
person's  relation  to  others,  his  inclination  and  disinclination.  They 
are  not  only  to  show  their  own  conception  of  a  man,  but  the  way 
in  which  every  one  else  ipay  conceive  him.  I  am  not  surprised 
that  artists  of  this  class  gradually  become  obdurate,  indifferent,  and 
obstinate.  This  would  be  of  little  importance,  if  we  were  not  in 
eonseqoenee  deprived  of  the  likenesses  of  many  persons  who  are 


The  architect's  collection  of  weapons  and  old  implements,  which^ 
together  with  the  body,  were  covered  with  lofty  mounds  ef  earth 
and  pieces  of  rock,  show  how  useless  are  all  the  precamions  of 
man,  to  preserve  his  personality  after  death.  Such  contradictory 
beings  are  we!  The  architect  confesses  that  he  himself  opened 
such  graves  of  our  forefathers,  and  then  proceeds  to  busy  himself 
with  monuments  for  posterity. 

But  after  all,  why  should  we  be  so  no^  ?  Is  everything  that  we 
do,  done  for  nothing  ?  Do  we  not  put  on  in  the  morning,  what  wc 
again  take  off  in  the  evening  ?  Do  wo  not  travel,  for  the  saJlo  o^ 
returning  ?  And  why  should  we  uot  wish  to  slumber  by  our  own, 
even  if  only  for  a  century  ? 

If  we  see  the  many  sunken  tomb-stones,  trodden  down  by  the 
church-goers,  as  well  as  the  churches  themselves  that  hav^  th^m* 
selves  fallen  down  on  the  graves,  the  life  after  death  appears  to  19a 
as  a  sort  of  secon(i  life,  whicb  begins  with  the  portrait,  or  super- 
scription, and  which  lasts  longer  than  the  proper  living  lifo.  '  But 
even  this  second  life  becomes,  sooner  or  later,  extinct.  Time  will 
not  be  deprived  of  Hs  rights  with  either  monuments  or  men. 
( To  be  eontinued,)  . 

V  To  prevent  misunderstandinir}  it  may  be  stated  that  the  copyrirtt  of  this 
translatioB  belonirs  Mlely  tq  the  translator. 

SONNET.  ^ 

VO.  XZII. 

I  BAva  read  msny  tales  of  deepest  woe, 

Of  agonies  that  snapp'd  the  heart  in  twain — 

Of  griefs  that  gnaw'd  away  the  madden'd  brain,— 
And  I,  perchance,  have  heav'd  a  sigh  or  so. 
I've  read  too  of  a  hell  where  wretches  go. 

Through  halls,  with  glitt'ring  treasures  heap'd  in  vain, 

Because  their  heart  it  writhing  with  the  pain 
Of  flames  infernal,  in  the  breast  that  gtow. 
But  little  dream'd  I  that  on  me  would  fall 

This  withering  curse,  that  plainly  shows  to  ma 

How  sadly  true  those  wondrous  legends  are. 
Now  I  know  all — the  scorching  heart-^all— all 

The  grasp  that  will  not  let  Its  victim  ko— 

The  darkness^—* leave  rae  not,  my  only  star. 

U.B. 


CQ*iCEET9. 

Mr.  Gsoro^  ]tf  AEaHALL. — This  profeaaor  gave  Hia  firaf 
practical  leotnre  on  the  art  of  singing  to  au  att^ntivp  audiei^e, 
on  Monday,  at  the  Music«Hall,  Store-street.  The  syllabua  of 
the  lecture  waa  divided  into  the  foUowipg  beads : — * 

1.  The  Human  Voioa  sqperior  to  every  lestmment  of  maehaipaal 
invention— 2.  The  necessity  of  cultivation,  to  produce  both  tone  and 
expression — 3.  Nationality  of  Instruction^  and  its  good  effects  in  Ger- 
many— 4.  Elementary  observations — 5.  Disadvantafces  under  which  the 
English  sinaing-master  has  to  labour — 6.  Importance  of  studying  where 
the  breath  should  be  taken  in  singm&  and  a  singular  mistake  iUustiate4 
by  the  nei^lect  of  it 

The  lecture*  whioh  waa  aensible  aad  iiiatn»ctive,  yma  r^nuteei 
muaically  interesting  by  a  diveraity  of  apt  illuatratioQa.  In 
speaking  of  rttpiraiiant  Mr.  Marshall  gave  an  inata^oA  of  fta 
proper  use  in  Knapton's  ballad  ^*  There  be  none  of  Beauty'a 
daughters.'*  This  ie  an  insipid  and  wortblasa  eompositjon,* 
but  it  served  the  lecturer's  purpose  exceedingly  welU  A  mueh 
more  agreeable  illustration  was  that  of  expression^  moat  Mj 
illustrated  by  Sterndale  Bennett's  exquisit^y  pathetic  pan^aet 
''  To  Chloe  in  aickneae,''  (from  his  '*Six  Bongh"  piihlish^i 
by  Coventry  and  Hollier.)  The  points  of  ornament  (its  abuae) 
and  of  prohunoiation  (its  importance)  were  illuatrated  bT  two 
very  poor  coinpoaitions,  J.  P.  Knight's  "  Go,  forget  mf ,"  ftn^ 
Miss  Davis's  "  Ruth."  Poor  aa  they  are,  however,  they  aerved 
Mr.  Marshaira  turn,  and  helped  to  render  his  meaning  dear. 
Much  more  pleasing  were  some  illustrationa  from  the  compo- 
aitions  of  Haydn,  Mendelssohn,  and  Macfarren.    Altogether 


•  The 
and  an  Ei 


words  luwe  been  bemtifiiUy  Mt  by  two  csmpossn,  a  G«aaan 
.-M«ndeU.oJm  UMl^^yg,^  ^^UU^ ItT 


120 


THE  MUSICAL  WORLD. 


the  lecture  was  both  interesting  and  instructive,  and  its  design 
and  execution  were  highly  creditable  lo  Mr.  Marshall.  The 
audience  were  evidently  pleased,  and  the  entertainment  con* 
duded  at  an  early  hour. 

Beaumont  Institution. — The  Sixth  Concert  of  the  season 
was  given  at  this  place  on  Tuesday  the  9th  instant.  The 
vocal  performers  were  Madame  Albertazzi,  Mrs.  A.  Newton, 
Miss  Lockey,  and  the  Messrs.  H.  Phillips  and  Lockey.  The  in- 
strumentalists comprised  Mr.  Thirlwall,  (violin),  Mr.  Chitty, 
(organ),  and  Mr.  Maurice  Davies,  (piano).  Madame  Albertazzi 
gave  a  9cena  of  Verdi's,  the  iinale  to  Cenerentola,  took  part 
in  a  duet  of  Mozart's  with  Mr.  H.  Phillips,  and  sang  the 
favourite  Irish  ballad,  *'  Terence's  Farewell."  The  fair  vocalist 
was  more  at  home  in  the  Italian  than  the  Irish  music.  We 
have  heard  the  ballad,  '*  Terence's  FareweU,"  so  exquisitely 
rendered  by  another  fair  singer*  on  many  occasions,  that  we 
could  not  but  feel  a  sensible  difference,  as  it  was  given  by 
Madame  Albertazzi.  Ballad  singing  is  a  far  greater  art  than 
many  are  led  to  imagine,  and  requires  a  delicate  appreciation 
and  great  vocal  capabilities,  while  the  bravura,  the  cava- 
tina,  and  such  like  morceaux  of  the  Italian  school, 
demand,  for  the  mo$t  part,  brilliancy  of  execution  and  vigour 
of  expression.  Madame  Albertazzi  was  far  more  successful 
in  the  cavatina  from  Cenereniola  than  in  the  Irish  ballad,  and 
sang  it  with  great  effect.  Mrs.  A.  Newton  added  considerably 
to  the  attraction  of  the  evening.  She  gave  Bishop's  **  Lo ! 
here  the  gentle  lark"  in  a  manner  that  exhibited  the  facility 
and  power  of  her  voice,  and  sang  two  ballads  which  elicited 
great  applause.  This  lady  appears  in  high  £svour  with  the 
audience  of  Beaumont  Square.  Miss  Lockey  introduced  a 
song  of  Miss  Cowell's,  another  of  Benedict's  and  one  of 
Moore's  Melodies,  all  excellently  rendered.  Mr.  Lockey  and 
Mr.  H.  Phillips  varied  the  entertainments  with  vocal  per- 
formances of  different  characters.  The  former  gentleman 
gave  a  very  pretty  serenade  of  Hatton's,  "  The  Silver  Moon 
18  keeping  Watch,"  delicionsly.  We  hope  to  see  Mr.  Lockey 
ere  long  transferred  from  the  concert-room  to  the  stage.  He 
would  become,  we  are  assured,  with  a  little  practice,  an  in- 
estimable addition  to  our  present  operatic  corps.  Mr.  H. 
PhilHpe's  descriptive  transatlantic  scena,  *'  The  Prairie  on 
Fire,"  was  loudly  applauded.  In  addition  to  the  pieces  we 
have  named,  there  were  sundry  songs,  duets,  &c.,  which  call 
for  no  particular  notice.  Mr.  Thirlwall's  violin  performance 
received  its  due  meed  of  approval  at  the  hands  of  Uie  auditors. 
A  **  Grand  Duo  BriUante,''  of  Benedict  and  De  Beriot,  for 
violin  and  piano,  was  executed  with  spirit  by  him  and  Mr. 
Maurice  Davies,  the  latter-named  gentleman  really  surprising 
us  by  his  improvement  in  style  and  execution.  The  per- 
formances concluded  with  the  overture  to  Taneredi  on  the 
organ,  very  well  executed  by  Mr.  Chitty,  though  little  adapted 
for  that  instrument.  Mr.  Maurice  Davies  conducted  all  the 
vocal  pieces  and  performed  his  task  most  effectively.  The 
hall  was  very  well  filled. 

Mr.  Lindsay  Slopee's  First  Classical  Soiree  took  place 
at  the  Beethoven  Rooms,  Harley|Street,  on  Thursday  evening, 
and  was  fblly  and  &shionably  attended.  This  concert  deserves 
the  most  especial  notice  from  us,  both  as  r^rds  the  materials 
of  the  programme  and  the  mode  in  which  the  entertainment 
was  ^conducted.  There  is  nothing  more  absurd  than  the 
manner  in  which  concert-givers  spin  out  their  schemes, 
fimcying  that  those  who  pay  cannot  have  too  much  for  their 
money,  and  that  they  convey  pleasure  to  their  audiences  in 


«  Mill  Dolby. 


the  direct  ratio  of  the  length  of  the  programme.  There  is  no 
greater  fallacy  existing.  A  brief  entertainment  which  consists 
of  the  best  selection  of  music,  will  invariably  afford  more 
gratification  than  a  long,  drawling  concert,  however  it  may  be 
diversified  with  excellencies.  This  more  particularly  I4>plie8 
to  the  dass  of  entertainments  to  which  the  Soir6e,  given  at 
the  Beethoven  Rooms  on  Thursday  night,  belongs.  Mr. 
Lindsay  Sloper  has  set  an  example  to  all  who  provide  enter- 
tainments for  the  public,  which  we  have  no  doubt  will  be 
speedily  followed.  His  Concert  commenced  at  half-past  eight, 
and  was  over  at  a  quarter-past  ten.  There  was  no  division  of 
the  entertainment  into  parts,  but  all  progressed  to  the  end 
without  a  break.  The  consequence  was  that  every  individual 
remained  to  the  end,  and  no  one  felt  the  least  fatigue  or  ennui, 
the  invariable  results  of  those  Alexandrine  music  evenings 
which  are  as  much  in  vogue,  and  every  bit  as  tedious,  as  long 
Thursdays  at  the  Opera.  With  respect  to  the  programme  of 
Mr.  Sloper's  concert,  which  we  annex,  our  readers  will 
perceive  that  a  more  admirable  selection  it  was  impossible  to 
make : — 

Fanuiia  for  two  performert  on  one  pianofortp,  Messrs.  Benedict  and 
Lindsay  Sloper ;  W,  A,  Mozart,  Selection  from  tlie  Suites  de  Pitea, 
Handel,  pianoforte,  Mr.  Lindsay  Sloper.  SIciUenne,  '*Ogni  pens,"  />^^- 
golesi.  Mist  Dolby.  Sonata,  (Op.  29,  No.  3),  L.  van  Beethovtn,  piano- 
forte, Mr.  Undaay  Sloper.  Song,  '*Tlie  Fairy'a  RepnMch,"  lAndmf 
Sloper,  Miss  Dolby,  (words  by  Sir  Bulwer  Lytton).  Prelude  in  A  flat 
migor,  fh>m  Op.  86,  and  Study  in  F  minor,  Mendelitokn,  pianoforte,  Mr. 
Lindsay  Sloper.  Trio  for  pianoforte,  violin,  and  violoncello,  (Op.  70, 
No.  2),  L.  van  BeeUioven,  Messrs.  Willy,  Rousselot,  and  Lindsay  Sloper. 

The  fantasia  of  Mozart  was  very  finely  performed,  the 
fugued  allegro  of  the  first  and  last  movements  affording  each 
artist  an  admirable  vehicle  for  the  exhibition  of  his  powers. 
The  selection  from  the  Suites  des  Pieces  was  very  happy, 
especially  the  allemande,  and  adagio  andfugue,  the  execution 
of  which,  by  Mr.  Lindsay  Sloper,  was  received  with  earnest 
applause.  Indeed  we  have  rarely  heard  a  more  brilliant  per- 
formance than  the  very  difficult,  and,  at  the  same  time,  very 
exquisite  fugue  of  the  great  master,  interpreted  by  this  gentle- 
man. The  '*  Sidlienne"  of  old  Pergolesi  is  very  quaint  and 
beautiful.  It  was  charmingly  sung  by  Miss  Dolby.  The  sonata 
of  Beethoven,  it  is  needless  to  say,  is  one  of  the  grandest 
efforts  of  the  master.  It  was  the  great  feature  of  the  enter- 
tainment, whether  we  look  to  the  composition  or  the  perform- 
ance. Mr.  Lindsay  Sloper  seemed  to  feel  every  note  of  the 
great  author  in  its  intense  meaning,  and  produced  a  great 
effect  by  his  very  fine  interpretation  of  this  sublime  work* 
Mr.  Sloper's  song,  an  expressive  and  spirited  composition,  was 
so  well  given  by  Miss  Dolby,  as  to  be  entitled  to  a  unanimous 
encore.  Mendelssohn's  fine  prelude  (from  his  Six  Preludes  and 
Fugues,  published  by  Addison  and  Hodson)  and  his  Study 
(from  the  •*  Etudes  de  Perfectionnement,"  published  by  Cha|;^ll) 
exhibited  in  another  mode  the  excellence  of  Mr.  Sloper's 
playing.  The  magnificent  trio  of  Beethoven,  extremely 
well  played,  concluded  one  of  the  very  best  entertainments 
of  the  kind  which  we  ever  attended. 

Choeal  Haemonists.— We  attended  the  fourth  meet* 
ing  of  the  present  season  of  the  Choral  Harmonists,  at  the 
London  Tavern,  on  Monday  night.  In  the  first  part 
we  heard  a  composition  which  we  seldom  [have  an  oppor- 
tunity of  hearing  performed  anywhere  complete,  namely,  the 
Litany  in  B  flat,  by  Mozart.  The  chorus,  "  Pignus  Futurae," 
which  occurs  in  it,  is  well  known  by  all  amateurs,  but  the 
remaining  portion  of  the  composition,  equally  grand  and 
effective,  is  seldom,  we  might  be  justified  in  sayings  never 
produced  by  our  choral  societies.  Besides  this,  we  had  the 
''  Dixit  Dominus/'  of  Rombeig.    The  performance  of  these 


THE  MUSICAL  WORLD. 


121 


two  works  u  sufficient  to  justify  us  in  pronouncing  this  society 
one  of  the  foremost  in  the  good  enuse ;  but  in  undertaking  to 
present  to  our  city  friends  the  **  Walpnrgis  Nacht"  of  Men- 
dclaaohn)  we  are  willing  to  accord  them  the  highest  amount  of 
praise*  As  if  not  satisfied  with  giving  us  these  we  had,  further, 
Mozart's  delicious  buffo  song  from  &e  Seraglio,  so  well  sung 
by  Mr.  Machin,  as  to  command  an  encore— 'Mendelssohn's 
song,  "  Auf  dem  Wasser,"  sung  charmingly  by  Miss  Dolby, 
for  whom  it  was  written  by  the  composer — the  *'Song  of 
the  Savoyard/'  by  the  same,  equally  well  sung,  by  Miss 
Dolby;  and  a  Benedictus  for  a  tenor  voice,  composed  hy 
Miaa  Masson,  sung  by  a  young  lady  from  the  Academy. 
With  the  addition  of  Boyce's  old-fashioned  air  from  his 
Solomon,  **  Sofl!y  rise,"  remarkable  only  for  the  chaste  manner 
in  which  it  was  sung  by  Mr.  Lockey,  and  Wilbye's  madrigal, 
'*  Sweet  honey  sucking  bees,'*  we  have  named  every  piece  in 
the  progamme.  Were  we  disposed  to  be  critical  on  this 
occasion  we  should  like  to  have  heard  about  twenty  moie 
violins  in  Mendelsshon*s  overture,  and  a  little  more  light 
and  shade  observable  throughout  the  composition.  It  is, 
however,  but  doing  Mr.  Westrop  justice  to  add  that  endeavours 
were  manifest  in  the  singing  of  the  chorus  to  pro- 
duce such  effects  as  were  intended  by  the  composer,  and 
interpreted  by  the  talented  conductor.  The  band,  led  by  Mr. 
Dando,  performed  its  task  on  the  whole  well.  Miss 
Lockey,  Miss  Dolby,  Mr.  Lockey,  and  Mr.  Machin, 
w€re  the  principal  singers.  Miss  Lockey  sang  the  portion 
allotted  to  her  with  her  usual  g,ood  taste.  Miss  Dolby, 
a  favourite  everywhere,  seems  to  be  entirely  among  her 
own  friends  at  these  concerts,  and  whether  feeling  so  she 
exerts  herself  with  her  usual  kind  disposition  to  enhance 
their  pleasure  we  know  not,  but  we  certainly  think  that  we 
never  hear  her  sing  better  than  when  at  the  London  Tavern. 
Li  conclusion,  we  say  '*  Go  on  and  prosper."  A  few  such 
societies  as  the  Choral  Harmonists  scattered  throughout  the 
length  and  breadth  of  the  land  would  do  much  towards  the 
development  of  the  "  materiel,"  which  we  have  always  advo- 
cated exists  in  England,  but  which  ^m  various  causes  lies 
hidden. — Prom  a  CorrespondetU. 

EzxTsm  Hall.— The  performs  nee  of  the  Sacred  Harmonic 
Sodety  on  Thursday  was  roitcellaneons.  In  the  first  part  there 
was  Banders  overture  to  Esther  i  his  Coronation  Anthem,  "  llie 
Ung  shall  rejoice,"  composed  for  the  coronation  of  George  the 
Second,  In  1727  i  Mozart's  celebrated  Service,  No.  12 ;  and  the 
Hyno,  •*  Alia  Trinita  Beata.**  The  second  part  eonsisted  of  Handel's 
*'DettiQgen  Te  Deum."  Mrs.  Sunderland,  Miss  Dolby,  Mr. 
Manvers^  and  Mr.  Phillips  elicited  an  encore  by  the  chaste 
manner  in  which  they  sang  the  hymn,  "  Alia  TriniU  Beats,"  one 
of  the  '*  Laudi  Sniritnali,"  a  collection  of  andeut  Italian  melodiem 
dating  as  fer  back  as  the  twelfth  century.  Dr.  Bumey  considers 
these  hvmns  to  be  the  most  ancient  melodies  extant.  Mozart's 
splendid  Senrice  was  the  most  complete  and  excellent  performance 
of  the  eyeniDg.  The  soloists  and  choir  were  equallv  to  be  com- 
neoded,  and  the  band  did  its  duty  efiidently.  The  born  parts  in 
the  •'  Benedictus,"  were  beautifully  played.  The  "Dettingen  Te 
Deum"  occupied  the  whole  of  the  second  part,  but  its  performance 
was  less  satisfactory  than  that  of  Mozart's  Serrice.  Mr  Genge, 
who  sungthe  alto  part  throughout,  acquitted  himself  with  much 
talent.  The  other  Tocalists  were  excellent.  Mr.  Phillips  sang  his 
air  capitally,  and  the  trumpet  Migato  of  Mr.  T.  Harper  was 
deserving  of  the  applause  it  elicited.  The  Hall  was  well  attended. 
The  next  concert  is  announced  for  the  4th  of  March,  when  will 
be  performed  a  selection  of  anthems  and  cathedral  music,  including 
compositions  by  Gibbons,  Porooll,  Wise,  Blow,  Creighton,  Croft, 
Weldon,  Greene,  Robinson,  Boyce,  Kent,  Ac,  ranging  from  1610 
to  1795,  concludiuff  with  Mendelssohn's  *'  Te  Deum,"  composed 
last  year.  Handel's  Oratorio,  *'  Belshazzsr,"  will  be  performed^ 
ortbefkst  Uose,  by  the  Society,  on  Friday,  March  19. 


DRAMATIC   INTELLIGENCE. 

DauRT  Lahe.-— A  very  crowded  audience  assembled  at  this 
theatre  on  Monday,  to  hear  Mr.  W.  Y.  Wallace's  new  opera, 
Matilda  of  Hungary,  which  had  been  announced  for  that 
night  several  days  previously  in  the  bills.  The  greatest  excite- 
ment prevailed  respecting  the  second  operatic  composition  of 
the  talented  author  of  the  successful  MarUana^  and  the  theatre 
in  consequence  was  filled  long  before  the  time  fixed  for  the 
commencement  of  the  performance,  which  was  stated  to  be  a 
quarter  to  seven.  The  hour  arrived,  and  the  band  were  in 
the  orchestra,  and  the  audience  were  on  the  tenter,  or  tender- 
hooks  of  expectation,  and  the  enirie  of  the  conductor,  in  the 
person  of  the  composer,  was  breathlessly  awaited,  and  the  whole 
house  was  mute  with  suspense.  But  five  minutes  elapsed,  and 
five  minutes  more,  and  it  was  eight,  and  still  no  appearance 
of  the  opera  being  about  to  commence.  The  foot-lights  w^re 
stiU  down.  Eight  o'clock  passed,  and  five  minutes  past  eight, 
and  ten  minutes  past  eight,  and  then  the  multitude  seemed  to 
be  all  at  the  same  time  moved  as  with  one  fear. 

**  At  length  one  whispered  his  companion,  who  whispered  another." 
And  so  the  fear  was  sent  ronnd  from  ear  to  ear,  and  out  they 
spoke  at  last  for  Bunn  and  Wallace.  After  some  minutes  of 
general  groans,  hisses,  yells,  oh's,  and  mingled  applauses,  Mr. 
Bunn  stalked  dolefully  on  the  stage,  followed  by  Mr.  Wallace, 
who  crawled  lugubriously  behind,  both  evidently  in  a  moral 
fix.  They  were  received  with  great  applausei  sprinkled  with  a 
small  drizzling  shower  of  sibillations.  Mr.  Bunn  having  waited 
some  time  till  there  was  a  lull  in  the  storm,  thus  addressed  the 
audience — "  Ladies  and  gentlemen,  in  the  whole  course  of  my 
professional  administration,  I  never  stood  before  you  on  so 
distressing  an  occasion  as  I  do  at  the  present  moment.  Seven 
minutes  before  the  usual  time  for  the  raising  of  the  curtain 
this  paper  was  put  into  my  hand,  the  certificate  of  a  medical 
gentleman,  intimating  the  utter  impossibility  of  Miss  Romer 
appearing  before  you  this  evening  firom  sudden  indisposition. 
(Great  sensation.)  In  such  an  afflicting  state  of  things  what 
can  I  do  ?  (  throw  myself  completely  on  your  kindness.  I 
cannot  think  for  one  moment  of  sacrificing  the  magnificent 
work  of  my  highly  talented  friend  (pointing  to  Mr.  Wallace) 
by  mutilation ;  and  I  can  assure  you,  ladies  and  gentlemenp 
that  more  care  and  expense  have  been  lavished  upon  the 
production  of  this  opera,  than  were  ever  before  laid  out  on 
any  entertainment  at  Drury  Lane.  In  such  a  state  of  things 
what  am  I  to  do  ?  Ladies  and  gentlemen,  I  appeal  to  you» 
trusting  to  the  liberality  you  have  always  shown  me,  and 
confiding  in  my  own  humble  endeavours,  exerted  on  all  oc- 
casions to  merit  your  best  favours,  I  demand  of  you  what  I 
am  to  do  ?"  The  audience  having  uttered  no  response  to  the 
manager's  interrogatory,  he  continued.  **  All  that  we  can 
do,  shall  be  done.  To  such  as  are  not  willing  to  remain  for 
the  performance  we  shall  provide,  their  money  shall  be  re- 
turned, or  tickets  given  them  for  the  next  representation  of 
Mr.  Wallace's  opera.  Ladies  and  gentlemen,  /  mil  he  just, 
if  yom  will  be  generous.^*  This  pithy  sentence  was  received  with 
great  cheers,  and  Mr.  Bunn  again  demanded  of  the  audienoe 
what  they  would  require  ?  An  immediate  call  was  made  for 
the  overture*  to  which  Mr.  Bunn  replied,  that  the  overture 
would  be  given  with  pleasure  ;  and  allowing  Mr.  Wallace  to 
jump  from  the  stage  into  the  orchestra,  Mr.  Bunn  made  his 
bow  and  disappeared.  The  overture  was  listened  to  with  the 
greatest  attention,  and  was  tremendously  applauded,  barely 
escaping  an  encore,  and  Mr.  Wallace  left  his  post.  What  was 
to  come  next  was  the  natural  question  that  arose  to  every  lip. 
After  some  delay,  the  uproar  was  about  to  recommence,  when 
Mr.  Harley  made  his  appearance,  amid  a  tempest  of  conflict- 


12!» 


THE  MUSICAL  WOBLD. 


LJ.'iU.J^ 


ing  displays  of  feeling.  It  was  long  ere  he  could  be  heard. 
At  last  he  said,  "  Ladies  and  gentlemen,  I  am  requested  by 
Mr.  Buna  to  express  his  sincere  gratitude  for  the  kind  manner 
in  which  you  have  received*'— the  rest  of  the  sentence  was 
drowned  in  shouts  of  laughter,  groans,  and  inarticulate  mur* 
murs  of  disapprobation.  Mr.  Harley  stood  for  several 
minutes  exposed  to  the  hailstorm,  confronting  it  like  a  sturdy 
oak.  At  last  he  found  an  opportunity  to  acquaint  the 
audience  that  the  Bondman  would  be  given,  and  that  Miss 
Messent  would  undertake  Miss  Romer's  part,  adding,  that  any 
lady  or  gentleman  who  was  dissatisfied  with  the  proposed  en- 
tertainment, by  leaving  an  address  at  the  door,  would  receive 
8  ticket  for  the  first  peiformance  of  the  new  opera.  Mr.  Har- 
ley then  withdrew,  whereupon  ensued  such  an  uproar 
as  we  have  not  witnessed  since  the  great  Tamburini  row  at  the 
Opera.  The  first  act  and  part  of  the  second  act  of  the  BotuU 
nan  were  performed  without  a  note  being  heard.  Meanwhile, 
the  house  began  to  thin,  and  the  malcontents  having  expended 
a  vast  deal  of  breath  to  no  purpose,  quietly  gave  in,  and  the 
remainder  of  the  Bondman  waa  listened  to  with  great  attention. 
Of  (he  performance  we  can  only  notice  the  very  efficient  sub- 
stitute Miss  Messent  made  for  Miss  Komer.  In  some  respects 
she  sang  capitally,  and  had  she  been  as  well  up  in  the  third  act, 
as  she  seemed  to  be  in  the  other  two,  we  should  have  felt  no  loss 
from  the  absence  of  the  prima  donna  aasoluta*  Miss  Messent 
received  great  applause,  and  the  audience  displayed  the  besf 
possible  taste  in  extending  its  indulgence  to  her  in  the  latter 
portion  of  the  opera,  in  which  she  was  evidently  not  prepared. 
She  was  called  for  at  the  end,  and  obtained  the  unanimous 
appnobation  of  the  house.  The  opera  was  followed  by  the 
new  ballet.  The  Pretty  SieiUan,  in  which  the  fascinating 
danseuse.  Mademoiselle  Baderna,  exhibited  her  very  superior 
artiBtic  powers,  and  won  the  greatest  applause.  This  charming 
artiiie  bids  fair  before  long  to  win  the  highest  laurels  in  her 
profession.  She  is  yet  very  young,  but  nature  has  done  every 
thing  for  her,  and  she  requires  time  only  to  perfect  her  in  the 
highest  branches  of  her  art.  We  fervently  hope  that  no 
accident  will  prevent  the  production  of  Mr.  Wallace's  opera 
QQ  Monday  next,  for  which  evening  it  is  annopnced  in  the 
bills  and  advertisements. 

FREMCfi  Plays^— On  Monday,  we  saw  MademoiieUe  Clariase  in  a  pvt  to 
which  she  does  so  mach  jitstioe,  which  she  renders  so  interestinff,  and  ii| 
which  her  talent  is  seen  to  such  adTantage,  that  we  were  quite  taken 
hy  surprise,  and  now  frankly  acknowledge  that  we  had  much  underrated 
her  talents.  We  had  conceded  to  her  great  praise  for  the  energy,  tenderness, 
and  feeling,  which  she  has  thrown  into  the  parts  allotted  her;  but  f^  light 
broke  upon  us  on  seeing  her  outburst,  in  the  fifth  act  of  the  Doctetar  Noir, 
in  fiivour  of  her  injured  husband,  that  she  was  a  great  tragic  aetreas  at  the 
same  time;  and  we  were  fiirther  confirmed  in  this  opinion  on  Monday  night 
Not  that  Mademoiselle  Clarissa  could  embody  the  grand  conceptions  of 
Racine  or  Corneille,  where  the  heroine  represents  a  tvpe  of  the  highest 
poetical  order :  her  emotions  are  those  of  a  somewhat  inferior  rank,  of  those 
that  appeal  to  the  heart,  but  not  the  less  sublime  on  that  aceounL  We 
would  not  have  her  struggling  against  the  immutable  decrees  of  fate  like 
Antigone  or  Heruiione,  or  divided  between  two  of  the  deepest  emotions 
which  the  sonl  is  susceptible  of  concaving,  a  brother's  and  a  lover's  love, 
like  Camilie  in  Let  Horaces  t  but  the  sacred  feelings  of  maternal  attachment 
are  rendered  bv  her  in  a  manner,  if  not  ideal,  at  least  so  natural  in  their 
unrefined  simplidty,  the  unity  of  character  is  so  well  preserved  throughout, 
the  maternal  love  of  the  uneducated  simple  wonvm  is  so  energetically  por- 
trayed, that  we  feel  the  conviction  forced  home  unon  us  that  she  is  the 
greatest  actress  of  the  present  day  in  this  branch  ox  the  drama.  The  piece 
by  Messieurs.  Dennery  and  Malllan  is  well  imagined  and  careftiUy  written, 
the  sentiments  conveyed  are  strictly  moral,  and  the  language  is  not  redundant 
of  that  magniloquent  bombast  which  (listiDguishes  most  of  the  productions 
of  the  Porte  St  Martin.  All  the  feelings  called  into  action  are  natural  and 
true,  and  these  are  made  subservient  to  the  proposed  end  without  infringing 
on  the  most  prudent  delicacy.  A  mother's  love  for  her  child— this  is  (he 
whole  of  the  story ;  her  mamsge,  her  struggles  against  poverty,  her  devotion 
to  her  offspring,  her  toils  by  day  and  by  night,  her  indignation  a^inst  her 
husband's  bad  conduct,  not  on  her  own  account,  no !  she  could  suffer  neglecf 
and  hunser  and  privations  of  all  sorts,  but  her  child  I  her  every  idea*  every 
thought  is  concentrated  in  him.  her  dhild  must  not  suffer,  he  must  be  nur- 
tured and  cared  for»  he  most  ii^;  sht  is  patieot  and  enduring  for  heneli; 


but  when  her  child  is  in  jeopardy  she  boldly  stands  forth  and  dsres  her  bus- 
band  face  to  ihce,  she  rises  against  the  richest  ^iid  most  powerfiil  e#  te  laatf; 


she  is  not  to  be  put  down  by  the  most  fiendish  viljaay  or  houglit  over  by  the 
most  alluring  promises  pf  wealth,  no,  no«  her  child  is  herself,  s  U\ousso4 
times  more  than  herself;  how  much  she  has  suflbred  fi>r  it,  alas  t  none  caA^ 
tell ;  how  every  torture,  every  anguish  undergone  on  aocount  of  Iw^  eUld 
has  increased  hear  love  for  it ;  ahe  knows,  but  does  not  stay  |o  enamerate  oc 
describe  how  each  successive  torment,  as  it  in  succession  fiUl^  upon  her, 
lacerates  her  soul,  increases  her  maternal  sorrows,  and  proves  to  demonstra- 
tion that  she  cannot  be  more  miserable,  and  how  happv  she  wai  or  should 
have  been  before  the  last  stroke  fell  upon  her  devote^  heacL  How  fratefi|| 
she  ought  to  have  been  in  the  midst  or  all  her  misery !  she  had  him  nevf  her, 
was  not  that  sufficient?  How  poignant  her  grief  on  parting  with  hfan  1^ 
deposit  him  at  the  asylum  of  the  Kue  4'  Knftr,  the  hospital  for  «||fo9f 
troupes.  Yet  how  consoling  to  know  he  was  alive  end  properly  c^rea 
for !  How  violent  her  anguish  when  she  finds  he  ^sa  been  sColeti !  yet  she 
hopes  to  find  him  again ;  but  when  she  does  find  him  and  la  aeeueed  ot  mad-' 
ness,  then  her  seul  can  bear  no  lurther  torture,  for  shf  ie  Ud  to  do|ibt  ^iMl 
her  child  ever  existed,  the  paroxysm  is  at  Its  height  These  are  the  detallf. 
Such  is  Marie  Jeanne,  la  finme  du  peuple.  If  this  be  not  a  grand  concep- 
tion we  firankly  own  we  are  at  a  loas  to  eonceive  what  is.  If  this  lie  fiol 
written  according  to  the  best  mpdeia  in  draipatic  literature,  we  never  saw  % 
pUy  that  was ;  and  Mademoiselle  Clarisse  has  done  her  part  ample  jusdca 
in  its  most  minute  details ;  she  has  created  a  type,  a  character,  and  this  is  the 
peculiar  attribute  of  genius.  We  shall  now  enter  upon  what  may  he  <wiM 
the  machinery  of  the  pi^e.  Two  marriages  have  taken  place— the  one  tev 
tween  Sophie  and  the  Count  de  Bussi^res,  a  marriage  arranged  by  thefrieooa 
and  parents  where  money  and  rank  plav  the  princijial  part,  where  the  rial 
cement  which  alt ne  can  make  such  unions  defiqih!^  and  blp^ttfld^^love— &| 
totally  wanting,  in  short,  ll  is  a  marriage  de  eowenance  as  the  french  terqn 
it,  a  sort  of  absolute  axiom,  a  rule  of  inverse  proportion  where  the  parties  are 
united  because  they  hav^  none  of  the  ingvedlents  to  render  each  other  happy. 
The  other  marriage  Is  one  of  iqoUnation*  the  stock  of  tra4e  of  both  bemr 
nothing  to  begin  with  and  no  hope  of  anytldng  in  perspecdve.  Marie  Jeanne 
loves  her  husband  and  the  latter  respects  and  loves  his  wife ;  but  he  is  of  that 
easy  nature  alike  appUahle  to  good  or  evil  at  the  will  of  the  agent  He  it  eo- 
fortunate^y  swayed  by  a  friendf  a  bon  enfant,  as  he  is  commonly  termed,  whp  Mv 
tices  him  away  nrom  his  work,  and  makes  a  spendthrift  and  a  drunkard  of  h'qA* 
The  consequence  is  ruin  to  his  wife  and  the  most  hopeless  poverty  at  home, 
whilst  all  nis  eamhun  are  spent  with  his  Joyous  companions  at  ^  pqbQc- 
house.  Poor  Marie  Jeanne  toils  to  support  ner  child,  night  and  m»  And 
has  hoarded  up  a  sum  of  thirty  firancs  to  pay  the  nurse,  the  doctor  navftig 
expressed  his  decided  opinion  that  the  llfo  of  her  child  Is  dependent  Mi  ilk 
bemg  propoly  nourished.  Ii^an  unlucky  hour  the  husband  finds  her  fr^apiirt 
and  appropriates  it  to  himself.  The  deypair  if  great  on  discovering  the 
robber,  and  she  is  obliged,  as  a  last  resource,  to  carry  her  child  to  the 
Fouodling  Hospital.  The  Countess  de  Bussidres  in  thtf  meanwhile,  now  a 
widow,  has  also  a  diild  out  to  nurse^  but  it  dies ;  and  4ppian^  her  doctor/lf 
endeavouring  to  supply  its  place  by  another  child,  m  order  to  wip  \he 
mother's  aflbcUon,  and  thus  mtdte  her  believe  he  has  saved  it  from  the  very 
jaws  of  death.  By  chance  he  overhears  the  reproaches  of  Mirieleanne  to  h«r 
husband  before  the  Foundling  Hospital,  and  having  note^  down  the  deaqrip- 
tion  of  the  signs  which  she  gives  him  by  which  be  may  recognise  his  son,  ne 
enters  the  hospital  and  obtams  possession  of  the  fnfont,  which  he  substittttet 

Sthe  youilg  ^nt  de  BnssiArn*  Marie  Jeanne  has  been  rpef  mni^ndf  d  to 
e  Cpuntess  ^s  a  good  needle-woman,  aiid  after  the  discovjiry  of  tlie  losf  of 
her  child  whom  she  had  gone  to  reclaim  und^r  promise  of  the  CounUss'i 
potection,  returns  to  the  notel,  and  having  succeeded,  in  spite  of  the  dectof^ 
in  seeing  the  infimt  count,  she  discovers  it  is  her  own  son.  '  iftie  imnwdiiitely 
claims  mm,  and  then  it  is  the  doctor  prohounces  her  mad.  filie  14  i|}s|«nty^ 
eonyeyed  to  a  private  mad-honse  by  the  directions  of  ^ppjnpl,  if  ho  ^n^ett^ 
vours  to  ooiTupt  the  doctor ;  hut  the  lattra  is  too  clear-signted  to  he  imp<Me4 
upon,  and  ^fter  an  effective  interview  between  Marie  Jeanne  aha  her 
husband,  In  which  she  becomes  conrinced  that  she  is  not  mad,  the  doctor  of 
the  mad-hoose  sets  her  firee.  The  next  act  takes  plaipe  at  the  ceuntry  heme 
of  the  Countess,  at  Antreil,  where  she  is  about  to  marry  Aweni  out  ef 
gratitude  to  him  for  hi|v}ng  saved  the  l|fo  of  her  inMt  •on;  hut  the  dgn^uf^ 
meut  of  course  is  marred  by  his  rival,  Theobald  de  Bussi^res,  whp  is  ap  old 
lover  of  the  Countess's,  even  before  her  marriage;  and  an  hour  before  the 
ceremony  takes  place,  when  he  is  congratulating  hhnself  on  the  success  of 
his  plans,  Marie  Jeanne  arrives,  and  is  surprised  hy  him  in  the  aunery  con- 
templating her  lost  child.  He  threatens  to  murder  her  if  she  does  not  fetiFe» 
but  she  is  firm;  and  Just  as  he  is  about  to  execute  hi^  purpose,  Bertrand 
her  husband  arrives,  accompanied  by  Theobald  and  ^^niy,  the  old  conj- 
paniun  of  Bertrand,  and  who  had  been  commissioned  by  Appianl  to  procure 
film  a  child,  and  whose  secrecy  he  had  bought  by  a  promise  of  six  thousand 
francs  on  the  day  of  his  marriage,  but  who  had  betn^yed  him  on  n  promlat 
of  ten  thousand  from  the  other  party.  All  the  personages  are  now  assemhifdi. 
and  Justice  is  meted  out  to  ell*  Mane  Jeanne  obtains  her  infont,  |he  husband 
and  wife  are  fuUy  reconciled,  the  Countess  weeps  for  her  son,  and  Theobald 
has  hope  that  his  suit  will  at  last  be  successful ;  Appianl  is  handed  over  to  the 
tender  mercies  of  the  gens-d'armes.  We  may  here  mention  the  principal 
scenes  in  which  M addle  Clarisse  was  so  eminently  sucoessfuL  When  she 
discovers  the  lots  of  the  money  she  had  saved  for  her  Infant  son,  ^nd  vhea 
she  deposits  him  on  the  tnrning  machine  of  the  enfonts  trouves>  her  grief 
was  heart-rending,  full  of  wailing  lamentations  and  anguish;  she  faints 
away  when  the  inlant  disappears,  i|nd  her  husband  awakened  from  his  inf  ^ 


toxicating  sleep,  stumbles  over  her;   he  raises  her  from  the  groui 
when  she  diseovera  that  It  is  he,  the  anthM  of  tSL  her  ndtforta 


rortuiai^i 


THE  MUSICAL  WORLD. 


12a 


CBNM  him  tn  th«  bHtoriMtt  of  bar  grief;  heft  the  ucAnff  wis  tt  times  fohUmely 
BSthetieand  giand ;  in  vain  he  pleads  ibv  meicy»  she  Is  ebdorste,  lor  she  hsis 
lest  her  olrild.  Then  sgain  her  gratitude,  speechlets  b«t  deep*feU,  when  the 
Coirotvs  onl^Vi  her  to  reclaim  her  iofent,  was  most  affecting ;  her  ravings  at 
his  loss,  her  Joy  at  finding  him  again,  her  horror  at  ^eing  accused  of  madness, 
were  well  conceivedi  and  produced  a  deep  sensation.  Her  reconciliation  with 
her  hnsband  was  a  good,  natural  piece  of  acting  as  well  as  her  last  scene 
where  she  says  to  the  Countess,  ^  Jt  wntt  ess* e  dmmi  ma  vie,  Madame  ;  maU 
m$m/UMt  e^iudt  h^sibU."  In  short  we  have  rarely  seen  a  better  piece, 
s«4  Ofrtaiply  no  hving  actress  could  have  played  the  prmcipal  nart  90  welL 
llessrs.  Langeval  and  Dum^ry  also  played  the  parts  01  Bertf  and  and  Remy 
in  the  most  satisfiictory  manner.  The  everting^s  entertainments  terminated 
by  V Amber ge  dee  AdreiStin  which  Mr.  Frederick  Lemaitre  was  as  unctuous  as 
ever*  We  must  not  fo^iget  to  mention  that  Mdlle.  Clarissa  was  called  for 
and  most  enthusiastically  applauded  and  cheered  at  the  end  of  the  fourth  act 
and  also  after  the  piece.  The  boose  was  crenrded  in  every  part,  and  was 
thf  bfst  we  have  seen  this  year.  On  Thursday  the  Myttnet  de  Paris  wa» 
given,  bHt  we  roust  defer  our  notice  until  next  week. 

J.  DE 


REVIEWS    ON   MUSIC. 
*  Th^  Vkbridffe  Polka  /*  ean^sed  by  O.  H.  Laex.    Addison 

AND  H0D8ON. 

This  Is  a  nice  Polka,  and  thongh  not  particularly  original,  is  weQ 
written,  and  the  tune  b  weli  preserved  in  the  changea.  It  is  in  the 
kfj  of  F,  and  presents  no  diQcolties  whatsoever  to  the  pianist. 
The  Uxbridge  Polka  will  find  many  admirers  among  the  dtmseuset 
of  the  saloons,  fashionable  and  semi-faahionable,  &c.,  See. 

PROVINCIAL.  ^ 

MaNCBisTva.— The  sixth  meeting  for  the  season  of  the  Gentleman's 
Glee  Club  was  held  in  the  Club- room  of  the  Albion  Hotel  on  the  evening 
ofTborsday  week.  The  vocalists  were,  Mrs.  Sunderland  (soprano).  Mrs. 
Wintei bottom  (contralto),  and  the  hiessrs.  Wainwright,  Bellhouse  (chair- 
man of  the  society),  9arlow,  Isherwood,  J.  Isherwood,  and  J.  J.  Jooea. 
Tb(  gl^es  sung  on  this  occasion  were,  Bishop's  "  Blow,  gentle  gales/'  and 
**  Whep  winds  breathe  soft."  and  Callcott' s  "  With  sighs,  sweet  rose." 
The  sqlo  and  chorus  firom  CkUatea,  "  Heart,  the  seat  of  soft  delight,"  and 
"Oaktca,  dry  thy  tears,"  were  also  given.  The  inale  from  Balfe's 
Enckantr§it  concluded  a  concert  that  gave  universal  satisfaction. 

PoiTfneuTH.-*-Mr.  H.  A.  Lambeth  gave  a  concert  on  Thursday 
evenjof.  which  was  patronised  by  the  Hon.  lAdy  Pakenham.  Mr. 
LamiKSh  is  a  pianist  of  great  talent;  he  succeeds  equally  well  in  the 
cempoaiflons  of  the  great  masters  as  in  the  light  eAisions  of  the  present 
day.  The  Misses  Williams  and  Mr.  John  Parry  sang  a  variety  of  songs, 
and  ivf  re  rcjpeatedly  encored.  Solos,  &c.,  were  performed  by  Messrs. 
Lucas  and  Case  on  the  violoncello,  violin,  and  concertina.  The  concert 
afforded  the  highest  gratiflcatloa. 

DbacataTiK.— The  Philharmonic  Society  gave  their  third  concert  of 
the  present  session  on  Wednesday  evening,  the  13th  inst.  A  slnfonia  of 
HigvlQ'S}  ov«itnres  by  Rossini  and  Auber,  and  a  grand  fantasia  by  Mrs. 
Bonifis  and  Mr.  Smith,  comprised  the  instrumental  portion.  Songs, 
glees,  &c.,  were  sung  by  Messrs.  Harper,  Smith,  Patch,  Keats,  Dawe, 
Warren,  and  Miss  Patton.  The  room  was  crowded,  and  the  concert 
gave  the  highest  satisfaction. 

Liici«m.--Mr.  H.  Russell  gave  one  of  a  series  of  concerts  last  week, 
which,  we  are  liappy  to  say,  was  well  attended.  The  audience  was  de- 
lighted with  his  admirable  nigger  anecdotes  and  imitations.— The 
celebrated  Scotch  vocalist,  Mr.  Wilson,  gave  "a  night  wi'  Bums," 
at  our  theatre,  en  Tuesday  evening.  The  programme  embraced  some  of 
the  finest  productions  of  the  celebrated  poet.  We  are  happy  to  say  the 
QODcert  was  weli  attended. 

CniLTSNHAM.— fJTy-om  a  CorreMpondenl.J^Miu  La  Grice,  pupil  of 
M.  Cianchettini,  gave  a  concert  on  Friday  evening  last,  at  the  Assembly 
Rooms,  which  was  very  fashionably  attended.  This  young  lady  made  a 
very  snccessfol  dsM/  last  December,  at  M.  Cianchettini's  conceit,  in 
Thaiheig's  Dai  /no  5le/<als  Saglio  fsntosia.  Since  that  ahe  has  been  in 
London,  and  performed  once  at  the  Royal  Academy  ot  Music,  where  she 
was  honoured  with  the  approbation  of^ir  Henry  Bishop,  Mr.  Cipriani 
Potter,  and  some  other  distinguished  professors,  whose  opinions  may  be 
trested.  The  fair  ben^eiaire  was  assisted  on  the  present  occasion  by 
Mis.  Croft  and  Miss  Taylor,  as  vocalists;  the  celebrated  young  harpist, 
Mr.  T.  G.  Taylor,  who  performed  two  of  his  best  compositions ;  and  her 
master,  M.  Cianchettini.  who  officiated  as  conductor.  Miss  Le  Grice 
was  uncommonly  well  received  in  all  her  performances,  which  were— 
Uait's  famous  Heacameron,  J.  B.  Cramer's  elegant  AmdmUe  and  Brmntra 
variations  in  c.  (op.  61),  Beethoven's  celebrated  Op.  53,  and  Cianchettini's 
Op.  4S— but  eapecially  fan  Beethoven's.  Her  execution  is  remarkably 
IvillUnt,  and  hev  expression  very  refined  and  trulj  classical.  If  she  has 
*ny  gbrbig  ftiutf,  it  is  that  of  too  mudi  excitement  at  times— a  noble 


fault,  it  must  be  admitted,  and  of  which  she  will  ^et  Uie  better  sooner 
or  later.  She  is  only  seventeen :  therefore  she  has  plenty  of  time  before 
her,  if  she  will  make  the  best  use  of  it.  Mr.  and  ^rs.  Croft  were  aa 
successful  as  ever,  and  so  was  Miss  Taylor  in  Rossini's  Elena,  oh !  iu 
and  Beethoven's  matchless  Adelaide,  which  will  aiwaya  be  a  standlttg 
favourite.    Indeed  this  concert  gave  nniversal  satisfiiction* 

DuBUW.— ^Thursday  and  Friday  last  Madame  Anna  Biabop  performed 
at  the  Theatre  Royal,  with  immense  efTect,  the  part  of  Amine,  in  La 
Sotmambula ;  and  if  we  were  delighted  in  listening  to  her  admirable 
singing  in  the  Maid  of  Artoia,  we  were  astonished  at  the  impressive 
manner  and  purity  of  style  with  which  she  interpreted  Bdlini's  beantifnl 
opera.  She  is,  in  truth,  a  great  artist,  and  nothing  could  be  mora  perfect 
than  ber  wonderful  vocalisation  in  her  iirst  cavatina,  "  Pearest  Com- 
panions." Her  last  scene  was  also  very  fine,  and  Madame  Anna  Bishop 
surpassed  herself  in  the  favorite  rondo  finale,  which  was  demanded  by 
the  enraptured  audience  three  times.  After  the  fall  of  the  curtain  cries 
for ''  La  Bishop"  being  loud  and  long,  the  fair  vocalist  made  her  ap* 
pearance,  and  with  winning  and  lady-like  demeanour,  evinced  her 
appreciation  of  the  good  taste  and  kindneas  of  the  audience.  Saturday, 
by  the  wiafa  of  Ins  Exoellency  the  Lord  Ueotenant  and  fiuni)y«  the  opera 
of  fha  Maid  of  ArtoU  waa  repeated  with  great  effect;  on  that  occasion 
the  house  was  crowded,  and  besides  the  noble  party  above  mentioned 
there  was  a  great  numbcv  of  our  noUlity.  On  to  night  wiU  be  product 
tlie  comk  open  of  the  Love  S^^U ;  the  English  version  of  iJkmusUi't 
V  iUtsir  UAm»e,  the  part  of  Adtna  by  Madame  Bishop.— 7%4  PM. 


FOREIGN  INTELLIGENCE. 

Pbiladelpbia. — {^From  the  Daily  tSun^  Jan*  1.)— Sivori 
gave  his  Farewell  Concert  on  "Wednesday  evening  last,  to  one 
of  the  roost  discriminating*  tasteful,  crowded,  and  fashionable 
audiences,  that  have  yet  greeted  with  enthusiastic  applauae  th« 
magio  of  his  lyre ;  and  the  rapture  they  evinced  was  but  a  jusfe 
response  to  the  power  of  the  performer,  to  draw  from  the  vio- 
lin those  melting,  touching  and  wonderful  melodies,  for  which 
he  is  ao  deservedly  celebrated.  Strains  of  muaic  such  aa  iagua 
from  this  gifted  artiat— the  rich  gush  of  melody,  that  warbka 
like  a  bird,  or  sighs  like  the  moaning  winds  through  groves 
of  citron — at  one  time  sweeping  with  die  power  of  the  full  or- 
chestra—and at  another,  swelling  into  the  douds.  there  tQ 
mingle  with  gentler  tones  that  die  away  into  distant  eohoea» 
mellowed  by  the  delicious  modulations  of  sentiment  and  faney 
— must  be  heard  to  be  appreciated,  and  ouce  heard,  must  al- 
ways bo  ^oyed — for  the  memory  of  their  sweetness  lives  in 
the  soul,  with  the  burning  brightness  of  the  light  of  happier 
days.  It  was  in  this  spirit,  that  Sivori  executed  'Tlie  Grand 
Concerto* — and  that  transcendently  sweet '  Adagio  and  Rondo^ 
composed  by  Paganini.  The  duet  with  Noronha,  was  ad- 
miraoly  executed  by  that  artist,  who  only  requires  to  be  more 
known,  to  take  a  high  rank  in  his  divine  profession.  But  the 
masterpiece  *  the  Carnival  of  Venice* — bore  off  the  palm— at 
once  so  diflScult  of  execution — so  full  of  contrast  and  character 
— portraying  every  passion — every  humour— ^very  motion  of 
joy — every  burst  of  merriment — gay  and  lugubrious— now 
laughing  with  Punch — now  joking  with  Judy — so  droll — yet 
so  sentimental  and  finished—  this  piece  was  performed  by  Sivori 
in  a  style  only  to  be  excelled  by  his  great  master  Paganini  \ 
and  he  alone  of  all  the  masters  of  the  violin,  could  take  prece- 
dence of  Sivori,  for  the  masterly  command  of  his  bow-«and 
the  perfect  lightning-like  velocity  of  his  fingering,  at  once  so 
delicate,  scientific,  and  touching,  are  only  exceeded  b^  those 
flashes  of  fancy,  which  he  dashes  off  as  impromptu  vanations^ 
exciting  equal  surprise  and  deUght,  amidst  repeated  showers  <rf 
applause.  Never  did  an  audience  appear  more  transported  with 
pleasure.  Miss  Northall  executed  her  songs  with  her  usual 
skill  and  science^  full  of  feeling  and  sweetness.  Her  *  J,vft 
Maria*  was  a  delicious  banquet  of  melody  in  the  hands  of 
the  Priestess  of  Song.  Even  now,  we  hear  its  melHiuous 
melody.  Signor  De  Begnis  waa  not  the  least  of  the  admired 
performers,  who  made  this  Concert  one  of  the  most  sumptuous 
musicel  banquets  of  the  season.     He  extorted  rapturous  ap- 


124 


THE  MUSICAL  WORLD. 


plause  by  his  masterly  exeoution  of  the  '  Mad  Musician*  His 
rich  vein  of  humour,  and  his  highly  cultivated  taste,  throw  a 
lustre  over  bis  performances  that  flash  vivacity  into  every  bo- 
som. He  is,  in  fact,  the  life  and  soul  of  a  classical  concert ; 
and  always  tends  to  produce  that  great  result  of  such  pleasing 
exhibitions,  the  diffusion  of  a  musical  taste,  and  the  increase 
of  the  votaries  who  imbibe  enjoyment  at  this  innocent  foun- 
tain.— [We  have  given  the  above  without  altering  or  omitting 
a  word.  It  it  a  capital  specimen  of  Yankee  criticism.  Were 
the  writer  to  come  and  settle  in  England,  the  Morning  Post 
would  engage  him  incontinent,  at  anything  per  line  he  pleased. 
—Ed.] 


ORIGINAL   CORRESPONDENCE. 

To  tke  Editor  of  "  Douglas  Jerrold^s  Journal." 
"THE  MUSINGS  OF  A  MUSICIAN." 
Sib,— Yoa  do  me  the  honour  to  appeal  to  me  as  to  whether  the 
opinion!  you  entertain  on  certain  pointa  of  my  Essay,  on  '*the  eomtrue' 
ihn  of  Fugue**  agree  with  my  own.    In  answer,  to  the  call,  permit  me, 
first  to  obMnre,  that  I  believe  you  wrote  yonr  review  of  my  work  in  the 
spirit  of  sincerity ;  although,  unfortunately,  the  main  truth,  or  inten* 
tion  of  the  essay  has  escaped  you,  notwithstanding  that  it  was  stated  at 
the  very  commencement  of  my  preface  in  these  terms  '.—".Fogues  may 
be  written  in  almost  any  school*  style,  and  species  of  composition,  and 
if  anytliing  truly  original  remains  to  be  done  in  this  intricate  branch  of 
music,  it  must  be  e£fected  by  the  construclUmf  and  the  ftguret  employed 
in  the  counter. point  of  the  figures."     For  this  reason  I  constructed 
fugues  in  styles  and  methods  that  have  never  been  contemplated  :   for 
example,  open  fugue;  fugues  without  modulation,  (t;  e.  without  change 
of  key),  in  the  mi^or  and  minor  modes ;  fugues,  Al  Redtavo:  Tempo  di 
Mweia;  and  strict  double  counterpoint.  Myes  say,then  is  written  expressly 
to  show  what  may  be  done  in  counterpoint  and  fugue — not  what  has 
been  done.    You  observe  **  Mr.  Flowers  is  evidently  a  fitgue  writer  at 
heart,  and  would  prefer  a  subject  that  will  toork,  to  a  melody  that  will 
please."     The  subject  I  selected  for  my  jUustrations  is  a  bad  one  to 
work :  this  a  good  contrapuntist  would  instantly  have  remarked.    Again, 
unless  melodies  be  worthy  of  a  fugue  writer,  he  could  not  be  '*  a  fugue 
mriler  at  heart,'*  except  a  fugtfe  wrlier  at  heart,  means  a  fugue  writer 
without  a  hetkit.    I  perceive  you  agree  with  me  that  our  choirs  are  un- 
latis&ctorily  named:  but  you  do  not  admire  those  1  have  adopted. 
Being  anxious  to  avoid  unnecessary  censure  in  the  bringing  out  of  a 
system  of  harmony  unknown  in  this  country,  I  simply  translated  from 
the  German,  the  names  Abb^  Vogler,  (the originator  of  this  system),  gave 
to  the  chords ;  and  I  believe,  better  or  more  definite  ones  could  not  be 
invented,  because,  as  I  observe  in  my  essay,  they  "  describe  the  real  nature 
of  the  intervals  of  which  the  chords  are  composed."    As  an  Instance, 
I  will  take  the  double  diminished  triad,  so  called  because  it  consists  of  a 
diminished  third,  and  a  diminished  fifth.    All  the  chords   (as  I  could 
easily  show),  are  equally,  logically,  and  systematically  named  by  A. 
Vogler.  In  refering  to  the  *' fixed  rules  of  dissonancei,"  you  comphdn  of  thia 
"  simple  matter,"  being  hidden  under  a  mass  of  confused  terms.    Sim- 
ple as  this  matter  appears  to  you,  no  theorist  has  made  it  plain  to  others ; 
and  the  best  musicians  (as  I  proved  in  my  essay)  have  been  confused  for 
want  of  a  system  and  efficient  terminology  to  explain  all  the  different 
treatments  to  which  a  dissonance  may  be  subjected.    Would  this  have 
been  made  a  "  simple  matter"  if  the  terms  I  gave  were  nothing  better  than 
**c9n^usUm"t    May  not  the  fact  of  your  having  found  it  simplejmatter 
(which  before  was  cof^futed  matter),  show  that  the  terms  themselves 
brought  this  matter  conspicuously  before  you  ?    Lastly,  you  question  the 
utility  of  knowing  under  a  system,  ail  the  mversiona  of  a  given  melody : 
had  you  quoted  from  my  essay,  none  of  your  readers,  I  think,  could  have 
coincided  with    you.     I  will,  therefore,  quote  from  it:  ''Inverting 
melodies  is  a  new  and  excellent  study,  and  one  which  teaches  how  to 
invent  and  invert  melodies."    If  you  hold,  Mr.  Critic,  that  melodies  can- 
not be  taught  on  any  principles,  (and  yet  there  are  works  written 
expressly  on  the  subject  of  melody),  then  your  opposition  to  my  views 
may,  at  least,  be  considered  sincere ;   but  I   should  regret  to  know  that 
"  Douglas  Jerrold*s  JoumaP*  is  capable  of  maintaining  anddifl^ising  such 
a  confused  and  injurious  notion  upon  a  matter  so  simple.    Hoping  you 
will  excase  the  length  which  your  appeal  has  occasioned,  I  beg  to  sub- 
scribe myself.  Sir,  your  obedient  servant,  FacycH  Flowsxs. 

N.B.^I  forward  this  to  the  Editor  of  the  "  Musical  World,"  not  because 
I  am  discontented  with  the  article  in  "  Douglas  JerroUPs  Journal"  but  to 
explain  what  I  considered  unnecessary  in  my  essay,  thinking  such  matters 
were  too  self-evident  and  too  well  understood  to  require  explanation. 
It  is  true  that  I  observed  the  highest  praise  awarded  to  Mr.  Hamilton's 
Httle  catechism  on  music  just  above  the  article  on  my  essay ;  but  for  the  | 


mufiiig-fo/a  mufftetim,  I  could  not  do  better  than  recommend  him  to 
read  extracts  from  Godfrey  Weber^s  preface  to  his  theory  of  musical 
composition,  which  is  Just  published  in  London ;  these  extracts  would 
enlarge  his  views,  and  teach  him  that  high  praise  is  bestowed  on  minor 
works  by  those  who  most  patronise  them. 

MISCELLANEOUS. 

Her  Majesty's  Theatre.  -..This  evening  La  Favorita  and 
the  ballet  of  Coralia  will  be  repeated,  and  on  Thursday  evening 
next,  a  grand  performance  wiU  be  given,  the  proceeds  of  which 
are  to  be  devoted  to  the  Irish  and  Scotch  Charities. 

Mr.  T.  Severn. — We  understand  that  this  talented 
mnsician  is  busily  engaged  in  the  composition  of  a  new 
Serenata,  on  the  same  construction  as  his  Spirit  of  the  SkeU. 
which  has  lately  engaged  so  roach  attention.  The  subject  is 
taken  from  the  German  Legend  of  Fridolin^  and  report  speaks 
highly  of  the  work  so  &r  as  it  has  progressed. 

A  Kentish  Bull. — ^A  Kentish  print,  in  apoatrophising  the 
vocal  excellences  of  a  Miss  Gordon,  says : — "  Miss  Gordon, 
although  a  mere  child,  posseteea  a  musical  taste  and  vocal 
capacity  which  are  well  worth  going  to  hear**  We  appeal  to 
C.  J.  and  the  Trunkmaker  for  an  explanation ;  in  putting 
their  noddles  together  they  may  contrive  to  sift  the  meaning 
from  the  verbose  chaff  in  which  it  is  embedded. 

Mendelssohn's  Italian  Opera. — {Morning  Post^  Feb. 
19.) — ^We  have  seen  a  private  letter  from  Mendelssohn,  which 
abundantly  displays  the  bungling  officiousness  volunteered  so 
groundlessly  on  the  subject  of  his  composition  of  the  new 
opera,  of  which  Scribe  transmitted  to  him  the  scenario  on  the 
1st  of  Jan.  The  great  Maestro  expresses  die  highest  admi- 
ration  of  the  subject,  and  of  the  manner  in  which  Scribe  has 
adapted  Shakspere's  immortal  poem  for  the  lyrical  stage.  [This 
is  something  less  than  saying  nothing  at  all.  Oh,  Post/ 
Post!  you  arc  in  a  fix. — Ed.] 

PiATTi. — We  should  have  noticed  the  arrival  of  this  emi- 
nent violoncellist,  who  has  been  eammg  new  laurels  in  Italy, 
of  which  we  have  received  an  account,  which  we  shall  print  in 
our  next  number. 

Amateur  Society. — ^The  second  performance  took  place 
last  night :  we  must  notice  it  in  our  next. 

Mr.GsNOB  will  give  his  fifth  annual  Concert  at  Crosby  Hall, 
on  Tuesday  evening,  March  2. 

Macrbadt  as  a  Manager. — Mr.  Macready's  management 
practically  solved  the  long  and  hotly  discussed  question 
whether  a  theatre  can  be  conducted  without  offence  to 
decorum  or  stimuli  to  licentiousness?  The  Puritan  ^vines 
and  their  successors,  by  whom  the  stage  has  been  denonnoed, 
have  always  assumed  the  negative,  and  made  it  the  foundation 
of  their  fiercest  invectives.  They  have  often  grossly  ex- 
aggerated, and  sometimes,  in  their  censures,  oidy  betrayed 
the  pruriency  of  their  own  imaginations.  StiU,  to  a  certain 
extent,  there  was  truth  in  what  they  urged.  A  saloon^  with 
all  that  had  become  associated  with  the  name,  was  deemed 
essential  to  the  prosperity  of  a  large  theatre.  Privileges  were 
bestowed  to  secure  the  presence  of  those  whose  absence  was 
required  by  all  friends  of  decorum.  The  most  reputable  as 
well  as  the  most  disreputable  of  managers  bad  believed  them- 
selves under  the  necessity  of  making  this  gross  addition  to  the 
attraction  of  a  theatre.  The  attraction,  as  it  doubtless  was  to 
some  classes,  had  become  a  strong  repulsion  to  better  classes. 
The  evil  was  at  once  corrected  by  the  Covent  Garden  manage- 
ment; and  afterwards,  though  under  much  vexatious  op- 
pression, at  Drury  Lane.  The  record  of  the  example  remains 
to  deprive  of  every  fragment  of  excuse  the  managers  who,  now 
or  hereafter,  may  sustain  or  restore  the  former  and  most 
vicious  system.— TT.  /.  Fox,  in  the  PeopWs  JourwA.l 


THE  MUSICAL  WORLD. 


125 


Madame  Bishop  will  return  to  London  in  the  second  week 
of  April,  and  remain  for  the  season,  having  hy  that  time  com^ 
pleted  all  her  provincial  engagements. 

Mr.  Ksarns. — Several  infiuendal  members  of  the  musical 
profession  are  earnestly  interesting  themselves  to  get  up  a 
concert  for  the  benefit  of  the  widow  and  nine  orphans  of  the 
late  Mr.  Keams.  This  lamented  professor,  though  held  in 
high  esteem  by  his  brother  musicians,  and  standing  in  the 
very  first  rank  of  that  department  of  the  art  of  whieh  his 
talents  were  an  ornament,  was,  from  the  nature  of  those  takots, 
and  from  the  particular  direction  of  his  professional  and 
private  persuits^  little  known  to  the  general  public.  His 
excellence  consisted  in  a  peculiar  knowledge  of  the  orchestra, 
and  an  almost  singular  capacity  for,  and  success  in,  the 
difficult  art  of  instrumentation.  Mr.  Xeams  first  distinguished 
himself  in  this  respect  by  the  additional  accompaniments  he 
wrote  to  Purcell's  King  Arthttr,  which  was  revived  about 
twenty  years  ago,  under  the  management  of  Mr.  Arnold,  at 
the  old  English  Opera  House.  At  the  Westminster  Festival, 
in  1834,  he  added  wind  instrument  parts  to  several  of  Handel's 
and  Purcell's  choruses,  which  were  played  with  great  effect ; 
and  since  that  time  he  has  always  been  employed  by  the 
PhUharmonic  directors  to  arrange  for  the  orchestra  any  pieces 
that  have  been  given  at  their  concerts  of  which  the  original 
scores  were  not  to  be  obtained.  Mr.  Keams,  besides  his 
many  important  engsgements  as  a  writer,  filled  for  many  years 
an  important  post  in  the  Philharmonic  and  other  orchestras. 
His  death  has  left  his  large  family  in  circumstances  of  great 
distress,  and  the  efforts  that  are  now  making  to  relieve  them 
are  highly  honorable  to  the  feelings  of  those  engaged  in  them 
A  committee  has  been  formed,  comprising  most  of  the  heads 
of  the  profession,  for  carrying  out  the  business  of  the  concert^ 
which  win  take  in  about  a  month  from  the  present  time. 
Many  offers  of  assistance  have  been  received  from  the  most 
eminent  artists  now  in  London,  and  we  hope  in  the  course  of 
a  few  days  to  see  an  announcement  of  such  names  as  will  con- 
stitute a  worthy  tribute  of  respect  to  their  brother  musician, 
and  an  irresistible  attraction  to  the  public. — Morning  Post. 

Hammersmith.— On  Monday  evening  a  second  representa- 
tion of  Loder's  opera,  Oiselle,  by  the  juvenile  portion  of  the 
family  of  Mr.  Van  Millingen,  took  place  at  that  gentleman's 
residence  in  St.  Peter's-square.  We  gave  a  notice  of  the  first 
performance  of  the  opera  at  the  theatre,  which  pleased  us  con-* 
siderably,  but  the  representation  on  Monday  was  an  improve-* 
ment  in  every  respect.  The  parts  of  Giselle  and  Albert  were 
capitally  undertaken  by  the  young  demoiselles,  Maria  and 
Hester  Van  Millingen  ;  but  the  Fridolin  of  the  petite  Fanny 
Van  Millingen  was  positively  extraordinary.  This  charming 
and  talented  child  is  only  Jour  years  and  a  half  oJdy  and 
surprises  all  who  hear  and  see  her.  Let  our  readers  fancy  a 
baby  like  this  giving  effect  to  Leffler's  part  in  Loder's  opera« 
ay,  and  singing  his  two  songs,  '*  Sure  such  a  Beadle,*'  and 
''  My  pretty  sprites,"  in  such  a  manner  as  to  make  the  house 
ring  with  acclamations.  Such  precocity  of  talent  is  really 
wonderful.  The  audience,  during  the  performance,  seemed 
to  be  divided  between  shouts  of  applause  and  shouts  of  laugh- 
ter. The  opera  was,  on  the  whole,  creditably  done,  and  Mr. 
Van  Millinfen  deserves  the  highest  praise  for  the  assiduity 
and  patience  he  has  expended  in  the  education  of  his  young 
&mily.  The  whole  of  the  performers,  with  two  exceptions, 
were  under  eight  years  of  age.  After  the  opera,  little  Fanny 
sang  "Why  don't  the  men  propose,  mamma?*'  with  such 
spirit  and  naiveU^  as  to  call  for  repeated  rounds  of  applause, 
and  the  entertainment  concluded  to  the  delight  and  gratifica- 
tion of  all  assembled. 


TO   CORRESPONDENTS. 

Miss  £.  Ward. — In  a  n^ice  of  the  concert  of  Meur$.  A,  Newton  and 
O.  Ccue,  our  reporter  wrote  the  name  of  thit  promiting  artist  as  Miu 
B,  fVarde.  It  should  be  as  above,  without  the  final  e.  We  have  been 
requested  to  note  this  emtam,  which  we  do  with  pleasure. 

ADVERTISEMENTS. 


Warren's   20   Guinea   Cottage   Piano-Fortes 


ARE  NOW  SELLING  AT  THE 

Mannfitctory^  71^  laeadenhall  Street 

(Removed  from  1  and  2»  Liverpool  Street,  Bishopsgate  Street.) 
These  Initnimentt  are  well  niAnmftu^tiired  of  the  beit  seHoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  yeart  wtfitmty given  with  each  initra- 
ment  BSrrABLISHED  TWENTY-ONE  TEARS.  The  onlv  hooM  In  London 
where  a  rood  Kmnd  inttrnment  can  be  obtained  at  the  above  low  pricey  (ft^  cash 
nly^  SiKlL  PROFIT  AND  QUICK  RETURNS! 
JOHN  WAKRBN^  71,  LeadenluOl  St.,  opposite  Aldcato  : 


Just  PublUhed  by  n.  MILLS^  140,  Now  Bond  Btroot, 

No.  4  OP  GERMAN    SONGS, 
•*HOPPNXJNO;>> 

THE  POOTRY  BY  SCHILLER,  THE  ENGLISH  WORDS  BY  DBSt 

MUSIC  BY  HENRY  WYLDE,  Aiiociate  ot  the  Royal  Academy. 

AIM,  by  the  lame  Anthor,  (firtt  Sonata  dedicated  to  C.  POTTER.) 

"RHAPSODY,»» 

BOOK    OF    GERMAN    SONGS. 
In  the  Press-^'*  Caprice,*' for  the  Piano-forte. 


BSEDIOAX.  GALVANISM. 

noRNlt  THORNTHWAITB,  Ac  WOOD,  Succeesori  to  E.  Palmbb,  ISS,  New- 
raSSS^'  ™iSKin?Vhdr  improved  ^LECIRO-GALVANIC  MACHINES, 
Srto iSe.  that  they  have  availed  themeelvet ot  the dMCOveriee of  DeU  JUve. 
iSsSzT^S^LdcLm,  by  which  they  are  enabled  to  constmct  a  c^l  wtthall 
thenanired  Intensity  and qnantiiy  of  elearicity  tor  medical  n^,  theid^v effsO. 
bur  b^  »vins  of  expcnae  and  trouble  to  the  invalid,  and  P^cUiiT  i"  ^^}^ 
an  eSSSive,  powerful,  iSditople  inatmment,  that  may  be  exdted  at  a  minutel 
MticTimd  w^iont  trooble.-Price,  ^Z.  »•. ;  /3.  lOs,;  end^.  5». 

PHILOSOPHICAL  APPARATUS.-Every  deicription  of  Apparatne  coimect«d 
with  SemUtry,  Hydraulic,  Hydroitatica,  Pneumaticii,  Fnctional  and  Voltakr 
ElectHclty,  EKtro-Maitnetlim,  Electro-Metallurw,  (JpUcs,  (including  the  DU- 
SSrtnr  VW  Fhotomphy,  &c!)  manuftctnred  and  sold  by  Horne.  I  homthwaite 
l^^ncc^n^o^nz'i  Palmer,  128,  NewfUtc  Street,  London. 

Ftoreim  orders,  endoainff  a  remittance  or  order  tor  payment  in  London, 
prompny  attended  to.  ^___^ 

DR«   STOLBERCS   VOICE   LOZENGC 

Is  acknowledged  as  the  best  speciftc  after  three  years'  trial,  for  Improijog 
the  voice  and  Vemovin^  all  affections  of  the  throat,  strongly  recommended  to 

^Th?'Proprietors  have  just  received  the  following  Testimonial,' amongst 
manv  others,  from  Madame  Anna  Bishop:— 

^iEAV  SIR.-I  am  happy  to  say  that  all  I  have  hesrd  respccUng  the 
efficicT  of  Dr.  STOLBERo'f  wlebrated  Lozenob  is  perfectly  true,  as  yester- 
daT^eHng  mysell  very  fatigued  (singing  nightly  at  the  Theatre).  I  todt 
2?iraf  onhe7o.engcs7and  m^  voice  was  very  clear,  and  my  «hr«^t  qmtj 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP. 

-  I8th  November  1846.-Jermyn  Street  chnrf^iv^- 

BarcUv  and  Sons.  Farringdon- street ;  Sutton  and  Co.,  Bow  Churchyard; 
W  EdwLJu  and  Newbery  and  Sons,  St.  Paul's  Chuichyard;  Sangw^and 
DietricESrand  Hannay'  Oxford-street ;  and  retaU  6y  all  resptctaUt 
Chymist.  intbe  Kingdom.  ^.^^.^^^  ^^  ^^UU^ ItT 


136 


THE  MUSICAL  WORLD. 


CROSBY  HALL,  BISHOPSGATE  STREET. 
Mr.  GENGE 

RetpectftUly  Annoimcefl  that  his 


Wfll  tike  place  in  tiie  abore  Hall. 

On  TUESDAY  BVBNmO,  March  2nd, 
To  commeDce  at  EiAt  o'clock  preciaely. 
Principal  Vocaliata :— Ifits  A.  F.  Smitb,  Min  Cabitt,  Miia  Thornton,  Mn.  A. 
Ncwtoii-lfr*  Shonhridgc^  Mr.  N.  J.  8porle»  Mr.  Turner.  Mr.  T.  WiUianu, 
Mr.  Oeb^  Mr.  Kenny,  Mr.  J.  B.  Smith,  Mr.  H.  Smith  (from  America), 
Mr.  Bdney,  Bir.  Simmona,  Mr.  Julian  Kench  and  Mr.  Blqdtt.  Violin,  Maater 
TUrlwall— Concertina,  Mr.  6.  Caae  Condnctor,  Mr.  RRiuharton  Smith. 
Ticketa,  Three  Shillion  eadi— a  limited  nmnber  of  Reserved  Seata,  Fire  Shillinga 
eaeb— may  be  had  of  Mr.  Genge,  19,  Peckham  Grove,  and  at  ^e  Hall. 

UNDER  THE  IMMEDIATE  PATRONAGE  OF  HER  ROYAL 
HIGHNESS  THE  DUCHESS  OF  KENT. 

Mr.  MANGOLD 

Begu  to  announce  that  his  CONCBET  of 
CLASSICAl.    INSTRUMENTAl.    MUSIC 

WiU  take  plate  on  MONDAY  EVENING,  March  1, 
At  the   BANOVBR   BQUARS   ftOOKS. 

To  commence  at  CJij^ht  o'clock.  Instmmentalistst— Messrs.  Sainton,  Ronsselot* 
Hill,  Howdl,  Cliknhi,  Nicholson,  Boos^.  JarretL  Keatin|f,  Harner  and  Mangold. 
Vocaliata  :^MhL  Moblsr  de  Fontaine,  Missea  liocohi  and  SaralRower.  Ticketa 
7s. ;  ReservedSM,  10s. «d. ;  may  be  had  of  Messrs.  Crazner,  Beale  and  Co.^ 
Regent-strei^  I  OhappeD,  •»,  Bond-atreet;  and  of  Mr.  Mangold,  37,  Hnnter. 
arm,  Brunawick-square. 


CHOICE    MUSICAL   LIBRARY; 

ALSO. 

VALUABLE  VIOLINS, 

Beinc  the  final  portion  of 
THB    COXiLBCnON    OF    MM.    »ANOOIB    CBAlIBM. 


PUTTICK    AND    SIMPSON, 

iSmecetort  to  Mr,  FUtekir)  Anctioneen  of  Moaic  and  Literary  Property, 

WU<L  SELL  BY  AUCTION  AT  THEIR  GREAT  ROOM, 

191,    PfOOABILLlr, 

On  MONDAY,  March  la/,  and/oUowing  day 'mi  Ont  moH  jmnetuaUy, 

The  VALUABLE  MUSICAL  LIBRARY;  comprisinr  choice  Works  in  every 

daaa  of  Musical  Practice,  Cbarch  Mosic.  Operas,  and  Works  ot  the  great  Maatera 

of  att  periodaj  alao,  a  variety  of  MUSICAL  INSTRUMENTS,  narUculariy 

VIOUNS  by  Cremona  and  other  celebrated  Makers,  VIOLONCSUX)S»  FlANO- 

FORTES,  ftc— Catalogoes  will  be  sent  on  application. 


PIANOFORTES   FOR  SALE. 

A  very  iupaitor  and  powerful  toned  H  Octave  Rosewood  COTTAGE,  by  Zeitter 
and  Co.,  wiUi  metaUic  sMng  pUte.  check  action.  &c.,  cost  60  gnSaeas  a  aUrttime 
ifoee,  and  wiU  now  besold  for  half  that  sum ;  an  elegant  RoacwoodSemi-CABINET, 
61  oets(V«8,  with  att  the  latest  imoruvementg.  only  35  guineas;  a  COTTAGE, 
14  guineas;  aO-OCTAVE  SQUARE,  byBroMlwood,  wit£  mataOic  aprii«  plate, 
only  ^18.,  cost  sa-gnmau;  a  5^  DITTO,  itfi.  Also,  a  variety  of  new  and 
iflsnrov^GABlKET,COTTAGB,and  PICCOLO  PlANOFOimiS,flrom25guineaa 
eaOL   PadLed  free  of  expense. 

C.  SCOTCHER, 
(from  CoUard  and  CoUard's),  60,  Mortimer-street.  Cavendiah^^quare* 

PlANOfORTXa  TAKEN  IN*  EXCBANOE. 

PIANOFORTES*  " 

Parties  in  want  of  a  really  good  PIANOFORTE,  at  a  moderate  price,  will  do  well 

tocallat 
J,  C.  JONES  AND  CO.'t, 
t,  Haaway-street,  Oxford-street,  a  fcw  doora  on  the  right  Arom  Tottenham-court « 
Mad,  wImh  tromk  tlieir  Intimate  acnoaintance  with  every  kind  of  ins  trument  made« 
tava  endeavoared  to  combine  the  separate  good  qualitiea  of  each  with  aH  the 
latest  improvements,  therefore  for  tone,  touch,  durability,  and  appearance  these 
Instruments  are  not  to  be  surpeased  at  the  price. 

Instruments  tuned,  r^aired,  exchanged,  and  lent  an  hiie. 
Toning  by  the  year,  one  gunea,  Seoond-htta  Pianoa,  from  8  to  90  guineai. 


SAORED   HARMONIC   SOCIETY, 

EXETER  HALL. 
On  Thursday  Evening,  March  4, 18i7«  will  be  performed 
A    BBUBCnON  OF  ANTHEMS  AND  CATHEDRAL  MVSlO- 

Principal  Vocal  Performers t  —  The  Misses  wmiams,  Mr.  Genge,  Itr.  HIU 
Mr.  LOctey,  Mr.  Howe,  Mr.  U.  Fhillins,  and  Mr.  W.Kanch.  OtganM, Mir.  Tlurla 
The  Chorua  will  consist  of  above  500  Performers. 


Tickets,  Ss.  each  ;  reserved  seats,  5s..  may  be  had  of  the  principal  Muatcselleta  s 

^"    -^     '       -1,  Chariag-croaa;  Mr  Mttchcli,  80,  CkHrinf«oa6{  and  of 

id|  opposite  Exeter-Hall. 


of  Mr. 
MrRies,10S, 


THOMAS  BREWttt,  tttti.  Bee. 


tCE88Ra» 

ItOOOKyp  MEW  BHIMCAIi  PUBLIC ATIOM8, 

NEW  PIANOFORTE   MUSIC, 
W.    VINCENT    WALLACE. 

"the  Last  Rose  of  Summer,"  «•  The  Blue  BeU's  of  Scotland,"  «  Koctttme,'' 
each  3s.  Pretty  Menry  Walu,  Anna  Waltz,  and  L'Hirondelle  Walta,  aacb  2s. 
At  the  umnt  request  of  the  most  eminent  professors  of  music,  rasiding  in  all 
parts  of  the  unitcid  king^dom,  Messrs.  R.  Cocks  and  Co.  have  Men  so  fortunate 
as  to  obtain  from  that  gifted  composer,  W.  Vincent  Wallace,  the  above-named 
six  pieces,  which  are  written  in  his  happiest  strle.  To  meet  die  emnttnr'a 
constant  demand,  they  have  been  written  expressly  to  suit  the  drawimr^room*  aa 
they  may  be  acquired  by  memory.— Now  ready,  tne  26th  edition  €t  HAmilton'a 
Dietionalry,  of  2,500  terms,  by  John  Bishop,  price  is.  Pianos  for  sale  antflrire. 

TO   TEACHERS   OF   MOSIC. 

HAMILTON'S  PIANOFORTE  TUTOR,  with  Exercises  and  56  Airs 
lingered  by  Cxemy,  price  only  48.  "  This  work  is  dearly  written,  and  intel- 
BgiUa  to  Oie  moat  ordinarv  capacity,  and  the  book  la  worthy  the  attantiMi  of 
teachers."— Vide  No.  44,  Muneal  World,  Also,  by  Hamilton,  his  Miniatare 
Course  of  Harmony  and  Composition,  five  vols.,  each  2s.  and  3s.  Dictionnry 
of  2,500  Musical  Terms,  Is.  Catechism  of  Singing,  Ss  ;  ditto  Organ,  ta.; 
ditto  Violin  and  VioUmocUo,  each  Is.  «*  What  Mrs.  Barbauld  in  ha  daf  did 
for  the  infiint  reader,  Mr.  Hamilton  in  his  has  done  for  the  musical  beginner." 
—Musical  World.  '*  Mr.  Hamilton  has  done  for  musical  students  what  Mr. 
Pimiook  has  achieved  for  general  education."— Jienl's  Littrarg  Ad^drtUert 
And  to  be  had,  on  order,  of  all  musiesellers  and  bookaellers.  PSanoa  nnd 
harps  for  sale  or  hire.  — — 

SCHOOL  MUSIC  FOR  THE  PIANOFOETE. 

CHAULIEU'S  First  Six  Months  at  the  Pianoforte,  six  books,  eadi  Ss.;  or 
the  six  in  one  volume,  15s.  **  So  excellent  is  the  plan  ot  this  truly  admlmble 
work,  and  so  novel  and  ingenious  its  execution,  that  it  is  in  tba  higlMat  dyec 
masterljr.  Indeed  I  have  no  heaitation  in  saying  that  for  the  tution  of  children 
on  the  pianoforte,  no  work  of  equal  merit  and  utility  has  ever  come  before  the 
public ;  and  for  class  or  school  teaching,  it  will  be  found  absolutely  invahiable. 
CounCi^  teadmrs  and  persona  who  have  not  had  long  experience^  in  Iniliuu 
will  by  iu  aid  be  enabled  to  guide  their  pupils  into  a  short  and  pleaaant  pnth, 
along  which  their  progress  towards  exceUence  will  be  rapid  ana  certain,  nnd 
whidi  will  assuredly  redotond  equally  to  their  profit  and  their  fapntatlon.'*— 
J.  Haottlton,  anthor  of  Tho  Mnskol  CaUehitms. 

CATHEDRAL  MUSIC. 

Neariv  ready  for  delivery.  Dr.  BOYCE'S  COLLECTION  of  CAtRB- 
DRAL  MUSIC  (under  the  Immediate  patronage  of  His  Royal  Hi^hncm  PHnce 
Albert),— newly  edited  by  JoaEra  Warren.  In  score  wiifa  an  netMn- 
paniment  for  the  oxvan,  in  three  large  folio  vobimes  (upwards  of  1,000  pi^na), 
containing  Tallis's  mil  Cathedral  Service, and  numerous  Services  and  AntheBos 
by  Farrant,  Byrd,  Morley,  Oriando  Gibbons,  Child,  H.  Purcell,  Dr.  Blow,  and 
o&MT  celebrated  church  composers,  with  an  appendix  to  each  voluaM^  oanlnin- 
ing  additional  Services  and  Anthems,  a  Life  and  Portrait  of  Dr.  Boyoe,  and 
new  biographical  particulars  of  the  composers.  Price  to  8ubscribers,it4. 14s.  Sd.; 
to  non-subscribetft,  £8  8s.  London,  Messrs.  R.  CocKa  and  Co.  Ladies  and 
gentlemen  who  intend  to  honour  this  new  edition  with  their  names,  will  nianse 
to  forward  them  as  earlv  as  possible  to  the  publishers,  where  maybe  had  John 
Bishop's  edition  of  Tallis's  Order  of  the  Daily  Service,  in  one  elegant  vohmoe, 
gilt  edgea,  6a. ;  and  separate  paru  of  the  Morning,  Evening,  and  Conununlon 
Services,  for  treble,  tenor,  alto,  and  bass,  2s.  each ;  and  organ  ditto,  Sa, 

ROYAL  PLAJfOFORTE  SALOON. 

SUPERIOR  PICCOLO  and  COTTAGE  PIANOFORTES,  Nos.  1  to  7, 
manufactured  by  R.  Cocks  and  Co.,  No.  6,  Burlington-street,  London,  llusic- 
sellers  to  the  Queen.—*'  These  pianofortes  are  reasarkable  fm  the  beatrtr  and 
equality  of  their  tone,  the  fodlity  of  their  touch,  and  their  extremely  mtgiuit 
exterior.  They  have  the  advantage  of  being  firmly  and  compactly  made,  of 
the  best-seasoned  materials,  and  of  keeping  well  in  tune  for  an  unusual  length 
ofdme.*'—lftfnca/  ffW/ii,  Dec.  11,1845.  •«  It  Is  our  candid  o|flnian  that  for 
workmanship  and  quality  throughout,  together  with  the  extreme  reaaonsble- 
ness  of  the  prices,  these  pianofortes  cannot  be  surpassed."— Droaialic  aad 
Musieai  Review,  Jan.  24>  184fi.  N.  B.  A  list  of  prices  and  other  ]poti«nlai«,  to 
be  had  gratis,  postage  firoe.  Seven  of  Erard's  Harpa,and  One  Hnndnd  FSaiioa 
for  sale  or  hire,  on  very  moderate  terms,  including  several  OnnA  S^uarcf  bx 
Messn.  CoUard  and  CoUaidi  and  Broadwood. 


THE  MUSICAL  WORLD. 


147 


JULLIEN'S      ALBUM 

FOR   1847, 

A  aaoM  MMiUfal  OhrUtmM  Praaent,   N«w  Yoir's  CUft, 
and  EtrenneB. 


M.    JULLIEN 

Hat  the  honor  to  aDnounce  that  his 

MUSICAL     AliKUAL    FOR    1847 

Is  Published,  and  is  by  far  the  best  work  of  the  kind  that  has  ever 
appeared ;  contahis  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AND 

FOURTEEN    OF   INSTRUMENTAL 

Th€  greater  part  of  which  hatve  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  wkfa  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decidea  success  has  induced  M.  Jui*LifiN,  at  the  requast  of  numerous 
hiittfiiAal  palrona,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
DetScation  pages,  include 

TWO   MAGNIFICENT   VIEWS 

OF    THB 

Snterior  ot  Cobent^^arHett  <^j^eatre. 

The  one  taken  during  the  brilliant  scene  exhibited  in  that  splendid  arena  of 
the  occaaSon  of  M.  JULLIGN'S  GRAND  BAL  MASaUE;  the  other  a 
VIEW  OP  THB  THBATRB  TAKBK  DURING  THE  COKCERTS, 
die  grouping. of  the  Figures  in  both  Views  exhibiting  the  audience  in  a 
maaner  at  once  Uft'lUte  and  elegant.  To  those  who  have  visited  the 
^leatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  thoA  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
tfaii  gorgeous  scene. 

A   SPLENDTDLT-COLOURED 

PORTRAIT 

Of  the  celebrated  Dansense, 


In  the  admired  Pas,  LA  GASTFIGLIAXA. 
AN   ORIGINAL  SUBJECT, 

•'THE     FORTUNE     TELLE  B/' 

Illustrating  Baker's  beautiful  Ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
aapefintendenee  of  J.  BRANDAllD,  Esq.,  whose  pencil  only  has  been 
employeil  itt  ita  production. 

KbtMng  more  need  be  said  in  favour  ot  tMs  ALBUM,  and  in  proof  of  its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
ContribtUorSf  where  will   be  found  the  principal  talent  hi  Europe:  via. 

ROSSINI,  VERDI,  DONIZETTI,  RUBINI, 

ROCH-ALBBRT,  HCELZELL,  GOLDBERG,  SCHIRA, 

8CHULZ.  STCEPEL,  DUPREZ,  JOSE  GOMIS, 

ICASARNAU,  MARATZEK,  BALFB,  JULLIEN, 

HATTON,  BARRET,  ALEXANDER  LEE,  KCENIG, 

KNIGHT,  BAKER,  PARMER,  LINLEY, 

LAKB,  FITZBALL,  MOULD,  HURREY, 

FOREST,  ALBERT  SMITH,      DESMOND  RYAN,      &c 

It  will  thus  be  perceived  that  in  rddition  to  the  latest  compositions  of  the 
beat  English  Composers,  the  ALBUM  will  contain  some  of  the  newest  and 
aapst  popular  productions  of  Italy,  Germany,  France,  Spain,  &c.,  a  careful 
aeUction  of  which  has  been  made  from  those  works  that  are  now  attracting 
tb*  anention  of  the  Continental  diletanti. 

Price  ISa.  and  £l.  la. 
ROYAL   CONSERVATORY   OF    MUSIC 

214,  Rsgenx-Street,  akd  4:5,  KofOhSTVMwr. 


SOVBRfilGN 


No.  5,   St.  JAMES'S    STRBET, 

LONDON. 


Sir  A.  Brydges  Henniker,  Bart«> 
B.  Bond  Cabbell,  Esq.,  M.P. 


TniHees. 


Chairman,  Lieutenant-Coloiiel  Lord 

Arthur  Lennox. 
Dbpoty-Chairman,  T.  C.  Grangerj 

E«q.,  M.P. 
John  Aihbumer,  Esq.,  M.D. 
T.  M.  B.  Batard.  Ksq. 
PhiUp  P.  Biyth,  Esq. 


Dkreetore, 


Henry  FownalL  Baq. 
Claude  fidward  Scott,  Esq. 


Henry  Broadwood,  Esq.,  M.P. 
Sir  James  Carmichael,  jBart. 
Oharlea  Farebrother,  Esq.,  Alderman. 
WiUiam  Tulloh  Praaer,  Esq. 
John  Gardiner,  Esq. 
Aaron  Asher  Goldsmid,  Esq. 
HeBrvWilliam  Pownall^  En}. 
B^mhere.  Sir  Clande  Soott,  Bart.,  and  Co. 
SolicUore,  Messrs.  Davies,  Son,  and  Campbell. 
Ass(u*ances  on  the  lives  of  persons  in  evei7  station  of  life  and  every  part  of  the 
world,  rranted  on  a  plan  wbieh  comhinea  the  utmost  amount  vt  beneUt  to  the 
ftnmUes  of  the  assured  at  death,  with  every  attainable  advantage  during  life, 
which  the  system  of  Life  Assurance  is  capable  of  aflordlng. 

It  affords  perfect  security  in  a  subscribed  Capital,  which  guarantees  the  prompt 
setilem^ntof  every  claim,  with  participating  and  non- participating  rates  on  the 
lowest  scale,  especially  for  terms  of  years. 

The  Assnred  can  anticipate  or  obtahi  the  advance  of  fbe  ftill  amount  of  the 
Policy,  on  giving  approvf  d  available  security  Ant  a  certain  nomber  of  annual 
payments,  as  expmned  by  tbe  Proapectos. 

ISvery  facility  is  afforded  to  persona  a&suring  the  livea  of  others,  so  aa  to  render 
such  Policies  effectual  securities. 

A  new  plan  of  gradual  or  accumulative  Assurance,  particularly  adapted  for 
young  lives,  and  for  such  as  cannot,  without  Inconvenience,  undertake  the 
paynjeBtofaflxedpremiuna,  aacurinir  at  once  provision  in  case  of  premature 
death,  and  an  accumulating  fund,  available  daring  life,  ahould  oocasiou  require. 
Anmuitibs,  Endowments,  Advances,  and  Xioans,  on  Bberal  terms. 
D(>t»iled  Proapeetusea.  with  forms  of  Proposal,  and  every  information,  may  be 
had  on  anplicatioo,  either  personally  or  by  letter,  at  the  Comi^any's  Offices. 
The  uaoal  commission  to  iaoliciiors  and  Agents. 

H.  D.  Bavbnpokt,  Secretary^ 

JUUsIEN'S   ALBim   FOR   1847. 

In  coifteqiienee  of  the  extraordmsiry  sale  of  this  splendid  wovk  (which  has 
been  pronounced  by  the  unanimous  voice  of  the  public  press  of  the  United 
Kingdom  "the  best  and  most  prrfett  work  ot  the  kind  that  has  ever 
appeared"),  and  the  great  number  of  persons  who  have  been  unable  to  procure 
copies,  M.  JuLLi£N  has  the  honour  to  announce  that  he  has  been  induced  to 

Publish 

A     SIXTH     EDITION, 

WITH  EXTE>SIVE  ADDITIONS  AND  CORRECTIONS. 

This  edition  contains  nearly  fifty  pitces  of  the  newrsi  and  most  fashionable 

vocal  and  instrumental  music,  inclttdina  all  the  novelties  to  be  introduced  in 

the  forthcoming  season.    N.B.  The  price  of  Jullicn's  Album  is  18a.  and 

jf  1.  Is.    The  contents  if  purchased  separattly  would  cost  nearly  £6. 

ROYAI.   mUSZCAL   CwRSilRVATORT,    2U,    RBGENT   8T. 

To  behadof  all  respectable  Music  and  Booksellers  in  the  Kingdom. 


MBDICAIs  GALVANISM. 

HORNS,  THORNTH WAITE,  «t  WOOD,  Successors  to  B.  Palmer,  128,  New- 
rate.street,  in  submitting  their  fmproved  KLECI'RO^ALVANIC  MACHINES, 
beg  to  state,  that  they  have  availed  themselves  ot  the  discoveries  of  De  la  Rive, 
Faraday,  Smee,  and  others,  by  which  they  are  enabled  to  construct  a  coil  with  all 
the  required  intensity  and  quantity  of  electricity  tor  medical  use,  thereby  efltet- 
in^  both  a  saving  of  expense  and  trouble  to  the  Invalid,  and  placing  in  his  hands 
an  effective,  powerful,  and  simple  Instrument,  that  may  be  excited  at  a  minute's 
notice,  and  without  tronble.— Price,  j^S.  Ss.;  j^S.  las.;  and  atrs.  5s. 

I'HILOSOPUiCAL  APPARATUS.>-Every  description  of  Apparatne  connected 
with  Chemistry,  Hydraulics,  Hydrostatics,  Pneumatics,  Frictlonal  and  Voltaic 
Electricity,  Electro-Maanetism,  Eieciro-Metallurgy,  Optics,  (including  the  Dis- 
solving Views,  Photography,  &c  )  manufactured  and  sold  by  Home,  I  homthwaite 
and  wood,  successors  to  Edward  f  aimer,  128,  Newaate  Street,  London. 

Foreign  orders,  enclosing  a  reUAittance  or  order  for  payment  m  londoa, 
promptly  attended  to. 


DR.    STOLBERCS   VOICS   ZaOZBNOS 

la  acknowledged  aa  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thioata. 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madamb  Anna  Bianop:— 

**Deab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  De.  Stolbero's  celebrated  Lozbnoe  is  perfectly  true,  as  yeater- 
day,  fe*ling  mysell  very  fatigued  (singing  nightly  at  the  Thejtre),  I  took 
several  of  the  Lozengts,and  my  voice  was  very  clear,  and  my  ihroat  quite 
free  from  lelaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

"  18th  November  1846.— Jermyn  Street" 

Barclav  and  Sons,  Farringdon- street ;  Sutton  and  Co.,  Bow  Churchyard ; 
W.  Edwards  and  Newbery  and  Sons,  St  Paul's  Chuicfayard ;  Sanger,  and 


ROYAL  ITALIAN  OPERA,    Jiffift.       COVENT  GARDEN. 

Eokabliahed  /or  tlie  purpoie  of  renderinf^  a-more  porftct  perfornuince  of  the  Lyric  Drtnu  thao  baa  bitberto  been  attaiMd  in  tbU  coantry. 

Under  tli«  Pirectf on  and  XUaac^ement  of  Mr.  BEALE. 

The  NobilHy,  Gentry,  and^troni  of  Mute,  an^  rMpacifully  Intormed  tbat  tbe  ROYAL  ITALIAN  OPBRA 

WILL   OPEN    THE   FIRST    WEEK    IN    APRIL. 

f^l^^SSKSf  tSJlI2i2^*AiSrS\?*S?f  .**/3*,??^°»  lOmc  of  the  eiUblWied  worka  of  Cimarosa,  KozAaT.  RosaiNi,  MiTBaBBaa.  and  otben  of  tbe  mora  modean 

Italian eebool,  incladio^  operaa  by  Brllini,  Donizbtti.  MaacADAHTa.  and  VaaDi,  on  a  scale  ot  the  utmoet  perfection  in  every  <&partment ;  to  which  intentSa 

management  haa  aiMmbled  a  eompany  embracinf  tbe  greateat  and  moat  Taried  talent  in  Europe. 

MADAMEGRI8I  and  MADAMEPERSIANI 

^  .  ■       .  ^  .  <ber  Urst  appearance  In  London  tor  three  yeart). 

MADAME      RONCONI  and  MLLE.      STEFFANONI 

CoRTBAuri ;—  (of  the  Ilieatre  La  Scale,  ICilan,  her  lint  appearance  In  tbli  ooimfcry.) 

(oftheTrealSLa^a"  AdoftLH«?pSa^Ltre'UiViem^^  MLLE,       CORBARI. 

TBNoai  :— 

"^'*®"       MARIO, 

(of  the  Imperial  Theatre  of  St.  Peterabnrg.^ii  first  appearance  to  Uim  conntry),      and     (Of  the  Theatre  San  Carlo,  in  Naples,  his  firat  appearance  in  this  ooontry), 
.^^  ^  8IGNOR8ALVI 

(Of  the  Theatre  La  Scale,  m  Milan,  and  of  the  Imperial  Theatres  in  Vienna  and  St  Petersbnrgh,  his  first  appearance  on  the  Italian  atage  in  England). 

_  .  ^ PaiKi  Bassi  Baritonix^ 

8ICNOR      TAMBURINI  and  SIGNOR      GIORGIO      RONCONI. 

Prtmi  Bassi  Profondi:— 

SIGNOR      MARINI 

(Of  the  Theatres  San  Oilo.  Naples,  La  Scale,  Milan,  and  the  Imperial  Theatre,  Vienna,  his  first  appesranoe  in  this  cimntry), 

SIGNOR   ANGELO  ALBA  and  SIGNOR   POLONINI 

(Of  the  Theatre  Royal,  >i  adrid,  his  first  appesrance  in  this  country),  (Of  the  Imperial  Theatre,  Vienna,  his  first  appearanee  in  this  country). 

pRiMi  Bassi  Comici  :— 

(Of  the  Theatre  Royal,  Madrid,  his  first  appearance  in  this  country),  (Of  the  Theatres  lB>ya],  Naples,  Mikn,  Vienna,  £c.  firat  appearance  to  »is  country). 

Seconds  Donne:— 

MADAME      ANTONIETTA      MOLLIDORI    (of  tbe  Theatre  La  Scale,  inMllan), 

MLLE.      AMALIA      LINARI  and  MLLE.      LUIGINA      BELLINI. 

Seconoo  Tenors:— 
SIGNOR       EMM  A  N  U  E  L  E      S  L  A  N  O    (<>f  the  Theatre  San  Carlo,  to  Naples). 

Biitctot  of  tfte  ittttsfc,  gPompoger,  antt  Oonattctor,  V       .        .        .        mr.  costa. 

A  powerful  and  numerous  chorus  of  chosen  and  experienced  singers  will  complete  the  vocal  department. 

Chobus  Master— Blcnor   BONCONSIOUO.  PROKPTER-Slgnor    MONTBRASf. 

THE  ORCHESTRA,  formed  of  artistes  posaessimr  the  highest  eitecutire  powers,  will  comprise  among  its  members  the  following  distinguished  profesMNns,  vfai^'  J 
«..v,^^.,  s,    «.  w.«^.,«  «..,«..  _ -"-f^sBACH,  WATKlN'lf  CASK,  THlEL¥"-" 


JlVrrt  n6««#-Ms8aRs.  SAINTON,           H.  BLAGROVE,           DANDu,          WILLY,           GRIUSBACH,          WATKIX'C          CASK,  THlRLWALU 

THOMAS,  MELLON,  PATEY,  ZERBINI,       BROWNE,  GOPFRIE,  HILL. 

aeeond  Fitf/fa#-MBSSRB.  ELLA.             NEWSHAM,            W.  THOMAS,             PAYTON,             H.  WESTROP,             H.  ORIESBACH,  JAY, 

PEKRY,  MAIISHALL,  W.  BLAGRoVB,        BbTIS,  KELLY,  BORT,  WlLl 

7Mor#-MvssRS.  MORAL!',       HILL,        ALSKPT.       LYON,       GLaNVILLE»       THOMSON,        HANN,       WESTLAKE,       TRUST,  R.  BLAGRUVB. 


PEKRY,  MAIISHALL,  W.  BLAGRoVR,        BbTlS,  KELLY,  BORT,  WlLKINflL 

A',       HILL,        ALSKPT,       LYON,       GLaNVILLE,       THOMSON,        HANN,       WESTLAKE,       TRUST,       R.  BLAGRO^~ 
Vio'oncettot—MEtstLS   UNDLEY,    LUCAS,    HATTUN,    LAVKNU.    PHILIPS,    HANCOCK,    HAUSMANN,    W.  L«iDER,    (K)  >I>BAN,    GUEST. 


rio'OMf^rfco*— jae>BK9    Lai^vunji,    a«v\«/«o,    uni  t\yi^,    jjavci^u.     rniMjLra,    afxnxAJK^KLf    xiausmaiv:^,     n.  ii< puck,    xjnj  tuoAnm    uuBsr. 
DoubUBattes-klESStM,  ANFoSSI,      HOWELL.      CASOLANI.     GRIFFITHS,     C.  SEVERN,     PRATTEN,     CAMPANILE,      CaSTELL,      VAUOEKBAN. 

Harp-Mtt,.  E.  PEKRY.  ^/M/«f-MKSSRS.  RIBAS  and  DK  FOLLY.  0&m#— Messrs.  BaRRBT  and  NICHOLSON. 

Gr«rieit«l«— Messrs.  LaZARUS  and  BOOSK.    BasMoont—hiESBpn.  BAUM\NN  and  KEATING.    ITonw- Mbssrs.  PLATT,  JaRRETI',  HARPER  and  RAB. 

OpkiGinde—VL,  PROSPERE.  7rtfM;M/#-ME8SR».  T.  HARPr.R  and  HANDLBY.  7ro»i60«M-MESSR8.  CIOFFI,  SMITHIES  and  HEaLBY. 

Z>nMW— Mr.  CHiPP.  TWaa^/e-MR.  SEYMOUR.  Bats  Ditoa-MR.  HORTON. 

THE    MILlTA^tY    BAND    OF    TH£    COLDSTREAM    GUARDS    WILL    BC    UNDER    THE    DIRECTION    OF    MR.    GODFREY. 

AN  ORGAN  of  extensive  compess  has  been  expressly  erected  in  the  Theatre  by  Mcsars.  FLIGHT  and  SON. 

The  BceaeiT  by  Messrs.  ORIBViS  and  TBIiBlN. Poet  end  Trannlator  ef  the  Ubretti,  Slcnor  KAOOIONI. 

mt  3$al(et, 

Of  a  brilliant  and  costly  character,  will  close  the  perlbrmance  of  the  evening,  and  no  divertissement  will  be  suiTered  between  the  acts  of  operas. 

The  director  has  the  pleasure  to  annouiice  that  he  has  concluded  an  engagement  with 

MIiIiB.       FANNY       EIiBBLBR; 

And,  during  the  season,  the  followtog  eminent  daneeoses  will  appear— Prbmibrb  Danseuses— 

MUe.      DUMIZtATRE  and  Mile.    PXtUNXBTT 

(of  the  Grand  Opera,  Paris).  (of  the  Grind  Opera,  Paris), 

Mile.     B  BRA  IN  MUe.     NBODOT 

(of  the  Imperial  Theatre,  Vienna,  her  first  appearance  in  thia  conntry),  (of  the  Theatre  Royal,  Madrid), 

MUe.    MARIBTTABADBRNA  and  Mile.    F  U  O  O  O 

(of  the  Theatre  La  Scale,  Milaa),  (of  the  Academie  Royale  de  Paris) 

Mone.     P  B  T  I  P  A  (of  the  Grand  Opera,  Paris), 
Mone.  aONTIB   (of  the  Theatre  Royal,  Bladrid),  Mens.  F  BR  D  I  N  A  N  D  O  ORO  OB, 

Mens.    DBIaFBMlBR  (of  tbe  Grand  Opera,  Paris),  and  Mons.    AUGUBTB    MABIIiZiB    (of  the  brand  Open,  Bui|) 


Mile.  AURIOL 

MUe.  DEMBLISSE 

Mile.  CELKdTE  STEPHAN 

Mile.  DELEGUAUX 

Mile.  LBVALLOIS 

Mile  DUVAL 


.  RITA  PERBOA 
MUe.  ARNAL 
MUe.  ANNA  MONROY 
Miss  GENGE 
Miss  HARTLEY 
Miss  BARNETT 


Miss  KENDALL 
Miss  ROSE  (X)HEN 
MiM  LAURA  MAURICE 
Miss  CHESTER 
Miss  MARSTEN 


Miss  L.  PARIS 
Miss  C.  PARIS 
Miu  MASKELL 
Miss  lee 
Miss  KlKBY 

T^th  a  numerous  body 


Miss  B.  CLAIR 
Miss  BROWN 
Miu  R.  WRIGHT 
Miss  CLIFFORD 
Miss  WARD, 
of  Coryphees  and  Flgmnmtfs. 


MAITAES    DE    BALLET Mone..  AZiBBRT  (of  the  Grand  Opera,  Paris),  and  Mons.  BlaASXB  (of  the  Theatre  La  Scale,  MUan.) 

LEADER    OF    THE    BALLET Mr.    ALFRBD    MBI.I.ON.  REGI8SEUR    DE    LA    DANSE Mr.   O'BRYAH. 

COMPOSER Mgnor  AZaBSaANDRO    CVRMI  (of  the  San  C^arlo Theatre,  Naples). 


THETHEATRE.                                                                                      ..       . 
To  render  the  interior  at  once  oommodioua,  elegant,  and  comfortable,  it  lisa  been  entirely  re>constructed  and  decorated  under  the  immediate  direction  andaftier 
designs  of  B.  Albano,  Esq.,  GE.,  with  every  attention  paid  to  its  proper  ventUation.    The  decorations  have  been  executed  by  Mr.  Ponsonbt.    The  : *-* 


has  nappUy  secured  tbe  artistic  skiU  of  Signori  Fbrri  and  Vbbardi  (of  the  lli^Atre  lUUeu,  in  Paris),  to  embeUish  the  ceiUng  and  to  prepare  a  new  drop  scene.  Tbe 
approacoea  10  the  theatre  will  be  found  improved  by  a  carriage- way  being  formed  immediately  under  the  portico  in  Bow*  street,  whereby  parties  can  leave  or  enter 
their  carriajres  without  exposure  "  - »-    .  ^ ......     .  -..      .  .     ,.        .  *  «.  w.       j^_  .v  •«*        ^-^ 

Mr.  J.  G.  Watson,  i  ickets,  S 
Regent  street ;  also  at  Meaars, 
Mr.  Sam8*s,  bt.  James*s-street. 


Printed  and  Pobltshetl,  for  the  Proprietors,  at  the  "Nassau  Steam  Press,"  by  William  Spbnobr  Johnson,  60,  St.  Martin's  Lane,  in  the  parish  of  St^ 
Martin's  in  the  Fields,  in  the  County  of  Middlesex :  where  aU  communications  for  the  Bditor  are  to  be  addressed  post  paid.  To  be  bad.  ot  Q.  Pudcess,  pean  Stnet  J  r> 
Sobo;  Stnmge, Paternoster  Row;  Wisebeart,  Dublint  and  aU  BookaeUars.-*-Satdrday,  Fdin]«ry97tb,18i7.  Digitized  by  VnvJVJ^V  LC  ' 


/ 


(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
^  FOREIGN  INTELLIGENCE,  &c. 

Tmrmm  of  Subser^tton,  per  Atmvm,  les.  Stamped ;  IBs.  Unstanped  j  to  be  forwarded  by  Money  Order  or  Poeta|r«  fiteaapa 
^^  to  tike  PnbUaher,  W^  8.  Johaaoa,  "Naaaaa  Steam  Preaa/'  eo,  St.  Kartla'a  X^me,  Obarta«  Oroaai 

^^aa«b  Sabaerlber  ta  entitled  to  an  Admlaalon  to  an  Annnal  Concert,  and  a  Piece  of  Mnsic,  (regalar  Moaie  aiae)  Monthly. 

<\o.    9.— V0L.XXIL 


SATURDAY,  FEBRUARY  27,  1847. 


rPEICB   TUREKPENCB 
1  STAMPED,  POURPBNCB 


NOTICE. 
Snbscrlbera  are  presented  this  week  with    FOUR 
BXTXONAIi    PAGES,    and  a  ROKANCB,    composed 
Lliressly  for  tbis  Jonmal,  by  B.  r.  FITZ W  llaLXAH. 


MATILDA    OF   HUNGARY. 

dio^TBEN  months  ago  the  name  of  William  Vincent  Wallace 
^as     -uvmlsnown  to  England.     After  many  years  wandering  in 
sir«tns^  And  remote  regions,  he  returned  to  his  native  country, 
a\>o\:i^  'txvo  years  ago.     For  some  months  after  his  return  he 
remained)  in  comparative  obscurity,  being  only  recognised  by 
a  small  knot  of  amateurs  and  artists,  as  a  clever  pianist  and  an 
elega.nt  composer  for  the  pianoforte.     Chance*  however,  threw 
in  "his  ^*ay  the /i6rff//o  of^n  opera,  founded  on  the    French 
melo- drama,  Don  Cesar  de  Bazan,     He  composed  the  music, 
whicli    by  a  good  piece  of  luck  he   had  the  opportunity  of 
playing   to  Mr.  Beale.     That   active   and   intelligent  repre- 
sentative of  the  great  firm  of  Cramer  and  Co.,  with  his  usual 
quick  appreciation,  immediately  found  out  the  stuff  that  was 
in  'Wallace,  and  purchased  the  score  of  his  MS.  opera  without 
a    moment's   hesitation.      Shortly   after  it   was   laid   before 
Mr.  Sunn.     Mr.  Bunn  was  not  a  likely  manager  to  allow  so 
good  a  thing  to  slip  through  his  hands,  and  tlie  new  work  was 

In  ICovember,  1845,  (if  we  be  wrong  we  shall  be  obliged  to 

*oy  reader  who  will  correct  us)  Maritana  was  produced,  and 

the  no3ct  day,  or  rather,  the  next  day  but  one,  (the  epoch  of 

^pr5e«oiitation  being  a  Saturday)  Wallace's  name  was  spread 

.**"  «^ci  wide.     The  success  of  Maritana  was  immense,  and 

/^  it   l)een  produced  in  that  style  of  splendour  and  complete- 

^*«   A>T  which  Ohl  Drury  was  celebrated  under  Mr.  Bunn's 

^^^^liip,  it  wjuld  assuredly  have  made  the  fortune  of  the 

^^**^i^hment.     Brought  out  as  it  was,  however,  (somewhat 

j^**^^^ly,  we  must  own)  and  allied  to  a  book  filled  with  the 

^^    '■rinonstrous  absurdities,  it  ran  upwards  of  fifty  nights, 

jt         ^«"ew  many  a  hundred  to  the  treasury.     In  a  short  space 

^^  *^^  ^lodies  became  so  popular  that  you  could  not  go  up  a 

^^    "vithout  hearirfg  them  on  an  orgue  de  Barbarie,  or  round 

.^^^•s^je  without  hearing  them  on  a  trombone,  or  dov/n  a  court 


..^'^^at  hearing  them  on  a  hurdy-gurdy,  or  into  a  theatre 
.^^^lat  hearing  them  intercalles  in  the  overture  to  the  panto- 
yl ^^^  Y  or  into  a  drawing-room  without  hearing  them  fall  from 
^     *^  l^s  of  some  silken  syren,  as  water  from  the  rock  which 
«f    ?^^  smote  of  old.     Thus  did  Wallace  share  the  honors  of 
^^jr,  Rossini,  Auber,  Bellini,  Donizetti,  Balfe,  et  hoc  genus 
^^^»  whose  tunes  are  the  solace  of  the  multitude  that  whistles 
lA^xr^     *.  for  ^ant  of  thought"  (Dryden). 

^^   "Was  no  easy  task  to  sustain  a  popularity  so  brilliant  and 

*    '•^pidly  acquired.      The   announcement   of  a  new   opera 

v'i^  Wallace's  pen  was  the  signal  for  a   world   of  fire- side 

c^B^ectares.     Saith  one,  **  I  am  sure  it  wont  be  so  good  as 


Maritana,'*  Saith  another,  *'  It  will  perhaps  be  more  Oer* 
man,  but  there  won't  be  so  much  melody."  Saith  a  third, 
'*  There  were  so  many  beautiful  airs  in  Maritana  that  he  mast 
have  written  himself  out."  Saith  the  laat,  **  Rather  is  he  as  a 
spider  that  spinneth,  and  again  spinneth,  when  the  hand  of  the 
passer-by  hath  destroyed  his  web.'*  The  last  was  right — ^for 
of  Wallace,  in  respect  of  melody,  it  cannot  be  said,  as  was  not 
said,  but  might  have  been  said,  of  Aquinas's  Corpus  (instead 
of  the  book  of  Livius,  of  which  it  was  unjustly  said)  by  a 
wag  in  an  epigram : — 

"  Quem  mea  vix  totum  bibliotheca  capit." 

The  tune  does  not  fill  the  whole  of  Wallace's  score,  as  the 
volume  the  library  of  the  epigrammatist,  leaving  room  for 
nothing  else.  On  the  contrary,  abundantly  as  it  is  manifested, 
there  is,  to  back  it,  a  garniture  of  musicianship,  exemplified  in 
the  tastefulness  of  its  harmonies,  the  construction  of  the  con- 
certed pieces,  and  the  disposition  and  variety  of  the  orchestral 
effects.  Wallace  produces  tunes  with  ease ;  but  he  not  the 
less  knows  how  to  treat  them.  We  stood,  therefore,  in  no 
fear  of  his  having  tendered  us  his  whole  wealth  ia  one  hand- 
ful, and  Matilda  of  Huwfary  has  justiBed  the  faith  that  was  in 
us.  And  now  that  we  have  finished  our  proem  let  us  to  the 
aigument. 

Mr.  Bunn  has  dived  for  his  new  poem  into  the  depths  of 
Bohemian  history,  and  has  brought  up  in  his  mouth  George 
Podiebrad.  George  Podrebrad  is  very  like  Ladislaus  I.  in  the 
face,  figure,  voice,  manner,  and  so  forth.  But  Ladislaus  I.  has 
been  lost  in  a  battle  against  the  Paynims;  and  so  as  he  has 
been  lost  nobody  has  been  able  to  find  him.  The  likeness  is 
therefore  no  inconvenience  either  to  the  king  or  the  serf — for 
George  Podiebrad  is  a  serf.  But  it  ia,  on  the  other  hand, 
exceedingly  convenient  to  one  Magnus,  styled  Count  Magnus, 
prime-minister  of  the  kingdom,  and  keeper  of  the  conscience 
and  the  diadem  of  Matilda  of  Hungary  (why  of  Hungary  we 
are  not  sufficiently  learned  in  history  to  say),  widow  of  the 
lost  King  Ladislaus,  who  has  never  been  found.  It  is  con- 
venient in  thus  much  :— that  he  (Magnus)  covets  the  vacant 
place  on  the  throne  of  Bohemia,  by  the  side  of  the  surviving 
Queen,  without  whose  good  will  he  cannot  have  his  desire  ; 
whereupon  he  pretends  love  to  her  person,  so  to  cover  his 
ambition,  and  makes  an  offer  of  his  hand,  so  to  encompass 
his  designs  upon  the  throne ;  but  the  Queen  will  none 
of  him,  and  repulses  him  with  contumely;  whereupon 
he  (Magnus)  is  much  abashed ;  but,  as  luck  will  have  It, 
he  has  bestowed  upon  Mathias,  an  innkeeper  on  the  point 
of  committing  suicide,  one  hundred  pieces  of  gold,  whereby 
he  buys  him  up  body  and  soul,  to  do  his  bidding  at 
any  time  or  place,  no  matter  what  it  may  involve.  Now  it 
happens  that  George  Podiebrad  is  on  terms  of  intimacy  with 
Mathias,  the  innkeeper  wka  got  a  hundred  pieces  of  gold  to 
Digitized  by  VliOOy  It: 


150 


THE  MUSICAL  WORLD. 


by  tbe  multiplicity  of  its  po\ytypo§(r^bic  puffs  posi^e. 
^en^  ]9^  never  a  vaof  wii;^  V^  ^  humbug  prac^i^ 
upon  the  credulity  of  confiding  pi^cs  than  the  hot-liouse 
celebrity  of  *•  young  Verdi,"  who  has  been  swallowed  by  the 
mouth  of  Europe  as  a  spice  of  exquisite  flavour ,  though  he 
is  nothing  more  than  a  tasteless  compound  of  the  leavings 
of  tenth-rate  Itah'an  composers.  But  Europe  has  swal- 
lowed him  long  enough  to  find  him  indigestible,  and  it  is 
now  the  moment  to  take  an  emetic  and  vomit  him  up  again. 
That  Mendelssohn's  Tempest  may  be  the  emetic  which  shall 
restore  health  to  the  body,  and  taste  to  the  palatCf  of  musical 
Sarope,  we  devoutly  pray.  Mr.  Lumley,  as  a  wise  physician, 
has  prescribed  the  dose  for  his  patients  (become  impatients 
by  the  long  duration  of  their  malady),  and  they  will  take 
bis  medicine  with  joy,  trusting  unconditionally  in  the  cure  to 
come. 

But  once  more  let  us  resume  the  thread  of  our  discourse, 
which  a  consideration  of  **yourg  Verdi's  "  qualities  had  well 
nigh  snapped  in  twain ;  once  more  let  us  return  to  the  debut  of 
Signer  Colletti,  the  baritone.  Well,  then,  Signer  Colletti,  the 
baritone^  is,  in  his  way,  first-rate  ;  and  his  reception  by  the 
public  on  Saturday  night  has  added  another  laurel  to  Mr. 
Lumley's  brow,  and  has  given  the  public  increased  confidence 
In  all  the  promises  set  forth  in  his  so  fiercely-catechised  pro- 
spectus. Never  was  an  opera  season  so  auspiciously  com- 
menced. Two  great  novdties,  in  the  persons  of  two  great 
artistes— Gardoni,  the  tenor,  and  Coleiti,  the  baritone  ;  two 
▼ery  admirable  second-rates — Superchi,  the  baritone,  and 
Bouch^,  the  bass ;  two  ng w  danseuses,  both  perfect  in 
their  way — the  graceful  Carolina  Rosati,  and  the  youthful 
and  fascinating  Marie  Taglioni ;    a  grand  orchestra,  and   a 

Sand  chorus,  fished  up  from  the  depths  of  nowhere  by 
e  magical  net  of  Balfe;  a  grand  opera,  in  four  acts, 
represented  in  all  its  departments  as  never  before  was  an 
Qpera  represented  in  this  country ;  and  to  conclude,  a  new 
and  splendid  ballet,  placed  upon  the  stage  with  every  possible 
efiect  of  scenery  and  machinery,  and  supported  by  the  talents  of 
the  first-rate  danc.ers  already  named,  and  a  magnificent  array  of 
supernumeraries,  the  females  as  light  as  air  and  as  pretty  as 
bourisf  the  males  as  active  and  nimble  as  squirrels  ;  and  all 
this  presented  to  the  public  during  the  first  fortnight  of  the 
season,  an  epoch  usually  so  dreary  and  destitute  of  interest ! 
Of  a  verity,  Mr.  Lumley  is  a  Charles  XII.  in  his  metier,  for 
never  did  the  besetted  and  besotted  Swedish  hero,  even  when 
in  his  small  tower  amongst  the  Turks,  fight  more  st«fctly 
against  a  powerful  adversary,  or  hold  up  his  head  more  gal- 
lantly in  the  fray.  Bravissimo,  Mr.  Lumley !  Go  on  as  you 
have  begun,  and  you  will  not  be  in  want  of  the  sycophantic 
agency  of  the  Post,  the  Curtain,  and  the  Opera-glass,  You 
have  zealous,  impartial,  independent,  and  unbiassed  sup- 
porters in  the  7Yme5,  the  Herald,  the  Observer,  and 
the  Musical  World.  What !  can  the  Chronicle  and 
AthencBum  measure  arms  with  these?  We  suppose  nay — 
they  will  scarcely  be  so  venturesome.  No,  they  war  only 
against  servile  and  parasytical  foes — they  will  not  stain  their 
swords  in  the  blood  of  honest  men,  stanch  truth-speakers, 
and  unbought  critics,  whose  sole  order  of  merit  is  the  ribbon 
of  integrity  worn  in  their  button-holes. 

But  once  more  to  return  to  Coletti,  who  would  seem  to 
stand  in^danger  of  being  swamped  in  the  bog  of  controversy. 
We  are  in  the  habit  of  telling  Mr.  Lumley  what  we  think 
without  flinching,  leaving  him  to  draw  his  own  conclusions 
and  it  is  therefore  the  more  pleasurable  for  us  to  be  able  to 
say  to  him,  *•  May  thy  shadow  never  be  less  ;  thou  hast  done 
wfell  and  nobly  !*'   And  this  we  can  now  say — not  for  the  first 


lime  during,  the  iong*to-be- remembered  s^som  of  1341  r- 
fSaspn  of  lriuim>b  in  adversity  \ 

The  cast  of  rJino,  on  Saturday  night,  was  in  one  respect  an 
improvement,  and  in  another  the  opposite  to  an  improvement, 
on  that  of  last  year.  Coletti,  instead  of  Fornasari,  the  Ninus 
to  whom  the  English  public  have  been  accustomed,  is  as 
gold-dust  to  the  offals  dropped  by  the  saw  in  the  exertion  of 
its  vocation.  Coletti  has,  perhaps,  the  most  splendid  barytone 
voice  we  ever  listened  to.  He  does  not  sing  **  through  his 
eyes,  nose,  and  pupils,"  which  would  seem  to  be  required  for 
the  satisfaction  of  our  sagacious  friend,  the  Posty  but  he  sings 
just  from  that  precise  aperture  of  his  person  which  is  ex- 
pected of  a  vocalist  not  gifted  with  supernatural  charac- 
teristics— viz  :  his  mouth.  Moreover,  he  is  not  a  "  cursed 
barytone,"  since  the  cutting  irony  of  Rossini  has  not  vented 
itself  at  his  expense,  as  at  that  of  poor  Fraschini,  the  *Uenore 
della  maledizioncy*  whom  the  "egregious  Fillet**  proposed, 
and  the  illustrious  Meyerbeer  declined,  as  the  primo  tenore  in 
the  Propheie,  at  the  Academic  Royale  de  Musique,  in  Paris. 
Coletti*s  style  is  energetic  and  manly,  and  the  tones  of  his 
powerful  and  magnificent  voice  fill  the  entire  area  of  Her 
Majesty's  Theatre.  His  voice  is  musical  in  a  degree  equal  to 
its  power.  The  faults  we  have  to  lay  to  his  charge — for 
which  of  us  is  without  them? — are  a  want  of  colour  in  his 
expression,  a  monotony  in  the  form  of  his  cadences,  and  a 
method  of  reaching  the  high  notes,  which  belongs  to  a  bad 
school  of  singing.  For  example,  instead  of  attacking  them 
with  decision,  he  frequently  slides  up  to  them,  which  produces 
a  drawling  and  inharmonious  effect.  Eradicate  these  vices, 
and  Coletti  would  have  no  superior  as  a  barytone.  His 
unusual  faultlessness  of  intonation  gives  him  a  great' ad- 
vantage over  Ronconi,  one  of  the  rivals  whom  the  Chronicle 
needlessly  throws  at  his  head,  and  the  power  of  his  lungs 
would  enable  him  to  drown  the  mellow  barytone  of  Tamburini. 
But  on  the  other  hand  Ronconi,  in  the  midst  of  his  vacillating 
intonation,  possesses  a  variety  of  style,  and  a  passionate 
intensity  of  expression,  which  leave  Coletti  far  behind  him  In 
the  higher  requisites  of  dramatic  song ;  while  Tamburini,  as  a 
flexible  vocalist,  and  an  actor  of  various  powers,  is  equally 
his  superior.  Whoever  has  witnessed  the  Ninus  of  Ronconi, 
will  side  with  us  in  the  opinion  we  have  expressed ;  it  is 
twenty  times  more  faulty,  but  it  has  evidences  of  absolute 
inspiration  which  declare  the  supremacy  that  a  vocalist  of 
genius  exercises  over  one  of  no  matter  how  perfect  a  talent. 
Ronconi's  effects  are  as  multiple  as  they  are  wonderful ;  and 
the  blemishes  of  his  method  are  forgotten  in  the  grandeur  of 
his  conceptions.  Yet  with  all  this  we  must  not  underrate  the 
artistic  qualities  which  constitute  so  great  a  charm  in  Coletti's 
singing,  and  atone,  in  a  great  measure,  for  the  occasional 
tameness  and  want  of  truth  in  his  acting.  He  was  enthu- 
siastically welcomed  on  Saturday  night,  and  zealously  ap- 
plauded throughout  his  performance.  He  was  also  encored 
and  recalled  by  the  audience  several  times. 

The  other  change  in  the  cast  of  Nino  was  sadly  for  the 
worse.  In  place  of  Mdlle  Corbari,  who  made  such  legitimate 
effect  last  year  in  the  part  of  Fenena,  we  had  a  Mdlle  Fagiani, 
who  both  in  voice  and  style  is  vastly  her  inferior.  Moreover, 
her  extreme |nervousness  on  Saturday  night,  made  her  inferiority 
doubly  painful.  The  air  in  the  third  act,  though  encored  by 
the  clacqueurs,  in  opposition  to  everj^ thing  like  justice  and 
common  sense»  was  a  most  infantine  performance,  quite 
justifying  the  observation  of  the  Morning  Chronicle,  to  the 
effect  that  Her  Majesty's  Theatre  is  not  a  board irg-school  for 
young  singers  to  acquire  the  rudiments  of  their  art. 

Mdlle.  Sanchioli's  Abigail  was  anojt' 


i^icfsj'^^ii^de^e 


THE  MUSICAL  WORLD. 


151 


grets  she  has  made  since  last  season.  Her  intonation  was  less 
wncertain,  her  execution  less  faulty,  and  her  acting  less  extra- 
Tagant^  and  more  e£Eective  and  natural  in  consequence.  She  was 
greatly  applauded  in  the  duet  with  Coletti,  in  the  second  act, 
and  was  recalled  with  him  immediately  after,  and  at  the  fall 
of  the  curtain. 

M.  Bouch^'s  Orotaspe  was  excellent,  and  justified  the 
opinions  we  have  already  advanced  in  his  favour.  He  is  a 
most  useful  and  competent  artist. 

A  Signor  Borella  was  announced  In  the  bills  for  the  tenor 
part  of  Idaspe ;  but  it  appears  that  Mr.  Balfe  not  approving  of 
him  at  rehearsal,  Signor  Corelll  took  his  place.  On  this 
gentleman's  performance  we  have  no  particular  remark  to  offer, 
nor  on  the  Abdallah  of  Signor  Dai  Fiori.  They  were  quite 
good  enough  for  the  music  they  had  to  execute ;  which  says 
not  much,  but  says  all  we  can  say  in  conscience. 

The  band  must  again  be  eulogised.  Balfe,  we  repeat,  has 
done  wonders  ;  and  every  night's  performance  manifests  an  in- 
creased command  over  the  forces  he  has  collected  from  all 
parts  of  the  world — like  the  armies  of  the  Goths  and  Visigoths 
of  old.  Attila,  king  of  the  Huns  never  managed  a  motley 
mnltitude  with  more  rigid  discipline  and  perfect  order  than 
Balfe  his  newly- gathered  orchestra.  The  contemptible  overture 
to  Nahueo,  a  composition  for  which  an  academy  boy  would  have 
got  and  deserved  a  sound  reproof  from  his  harmony-master,  was 
so  capitally  played  that  we  caught  ourselves  unconsciously 
applauding  it,  with  a  vehemence  whichi  considering  its  abun- 
dant demerits,  was  preposterous.  But  our  applause  and  that 
of  the  house  was  for  Balfe  and  bis  followers,  not  for  the  rub- 
bishing fragment,  impertinently  styled  an  overture  by  Signer 
Verdi.  'Die  chorus  again  won  golden  opinions,  and  the 
pretty  ballad- tune  in  the  third  act,  which  the  Post  mistakes 
for  a  chorus,  was  so  deliciously  sung  as  to  elicit  a  loud  and 
general  encore.  We  must  not  omit  to  notify  the  arrival  of 
M.  Lavigne,  the  first  oboe,  who  assumed  his  part  in  the  or- 
chestra on  Thursday  week.  His  tardy  arrival  was  the.  cause 
of  much  conjecture ;  but  he  is  better  late  than  never.  M. 
Lavigne  is  an  exquisite  oboist,  distinguished  no  less  for  the 
lovely  quality  of  his  tone  than  the  wonderful  perfection  of  his 
mechanism.  He  will  be  a  great  acquisition  to  the  orchestra. 
Would  only  that  Mr.  Lumley  could  boast  of  a  primo  clarinetto 
of  equal  excellence. 

Apropos  of  the  Post^  we  may  as  well  cite  an  •*  egregious" 
piece  of  criticism  which  appeared  in  its  columns  on  Monday. 
The  subject  is  the  merits  of  *•  young  Verdi :" —  . 


"  Whttever  be  the  opinions  published  by  cbrtain  critics 
on  the  merits  of  Verdi  as  a  composef ,  the  fact  is  indisputable 
that  bis  operas  produce  great  enthusiasm,,  and  have  achieved 
an  immense  popularity  in  all  the  principal  theatres  of  £urope. 
Indeed,  if  an  opinion  may  be  formed  from  the  manner 
with  which  the  Nino  was  last  night  received,  no  doubt  can 
be  entertained  that  a  similar  result  will  follow  here.  UnlilLe 
the  modern  composers  of  Italy,  the  operas  of  Verdi  depend 
not  so  much  upon  individual  effort,  as  upon  collective  force 
—the  chorus  forms  an  integral  portion,  and  mainly  administers 
to  the  dramatic  and  musical  development.  Hence,  though  the 
isolated  morceaux  may  lack  the  champagne  spirit  of  Rossini,  the 
tenderness  of  Donizetti,  and  the  passionate  melody  of  Bellini, 
still  is  there  ever  boldness  of  design,  continuity  of  thought, 
dramatic  consistency,  breadth  of  colour,  and  a  massiveness  in 
the  concerted  pieces,  that  stamp  Verdi  as  a  man  of  earnest 
mind  and  intensity  of  purpose:  and  the  purpose  is  wrought 
oat  vigorously  and  effectively." 


This  is  worth  the  frame  we  have  put  it  in.  The  *'  certain 
critics/'  raeaniog  ourselves^  we  are  excused  for  clenching  the 
expression  in  small  Roman  capitals.  Would  any  one  in  his 
senses  believe,  without  having  read  it,  that  a  sane  critic  could 
so  commit  himself  and  the  reputation  of  his  paper,  as  to  talk 
of  *'  young  Verdi"  and  Rossini  in  the  same  sentence?  It  is 
unjust  enough  towards  poor  Bellini  and  Donizetti,  but  towards 
a  genius  like  Rossini  it  is  nothing  short  of  impious. 

And  now,  in  concluding  for  the  present,  a  word  for  the- 
ballet,  which  goes  on  and  prospers.  Mr.  Lumley  is  justified 
in  retaining  Coralia  in  the  bills,  for  its  success  is  legitimate 
and  well-merited.  Carolina  Rosati  improves  every  night  on 
acquaintance,  and  has  warmed  the  audience  into  an  enthusiasm 
which  was  unjustly  denied  her  en  the  first  night.  She  is  an 
exquisite  dancer  and  a  consummate  artist,  in  respect  both  of 
choregraphic  and  mimic  requisites.  Marie  Taglioni  has  grown 
from  a  distant  star,  wliose  light  had  scarcely  reached  our  woild, 
into  a  luminary  of  the  first  magnitude,  destined  to  shine 
unabashed  in  presence  of  Terpsichore's  high  priestesses.  There 
are  so  many  beautiful  points  in  her  single  pas  (de  la  Rosihre  ?) 
that  we  could  fill  a  page  with  recording  them.  Is  she  most 
fascinating  when  she  twists  her  supple  form  as  though  it  were 
fashioned  of  whalebone,  graceful  as  the  bended  boWi  armed 
With  the  arrows  that  her  eyes  shoot  forth  ? — or  when  as  a 
playful  squirrel  she  turns  on  either  side  incontinent,  as  though 
in  her  gambolling  uncertain  which  to  take,  leaning  to  the 
earth,  meanwhile,  that  thirsts  for  the  pressure  of  her  youthful 
form.^ — or  when  she  revolves,  as  a  top,  in  uncountable 
gyrations,  compassing  the  stage's  length  in  her  progress  ?— or 
when,  elate  with  zeah  she  bounds  like  an  antelope  across  the 
scene,  delighting  the  eyes  of  her  spectators,  that  vainly  essay 
to  dwell  upon  her  form  ?  In  all  she  does  there  is  such  a  world 
of  innocence,  such  a  charming  modesty,  such  a  natural  grace 
and  ease,  that  her  very  appearance  on  the  stage  makes  the  eye 
ache  with  pleasure.  She  files  about  as  an  unbodied  joy, 
rapturous  with  the  sense  of  being  ;  she  is  and  she  is  happy^^ 
her  mission  is  to  dance  and  to  delight — and  how  thorougldy  she 
fulfils  it  the  pen  fails  to  tell.  We  are  greatly  mistaken  if,  in 
time,  Marie  Taglioni  do  not  carve  out  for  her  pretty  self  a 
niche  in  the  temple  of  Terpsichore,  by  the  side — not  to  speak  it 
profanely — of  the  divine  Carlotta  Grisi !  There  is  a  future  for 
her  I  There  a  thing  to  dream  about  I  "" 

To  drop  from  the  sky  to  the  earth,  we  should  ere  this  have 
paid  a  word  of  homage  to  the  active  talent  of  M.  Paul 
Taglioni,  and  to  the  fismcy  and  elegance  he  has  displayed  in 
the  composition  of  his  ballet  of  Coralia.  Let  this  make 
amends  for  what  was  not  intended  as  a  slight.  M.  Louis 
D'Or,  as  yet,  has  made  no  great  sensation,  and  "  the  beautiful 
Mdlle.  Wauthier,"  still  hides  her  light  under  a  bushel. 

Nino  and  Coralia  were  repeated  on  Tuesday.  On  Thursday 
there  was  no  performance.  To-night  we  are  to  have  Nino 
and  Coralia  once  more,  and  next  Thursday  a  "  long  Thurs- 
day," the  nature  of  which  we  have  explained  to  our  readers 
in  an  article  last  year.  Madame  Castellan  has  arrived,  and 
Fraschini  is  daily  expected.  We  may,  therefore,  count 
speedily  upon  an  important  change  in  the  operatic  feature  of 
the  entertainments.  The  houses  have  been  hitherto  very 
crowded,  and  what  is  more,  as  far  as  we  could  judge,  they 
have  been  paying-houses — the  ultima  thtile  of  ambitious  and 
successful  management. 

A   SECOND   CHAT  WITH   RUMOUR. 

Wb  present  our  reader^  with  a  fragment  from  another 
confabulatior ,  which  took  place  recently  at  the  head-quarten 
of  the  Music  il  World.  Rumour  had  brought  with  him  a  bundle 


152* 


THE   MUSICAL  WORLD. 


of  ehit-ehat,  which  occasioned  a  vast  number  of  conjectures 
and  a  whole  library  of  comments,  whereof  the  following 
involves  the  points  of  most  importance: — 
QiUloi^  Jla.  2. 

BOMOVR.— MR.  D.  R.— IDtTOR. 

SdHar.  Well,  Mr.  Rumour,  you  see  that  your  surmises  about  Jenny 
lind  have  tamed  out  incorrect.  Have  you  seen  the  Times  of  Idonday  T 
Hear  this  paragraph.  (Readt.)  **  Jenny  Unti  is  expected  in  Paris  be- 
fore the  end  of  March,  where  she  will,  however,  only  remain  a  day  or 
two,  on  her  way  to  London.  There  is  no  truth  in  the  report  of  her  sup- 
posed  intention  to  accept  the  engagement  offered  her  in  the  French 
capital.  The  opera  of  her  deb<U  at  Her  Mijesty's  Theatre  will  be  either 
Rosina,  in  the  Barhitre ;  or  Alice,  in  Robert  le  Diabie  ;  which,  in  that 
case,  will  be  prodoced  undfer  the  eye  of  Meyerbeer  himself.." 

Mr.  D.  R,  That's  all  very  well ;  but  here  is  the  Chronicle  of  Tuesday, 
with  quite  another  story.  After  quoting  the  paragraph  from. the  Timc$^ 
the  writer  remarlcs  (reads): — *'We  are  in  posseision  of  a  letter  from 
Vienna,  dated  the  10th  instant,  being  the  latent  news  in  town  from  that 
capital  up  to  yesterday,  and  in  the  letter,  which  |s  (rom  a  person  who 
knows  Jenny  Lind  well,  and  b  in  every  respect  entitled  to  con£deacej, 
there  is  the  following  passage :— *  Jenny  Lind  is  determined  not  to  go 
this  season  to  London ;  she  will  stay  here  six  weeks  longer.' " 

Editor.  AH  this  is  very  fine ;  but  the  Mormmg  Post  of  to-day  writes  of 
Jenny  Lind  as  follows,  in  spite  of  it  \—(Reads  •  "  This  chamiing  nightin- 
gale of  the  north,  who  has  just  created  such  a  sensation  at  Vienna  in 
Meyerbeer's  Camp  qf  Silesia,  Is  expected  in  three  weelis  at  Paris,  en  rouie 
to  London,  where  she  will  iiumediately  make  her  d^t  at  her  Majesty's 
Theatre.**  Knowing  how  matters  stand,,  is.  it  not  very ,  singular 
that  Jeany  Uad  herself  does  not  either  write,  or  authorise  some 
one  to  write  for  her,  a  statement  of  her  real  intentions.  AU  this 
mystery,  which  may  excite  public  cariosity  for  awhile,  must  be  eventually 
injurious  to  the  Swedi&h  niglitingale's  reputation  in  this  country;  and 
moreover,  it  Is  exceedingly  unjust  and  cruel  to  Mr.  Lumley*  who  if, 
after  aH,  the  principal  sufferer  in  the  basioess»  fioce  it  puts  it  in  the  power 
of  his  ill-wishers  to  dUpate  ttie  veracity  of  his  programme,  and  thereby 
injure  his  theatr6by  causing  persona  to  withli^Ui  their  subscriptions.  And 
in  this  respect  I  think'that  Mebdelssohn  himself  has  acted  im^irudently, 
if  not  unfairly  to  Mr.  Lumley.  Ife  ought  long  ago,  (for,  to  tny  knowledge, 
he  has  recehred  all  the  papers  in  which  the  matter  has  been  diacusMd)  to 
have  written  a  letter,  which  the  leaseeof  Ii«r  Majesty's  Theatie  migbtbe 
able  to  pubhsh  t  s  a  guariintee  of  his  good  Ihith  to  his  subscribers^ 

Mr*  D.  R,  Mendelssohn  is  one  of  those  men  who  have  no  relish  in 
mixing  themselves  up  in  itiuslcal  qoarrels;  and  will  not  be  forced  before 
the  public  aa'instrQBients  of  party  warfare. 
Editor,  Do  you  kpow  Mendelswihn  f 
.  Mr.D.R.  No. 

Editor,  Then  you  had  best  hold  your  tongue  on  the  subject.    "What  1 
said  is  perfectly  true.    Mr.  Lumlcy  is  unfairiy  treated  —  the  matter  being 
allowed  to  remain  In  doubt  by  those  Who  should,  and  could,  set  the  public 
right  whh  a  few  strokes  of  the  pen* 
.  Rumour,  1  hear  that  Mendelasolm  has^ali^ady  done  so. 
Editor  and  Mr.  D  R,  Oogether)   How  ?    , 

Rumour,  1  am  told,  by  some  who  profess  to  have  seen  it,  that  Men- 
debaohn  has  written  a  letter  to  Mr.  Buxton,  his  intimate  friend  ani 
confldentiid  agent,  authorizing  him  to  give  fhll  publication  to  the  fact 
that  he  neither  is  ror  has  been  engaged  in  the  composition  e^-an*  opem 
for  Her  Majesty's  Theatre,  or  for  any  otiser  establishment  whatever. 

Mr,  D,  it.  This  would  seem  to  jump  with  what  the  Ckronicle  pulilishcs 
to-day  in  re«pe«  to  Menddssohn.  1  will  read  it  to  you.  (reads) 
*' Mendelssohn'4  Oratorio  df  mijah,^We  are  enabled  to  announce  that 
the  great  composer  has  fuUy  completed  his  alterations  in  the  omtorio 
of  Elijah,  Many  important  improvements  hnve  beeiv  made,  and 
the  book  (by  Mr.  Bartholomew^  has  undergoue  some  clianges. 
Dr.  Mendelssohn  wm  arrive  here  on  the  13th  of  April,  and  will 
conduct,  at  Exeter  •  Hall,  the  Oratorio  of  Elijafi,  arcording  to 
his  engagement  with  the  Sacred  Harmonic  Society,  for  whose 
concerts  he  alone  visits  England  >  4nd  after  three  peiformpmcea  he 
will  depart  for  Switzerland  in  May«  where  he  purposes  to  pass  the  sum* 
mer.  This  Oratorio  has  occupied  the  exclusive  attention  of  Mendelssohn 
since  the  Birmingham  festival  up  to  the  last  fortnight,  and  notwithstand- 
ing EUJah  created  a  sensation  beyond  all  precedent,  and  aecured  the 
unanimous  suffragea  of  amateura,  arliats,  and  ettttcs,  such  ia  the  caution 
of  the  gifted  composer  in  giving  to  the  world  his  grand  inspirations* 
that  he  was  resolved  to  perfect  that  in  his  own  eitimation  which  the  world 
was  disposed  to  call  already  perfection.'* 

•  Rumour,  I  could  tell  you  much  more,  but  I  ain  not  yet  at  liberty  to 
do  ao.  Next  Thuiaday,  if  you  will  be  at  home,  I  will  call,  and  you  shaU 
know  all  I  can  gather  about  the  lubject,  without  retirve. 


Editor,  Agreed.  Meanwhile  I  shall  take  leave  to  presenre  my  faith 
unshaken  in  the  «hole  of  Mr.  Lumley's  programme — ^the  programme, 
the  whole  programme,  and  nothing  but  the  programme. 

3Ir.  D.  R.  Amen^so  be  it. 

And  thus  the  meeting  hroke  up,  without  arriving  at  any 
conclu8ionr.QB.any.poi}it  whatever,,  each  party  continuing  firm 
in  his  own  opinion,  and  Rumour  being  as  vague  as  ever.  Next 
week,  however,  we  are  most  likely  to  be  in  a  position  to  pro« 
claim  estal^liah^  facta* 

SQUIB,  Ko.  1. 
THE  TWO  B'S  AND  THE  NEW  MUSICAL  PAPER. 

A  VISION. 

M.  R  Hol^  at  his  bureau  in  a  reverie,  M.  B.  ediloquizeth. 
Yes  ;  a  new  mtufcal  journal  is  wanted.  Tlie  Musical  World  is 
an  ignoramus,  and  but  nine  degrees  removed  From  being  what  the 
French  call  bite  !  Besides,  I  know  a  good  lay  for  it,  and  can  get  at 
tho  money.  Moreover.  I  shall  pay  mjf'sclf  for  being  editor,  and  do 
nothing  ;  whereby  I  may  become  musical  autocrat,  and  smash  my 
opponents,  swearing  tlMt  Verdi  is  a  genius,  and  Wallace  a  bore^ 
and  my  teothor  the  best  musical  theorist  in  England. 

Euler  D.  B. 

D.  B*  Wen,  how  are  yon,  old  boy  ? 

M.B,  I  am  delighted  to  see  you,  son  of  my  heart.  I  am  going 
to  begin  a  new  musical  paper. 

D.B.  That's  right,    ril  write  for  it. 

M»  B,  You  must ;  you  were  cut  out  for  a  newspaper  writer — 
smart,  smashing,  and  unscrupulous  !  I  should  rather  think  we  could 
make  a  good  paper  together. 

D.B,  {A$ide)  The  old  humbngl  (Aloud)  Of  course  we  can. 
Wi(h  your  natural  elegance  af  style,  and  a  little  salt  Irom  me,  I 
should  think  it  would  do.  But,  eh  I  the-*—!  how  about  the 
music? 

AT.  B,  Why,  you  know  I  can  manage  an  msthetical  column  or 
two. 

D.  B.  Come  now,  joking  apart,  you  know  less  about  the  matter 
than  I  do  ,•  and  the  gag  that  will  do  for  a  morning  paper,  or  the 
Maestro,  won't  do  on  a  special  journal  which  is  to  lilt  with  the 
Musical  World.    Eh,  old  boy  ? 

M,B.  Why— I  must 

J?.  B.  Devil  a  bit.  V\\  write  the  abuse ;  you  will  sit  with  your 
hands  io  your  pockets,  or  swagger  about  the  side  scenes,  or  tho  con* 
cert  room :  but  where  is  our  novelist  and  conscientious  man-of*aU« 
work,  who  writes  a  good  article,  and  lets  us  fiither  it— the  steel  glove 
with  which  we  can  arm  tho  hand  for  mosicid  battle  ;  in  a  word,  our 
gaaaUlett 

M,  B*k\sM  I  such  men  are  rare. 

D.  B.  But  have  one  we  must. 

M  B.  Don'c  you  think  I  am  capable  of I  mean  with  care. 

Not  that  sort  of  slipshod  style  I  have  hitherto 

D.  B,  No  I  'twon't  do. 

M.  B.  {Aside)  He*s  not  to  bo  humbugged, 
must  out.     I  havo  engaged  . 

Z).  B.  That  will  do — ^he's  the  very  man. 

M,B  Then  you  will  help  me ;  that's  settled. 

D.  B*  It  is.    When  does  No.  1  eome  out? 

Af.  B.  I  have  not  ^juito  determined,  but  you  can  get  me  up  a 
good  smasher  on  all  things  in  goneral,  and  tho  Musical  World  and 
it»  Editors  in  particular.'  I'll  take  care  of  the  rest  of  the  number. 

2>.  B.  Yes,  you  may  bo  trusted  to  that  extent.  No  one  is  more 
capable  of  looking  well  ailcr  No.  1  than  yourself. 

M,  B.  {Laughing  sourly)  Hal  ha  I  very  good. 

D,  B.  {Aside)  I  like  to  see  him  laugh  on  the  wrong  side  of  his 
mouth.  (Aloud)  I  suppose  I  mustn't  pitch  into  Her  Msgesty's 
Theatre. 

M.B.  Not  for  worlds  I 

D.  B.  That's  a  pity  1  for  when  my  hand  is  once  in  I  like  to  have 
a  go  at  everything  in  turn  : — Balfe  and  Beethoven,  the  Tmies  and 
tho  AihetMBumf  Congreve  and  Shakspere— the  more  wholesalf 
abuse  is,  the  better.    One  looks  unpreju]" 


{Aloud)  Well,  truth 


by^^uuyie 


THE  MUSICAL  WORLD. 


153 


M,  B.  That's  true  ;  but  in  the  present  case  ('puis  his  finder  to 
his  nose  J  You  nuderstand  me  ? 

D.  B,  Oh,  ah,  very  good — Yory  good    (Slrokes  his  chin)    I 
te-e-e-e.  C.  K. 

{Scene  changes,) 

MADAME   BISHOP   IN   THE   PROVINCES. 

(From  our  oivn  Correspondent,) 

Dublin,  Match  IH, 
Thv  last  news  I  have  to  tell  you  is,  that  Mr.  Aldrfdge,  the  Aft  lean 
Roscius,  who,  according  to  the  bills,  writes  himself  descendant  to  the 
Royal  Princes  of  Numidia,  is  performing  all  the  celebrated  sable  parts  at 
the  theatre,  Hawkin's  Street.  I  am  sorry  to  say  he  is  playing  to  empty 
benches,  for  he  is  really  a  -clerer  man,  snd  Is  capifat  in  comedy,  which  is 
perhaps  not  very  high  praise  to  bestow  on  a  tragedian,  but  which,  never- 
theless, is  veritable  criticism,  as  you  would  have  said,  had  you  seen  him 
in  Mango,  in  The  Padlock,  It  was  rather  hard  on  poor  Mr.  Aldridge  to 
bring  him  forward  so  soon  upon  Madame  Bishop's  great  success.  We 
are  all  now  Bishop  mad,  and  nothing  will  go  down  with  us  but  f.a  Buhop. 
The  ladies  art  beginning  to  call  certain  articles  of  dress  after  her,  dgars 
have  been  similarly  christened,  and  I  have  learned  that  a  celebrated  coach- 
maker  in  Aungier*  street  has  just  inrented  a  new  vehicle  to  he  called  a 
Biskop,  Well,  now  that  1  have  played  my  prelade,  I  must  open  the  per- 
formance. On  Thursday  Madame  Bishop  gave  the  second  and  llyrd 
acts  of  Anna  Bolena,  the  second  act  of  The  Leoe-speitj  aud  the  last  act 
of  SonnambtUa,  The  performance,  I  need  hardly  say,  went  off  with 
immense  ^at,  and  the  enthusiasm  for  the  great  artist  was,  if  possible, 
greater  than  on  any  former  occasion.  It  woi^hi  seem  quite  an  anomaly 
to  most  people,  how  Madame  Bishop,  with  her  extreme  sensibility  and 
abandon,  could  undergo  in  one  evening  the  tremendous  bodily  and  mental 
labourof  singing  through  three  such  operas— at  least  their  most  important 
portions — as  those  in  which  she  appeared  on  Thursday  night,  and  sing  to 
the  very  last  note  of  the  last  finale  with  her  voice  as  limpid  and  fresh  as 
when  she  commenced  the  fiitt  aria,  and  her  bodily  powers  apparently  as 
■inch  under  her  command,  and  unabated  In  their  strength.  But  if  we 
look  a  little  further  than  the  first  glance,  we  shall  perceive  that  herein 
consists  all  the  excellence  of  the  artist.  Madame  Blslmp  never  forces 
her  vokt.  However  energetic  she  may  appear,  or  however  passionate 
she  may  seem  at  times,  she  husbands  her  vocal  resources,  and  never 
haaards  her  whole  strength  on  one  coop.  It  is  thus  that  Rubin  1  upheld 
his  powers,  and  was  equal  to  all  occasions.  In  her  perfcrmance  of 
Thursday  night,  Madame  Bishop  was  encored  six  times.  The  different 
characters  she  sustained  required  the  greatest  versatility  of  talent,  and, 
to  render  them  as  she  did,  the  highest  vocal  and  histrionic  powers.  The 
performance  was  arduous  in  the  extreme,  nevertheless  the  fair  cantatrioe 
dashed  off  her  hist  brilliant  and  astonishing  variation  Introduced  into 
the  lands  finale  of  Sonnambula  with  all  the  precision  and  care  of  a  first 
essay.  Madame  Bishop  never  rants  in  her  sinifing :  it  may  be  said  with 
troth  of  her.  eUe  n'hurle  pas,  ette  ekante,  I  was  so  enchanted  with 
Madame  Bishop's  performance  of  Anna  Helena,  that  I  regretted  excess- 
ively she  only  repeated  the  two  hst  acU  on  Thursday*  in  consequence, 
as  I  |old  you  in  tnf  laat,  of  Mr.  Corri*a  necesitated  dqiartore  for  Liver- 
pool, that  gentleman  alone  being  able  to  sustain  the  part  of  Henry 
throughout.  The  incomplete  state  of  the  operatic  department  in  our 
theatre  Is  much  to  be  deplored,  as  it  prevents  the  possibility  of  procuring 
at  a  moment's  notice,  a  good  remplacant  for  such  an  important  part. 
ft  most  be  said,  however,  that  the  manager  of  our  Theatre  Royal 
has  done  a  great  deal  for  Madame  Bishop ;  and  I  understand  that 
the  fair  lady  feels  kerrelf  greatly  indebted  to  him  for  what  he  has 
done.  Mr.  T.  Bishop  is  a  very  creditable  tenor,  and  if  P.  Corri  is  not  a 
Tamborini,  or  a  Ronconi,  he  has  the  good  sense  to  know  it,  and  does 
not  give  himself  baritonic  airs,  as  many  of  your  London  and  country 
singers  do  bassly.  His  brother,  H.  Conf,  is  a  clever  actor «  teute»auce, 
and  is  always  ready  to  take  anything  at  a  momenta  notice.  His  Dulca- 
mara, in  the  Lops  S'peU,  is  not  bad,  and  he  is  growing  daHy  into  favour 
with  the  Dublin  audiences*  In  my  last  letter  1  mentioned  that  Thursday, 
an  extra  added  night,  wss  to  have  been  Madame  Chop's  last,  but  it  has 
proved  to  be  only  the  penultimate,  for  Calcraft,  seeing  the  great  success  of 
the  singer,  most  judiciously  gives  a  super  extra-night,  and  Madame 
Bishop  was  induced  to  retard  her  departure  to  Scotland  for  some  twelve 
or  fourteen  hours,  and  is  to  appear  to  morrow,  when  the  two  last  acts 
of  Anna  BoUna  and  the  Love  Spell  will  be  given.  She  will  also  sing  the 
grand  Srena  from  Taneredi,  and  the  favorite  Chansonettc,  "  Je  suis 
H  Bayadere."  An  overflow  is  expected.  Apropos,  I  have  just  met  Cap- 
tain L.,  who  is,  as  you  know,  well  acquainted  with  all  the  theatrical 
•flairs  of  Hawkins-street,  and  he  told  me  that  Mr.  Calcraft  bad  already 
accored  the  services  of  the  prima  donna  for  a  fortnight  alter  Easter,  and 
lias  given  her  an  increased  salary.    The  operas  selected  for  her  perform  • 


ance  in  her  engagement  are  Norma,  Linda  di  Chamouni,  and  The  Barber 
of  SevUle,  In  this  case  there  is  little  fear  that  the  manager  will  not 
reimburse  btmself  for  bis  spirited  speculation,  for  April  is  a  good  month 
for  theatricals  in  Dublin,  and  La  Bishop  is  now  all  the  rage. 

I  thank  you  for  the  trouble  you  have  taken  in  explaining  to  me  the 
meaning  of  an  instrumental  codetn^a  ;  but  you  mistook  largely  in  sup- 
posing I  did  not  comprehend  it.  I  still  am  of  opinion  that  it  was  a  puff 
positive,  and  a  resource  unworthy  the  name  of  the  artist  who  pUyed, 
and  the  composer  who  wrote  it,  to  advertise  it.  The  cadenza,  however, 
was  safely  transmitted,  and  was  received  with  thunders  of  applause  when 
played  by  Madame  Dulcken.  I  have  just  learned  that  Templeton  comes 
here  in  April.  Madame  Vestrls  and  Charles  Mathews  are  also  engaged. 
On  Wednesday  next,  we  have  a  trial  of  new  music  at  the  Philharmonic,  at 
whicb,  of  course,  I  shall  not  fail  to  attend. 

Yours,  in  haste,  C.  R* 

P.  S. — ^Hoping  this  may  reach  you  in  time  for  post,  I  cannot*  rest 
until  I  have  transmitted  io  you  a  brief  account  of  the  last  performance 
of  Madame  Bishop,  which  positively  surpassed  all  that  went  before. 
The  enthusiasm  was  tremendous.  It  was,  I  assure  you,  one  of  the 
greatest  instances  of  a  mass  of  people  in  a  state  of  excitement  I  ever 
witnessed.  The  huge  Dan  himself  at  the  meeting  at  Covent  Grarden,  or 
after  his  best  speech  at  the  Association,  was  not  hailed  with  more 
deafening  acclamations.  Such  waving  of  haU,  kerchiefs,  uplifting  of 
voices,  clapping  of  hands,  stamping  of  feet,  and  thumping  of  sticks, 
reiterated  vollles  of  prolonged  cheers,  and  showers  of  bouquets,  was  not 
heard  or  seen  within  the  walls  of  the  theatre  for  many,  many  years. 
Madame  Bishop  appeared  most  deeply  affected,  and  at  the  end,  when 
she  was  called  for,  was  quite  overpowered.  This,  of  course, 
gave  rise  to  more  acclamations,  aud  continued  till  I  thought  the 
house  must  come  down.  1  have  not  time  to  enter  into  particulars  of 
the  performance.  When  Madame  Bishop  left  the  theatre,  the  greatest 
part  of  the  audience  stationed  themselves  at  the  stage  door,  to  get  a 
parting  glance  at  their  favourite  singer,  and  in  stepping  into  her  carriage, 
not  only  immense  cheering  saluted  her,  but  the  crowd  accompanied  her 
to  Mackih's  hotel,  making  the  air  ring  as  tbey  went  along  with  cries  of 
"  Long  live  Bishop,"  "  Bravo,"  "  Come  again,"  &c.,  &c.  The  post 
waits,  and  I  have  not  time  for  another  word.    Addio  I 

JENNY  LIND  AND  THE  GEimAN  STUDENTS^ 

Thb  following  amuaing  anecdote  we  copy  from  a  Gknnan 
journaU  but  cannot  vouch  for  lis  antfaentieity : — **^  At  the 
close  of  last  atitumny  Jenny  Lind  had  been  perfotming  in  the 
town  of  G  ■■  and  had  created  such  a/Srore  as  nearly  to 

drive  all  the  inhabitants  mad.  The  theatre,  at  which  she  was 
engaged,  was,  during  the  nights  of  her  perfinrinances,  an  areiia 
for  the  wildest  displays  of  enthusiasm ;  the  house  where  she 
lived  was  nightly  beset  with  multifarious  admirers  and  mul- 
titudinous serenaders;  the  carriage  in  which  she  took  her 
rides  literally  became  a  drag  for  a  foot  ste^le-chaae  to  all  the 
gallanto  of  the  town — brief,  she  could  not  move  without  a 
guard ;  she  could  not  speak  without  a  bravo ;  ahe  could  npt 
look  without  committing  havoc ;  sh6  could  not  sing  without 
setting  folk  mad — mad— mad.  Chiefest  among  these  mad* 
men  were  the  gowned  students  of  the  University  of  the  town 

of  Q They  attended  every  night  at  the  theatie,  and 

after  the  performance  escorted  Jenny  Lind  home,  and  remained 
serenading  lier  all  night.  But  Jenny  Lindi  though  excessively 
grateful  to  the  G— r — ^  students  for  their  extra  attentions 
and  double  Christian  kindness,  could  npt.  remain  amongst 
them  for  ever,  hut  was  oompelled  to  leave  them  one  charming 

morning  before  breakfast.     But  the  G students  had 

been  apprised  of  her  determination  to  depart  at  matin  cock  | 
and  in  order  to  get  up  early  tbey  remained  serenading  her 
all  night  with  extracts  from  her  own  favourite  operas,  which 
no  doubt,  fVom  the  contrast  between  their  singing  and  hers« 
was  no  indifferent  treat  to  the  Swedish  nightingale.  In  the 
morning  they  escorted  her  as  far  as  the  ramparts,  and^  halting 
at  the  gates,  the^'  gave  her  three  and  thirty  hearty  cheers  for 
a  farewell)  besides  sixteen  more  for  a  finale,  and  a  dozen 
additional  by  way  of  a  postcript,  and  several  others,  the  most 
acceptable  of  all,  when  Jenny  Lind  was  out  of  hearing.  No 
sooner  had  the  carriage  disappeared  &t Ahat .  tum^u.  tb§.  roeid 

igi  ize     y  ^ 


154 


THE  MUSICAL  WORLD. 


which  winds  round  the  base  of  the  hill  whose  summit  crowned' 
with  tufted  trees  and  evergreens  overlooks  a  great  many 
places,  and  presents  a  delightful  panoramic  picture  to  the  view 
of  the  spectator,  than  the  students  gave  thirty-three  grand 
cheers  more,  with  casual  ones,  ad  libitum,  and  flew  like  wild- 
fire through  the  streets  of  G  ,  and  made  straight  for  the 
hotel  where  Jerny  Lind  had  been  staying,  and  demanded  o^ 
the  landlord  to  be  shown  to  the  nightingale's  bed-room,  which 
being  indicated  to  them,  they  rushed  up  stairs,  broke  into  the 
singing  bird's  nest,  stripped  the  bed,  tore  the  sheets  into 
stripes,  placed  them  on  various  parts  of  their  dresses,  and  rushed 
through  the  streets,  vociferating  the  name  of  Jenny  Lind, 
till  the  very  welkin  rang  with  the  syllables.  The  tumult  was 
not  appeased  till  noon,  when  the  hurricane  seemed  to  die  off 
into  a  broken  tempest, whose  gusts  were  only  heard  at  intervals. 
About  this  time — noon,  as  we  said — an  elderly  looking  gentle- 
man, an  Englishman,  as  might  be  implied  from  the  cut  of  his 
hat,  and  his  no  moustache,  who  was  stopping  in  the  hotel, 
came  into  the  coffee- room,  trembling  and  excited,  especially 
at  the  approach  of  a  student.  A  stranger  near  the  old  gentle- 
man, believing  him  to  labour  under  the  effects  of  illness, 
and  compassionating  him,  entered  into  conversation  with  him. 
The'  old  gentleman  appeared  delighted  at  meeting  with  a 
countryman :  *  Sir,  you  are  an  Englishman,  I  am  so  ternfied  I 
These  German  students  are  very  extraordinary  people — raving 
xnad.'  '  O,  not  at  all/  replied  the  other,  '  wild  and  excitable 
they  are  certainly,  but  capital  fellows,  I  assure  you,  and  very 
sensible.'  *  Then,  by  heaven  sir/  returned  the  old  gentle- 
man, looking  very  much  terrified  and  speaking  very  low, 
*  there's  something  political  in  it,  and  I  am  marked.*  *  How 
80  ?  '-^*  I  got  up  early  this  liiorning  to  take  my  usual  pro- 
menade >  and  while  I  was  away/—  here  the  old  gentleman 
halted  and  appeared  quite  overcome  by  terror.  *  Well,  sir/ 
said  the  other, — *  they  broke  into  my  room,  tore  up  my  sheets 
into  ribbons,  and  are  now  running  through  the  town  wearing 
the  pieces  in  their  hats  and  button-holes/  The  students  had 
gone  into  the  wrong  bed-room." 


VBB     AVFISIViaS, 

JFrom  tf^t  German  of  ^otf^t. 

Continued  from  pagt  185. 
PART    11. CHAPTER     IV. 

After  these  occurrences,  after  the  feeling  of  the  transient  nature 
of  human  aflfairs  which  had  thus  been  forced  upon  her,  how  strange 
to  Ottilia  roust  have  been  the  intelligence,  which  could  not  remain 
•  much  longer  concealed  from  her,  that  Edward  had  resigned  himself 
to  the  uncertain  chances  of  war,  None^  alas,  of  the  reflection? 
which  she  had  had  occasion  to  make,  escaped  from  her  mind.  It 
is  a  fortunate  thing  that  man  can  only  comprehend  a  certain  degree 
of  unhappiness.  What  exceeds  that  either  annihilates  him  or 
leaves  him  indifferent.  There  arc  situations,  in  which  hope  and 
fear  become  one,  mutually  cancel  each  other,  and  become  lost  in  a 
dark  insensibility.  If  it  were  not  so,  how  could  we  know  that  those 
who  are  dearest  to  us,  and  at  a  distance,  are  placed  in  hourly  peril, 
and  nevertheless  carry  on  the  ordinary  occupations  of  life  ? 

It  seemed,  therefore,  as  if  some  good  genius  had  watched  over 
Ottilia,  when  he  brought  at  once  into  this  silence,  into  which  she 
seemed  to  have  sunk  lonely  and  unoccupied, — a  wild  horde,  which 
while  it  gave  her  enough  to  do  from  without  and  took  her  out  of 
herself,  exerted  in  her  a  feeling  of  her  own  strength, 

Lnciana,  Charlotte's  daughter,  had  scarcely  left  school  for  the 
great  world,  had  scarcely  seen  herself  surrounded  in  her  aunt's 
house,  and  a  numerous  society,  than  her  desire  to  please  really 
produced  its  effect,  and  a  young  man  of  large  fortune  felt  an  in- 
clination to  possess  her.  His  wealth  gave  him  a  right  to  appropriate 
to  himself  whatever  was  best  of  its  kind,  and  nothing  seemed  to  be 
wanting  except  a  perfect  wife,  for  whom  the  world  should  envy  him 
as  it  did  for  every  thing  else.  | 


It  was  this  event  in  her  family  which  had  hitherto  given  Cbar> 
lotte  very  much  to  do,  and  to  which  she  directed  all  her  thouffbts 
find  correspondence,  so  far  as  the  latter  was  not  occupied  in 
obtaining  further  intelligence  from  Edward.  On  this  accoonl 
Ottilia  had  latterly  been  more  alone  than  usual.  She  was  indeed 
aware  that  Luciana  was  coming,  and  had,  therefore,  made  tho 
necessary  preparations  in  the  house,  but  it  was  not  thought  that  the 
visit  was  so  near.  There  was  first,  it  seemed,  to  be  more  writings 
concerting  and  appointing,  when  the  storm  at  once  broke  in  upon 
Ottilia  and  the  earth. 

First  came  chamber-maids  and  men-servants,  then  vehicles  fbTI  of 
chests  and  boxes,  so  that  it  was  thought  there  were  two  or  thi^e 
sets  of  masters  in  the  house.  At  last,  however,  came  the  quests 
themselves,  namely,  tho  great  aunt  with  Luciana,  and  some  family 
friends,  and  the  bridegroom,  who  likewise  was  not  unaccompanied. 
The  vestibule  was  full  of  articles,  portmanteaus,  and  other  cases 
of  leather.  The  different  boxes  and  cases  were  separated  with 
difficulty,  and  there  seemed  to  be  no  end  of  luggage.  All  tho 
while  it  rained  violently,  which  increased  the  confusion*  Ottilia 
met  the  tumult  with  the  calmest  activity  ;  and  her  serene  mode  of 
proceeding  showed  forth  to  the  greatest  advantage,  for  she  had  m 
a  short  time  settled  and  arranged  everything.  Every  one  was 
lodged,  every  one  made  comfortable  in  his  own  way,  and  considered 
himself  well'  served,  because  he  was  not  hindered  from  serving 
himself. 

After  a  toilsome  journey,  all  would  willingl v  have  enjoyed  some 
repose.  The  bridegroom  would  have  liked  to  be  near  his 
mother-in-law,  to  declare  to  her  his  love  and  good  will,  but 
Luciana  could  not  be  quiet.  She  had  the  felicity  of  being  able 
to  ride  on  horseback.  The  bi*idegroom  had  beautiful  horses,  and 
therefore  all  must  needs  mount  at  ooce.  Storm,  wind,  and  rain 
were  not  to  be  thought  of ;  it  seemed  as  if  people  only  lived  to 
get  wet,  and  dry  themselves  afterwards.  If  she  took  it  in  her 
head  to  go  out  on  foot,  she  did  not  a5k  what  sort  of  clotbes  or 
shoes  she  had  on  ;  she  insbted  on  surveying  the  plans  for  improve- 
ment, of  which  she  had  heard  so  much.  '  What  could  not  be  tccom- 
plished  on  horseback  was  scampered  through  on  foot.  She  had  at 
once  seen  and  given  her  opinion  upon  everything,  and  the  rapiditv 
of  her  temperament  did  not  readily  admit  of  a  contradiction.  The 
whole  party  had  to  endure  a  great  deal,  the  female  servants  roost 
of  all,  who  could  find  no  end  of  the  washing  and  ironing,  tl^e 
unpicking  and  sewing. 

bhe  had  scarcely  examined  the  house  and  grounds,  than  she  fe)t 
inclined  to  pay  visits  in  the  neighbourhood ;  and  as  they  rode  and 
drove  quickly,  the  neighbourhood  extended  to  a  considerable  cRa- 
tance.  The  castle  was  deluged  with  visits  paid  in  return,  and  that 
persons  might  not  miss  each  other  certain  days  were  appointed. 

In  the  meanwhile,  Charlotte,  wit  h  the  aunt  and  the  bridegroom's 
charg€  d'affaires^  was  occupied  with  settling  the  internal  arrange- 
ments ;  and  Ottilia,  with  those  under  her,  was  contriving  that  nething 
should  be  found  wanting  amid  so  great  a  pressure,  since  the  hunts- 
men, gardeners,  fishermen,  and  tradesmen  bein^  all  put  in  motion* 
Luciana  always  appeared  like  a  burning  comet,  which  carries  a  long 
tail  after  it.  The  ordinary  amusement  of  visiting  soon  became  in« 
sipid  to  her.   She  scarcely  allowed  the  elder  persons  their  quiet  seat 

at  the  card  table.    Whoever  w  as  in  any  degree  capable  of  motion 

and  who  would  not  be  moved  by  her  charming  importunity  ? was 

obliged  to  join,  if  not  in  the  dance,  at  least  in  a  lively  game  at 
forfeits.  And  although  everything,  including  the  redemption  of  the 
forfeits,  was  done  in  reference  to  hcnelf->on  the  other  hand,  no  per^ 
son,  especially  of  the  male  sex,  came  off  quite  empty,  whatever  might 
be  his  condition.  Naj^r,  she  succeeded  in  gaining  some  older  pcr^ 
sons  of  importance  quite  over  to  her  side,  by  inquiring  af>er  tneir 
birth  days  and  name-days,  and  keeping  them  with  particular  solem- 
nity. There  her  own  tact  was  turned  to  account ;  so  that  while  all 
perceived  they  were  favoured,  every  one  fancied  himself  ftivoured 
the  most — a  weakness  of  which  the  oldest  in  the  party  were  most 
obviously  guilty. 

Although  it  seemed  to  be  her  regular  plan  to  gain  over  men  who 
represented  rank,  eminence,  fame,  or  some  other  important  qualiti- 
catiou,  to  put  to  shame  wisdom  and  circumspection,  and  to  gain 
favour  even  with  prudence  itself,  for  her  own  wild  and  eccentric 
disposition — ^young  persons  were  not  ovorlooked.  Every  one  bad 
his  share,  his  day,  his  hoar,  in  whichshe  contrived  to  fittcinate  and^ 


THE  MUStCAL  WORLD. 


455 


enchain  him.  Thus,  she  had  even  cast  her  eyes  ou  the  architect, 
Vho  looked  so  ina^eniously  through  his  long  black  hair,  stood  so 
erect  and  quiet  in  the  distance,  and  made  such  a  short  and  intelli- 
gent answer  to  every  question,  without  seeming  inclined  to  go 
farther,  that  she  at  last  resolved,  half  angry,  half  artful,  to  make 
him  the  hero  of  a  day,  and  thus  to  gain  him  for  her  court. 

It  was  not  for  nothing  that  she  had  brought  with  her  so  much 
luggage,  and  that,  indeed,  a  great  deal  more  had  followed.  She 
had  made  provision  for  an  infinite  change  in  her  attire.  If  she 
delighted  to  dress  herself  three  or  four  tiroes  a-day,  changing  from 
morning  till  night  in  the  sort  of  clothes  worn  in  ordinary  society, 
she  would  sometimes  appear  in  actual  masquerade-costume,  as  a 
peasant,  or  a  fishing-girl,  a  flower-girl,  or  a  fairy.  She  did  not 
dislike  to  dress  herself  as  an  old  woman,  that  her  youne:  face  might 
look  all  the  fresher  when  peeping  out  of  the  hood,  and  indeed  she 
so  mingled  together  the  actual  and  the  imaginary,  that  people 
almost  fancied  themselves  related  to  an  elf. 

She  chiefly  employed  these  disguises  for  pantomimic  gestures 
and  dances,  m  which  she  skilfully  represented  different  characters. 
A  cavalier  of  her  train  had  learned  to  accompany  her  gestures  on 
the3  piano,  with  the  little  music  that  was  required.  After  a  short 
preparation,  they  could  work  together  at  once. 

One  day,  when  during  a  pauso  w^hich  had  occurred  in  the  course 
of  la  lively  ball,  she  had  been  asked,  apparently  in  the  spur  of  the 
moment  (but  really  from  an  impulse  secretly  given  by  herself),  to 
go  through  ono  of  these  performances  ;  she  appeared  confused  and 
surprised,  and  contrary  to  her  u^ual  custom  allowed  herself  to  bo 
intreated  a  long  while.  She  seemed  irresolute,  left  the  choice  to 
others,  asked  like  an  improvisatore* tor  a  subject,  until  at  \^t  her 
ally,  the  pianist,  probably  according  to  a  preconcerted  plan,  sat 
down  to  his  instrument,  began  to  play  a  funeral  march,  and  asked 
her  to  give  the  part  of  Artemisia,  which  she  had  studied  in  such 
eicelleni.  style.  She  allowed  herself  to  be  persuaded,  and,  after 
a  short  absence,  reappeared  to  the  soft  mournful  tones  of  the 
march,  in  the  form  of  the  royal  widow,  walking  with  measured 
steps,  and  beanng  the  funeral  urn.  Behind  her  were  carried  a 
lai^e  black  board,  and  a  fluely-pointed  piece  of  chalk  in  a  golden 
portcrayon. 

Ono  of  her  worshippers  and  assistants,  into  whose  ear  she  whis- 
pered, went  up  to  the  architect,  to  ask  him,  nay,  compel  him  (even 
employing  a  little  pushing),  to  draw  the  tomb  of  Mausolus,  in  the 
character'of  Architect,  and  thus  to  cease  from  being  a  mere  sta- 
tionary spectator,  and  become  one  of  the  actors.  Confused  as  the 
architect  might  appear  externally — for  in  his  black,  close-fitting 
modern  dress  he  made  a  strange  contrast  to  the  gauzes,  crapes, 
fringe  9,  enamels,  tassels,  and  crowns — he  internally  commanded 
himself,  which  made  the  effect  still  more  singular.  With  the 
utmost  gravity,  he  placed  himself  before  the  large  board  which 
was  carried  by  two  pages,  and  with  the  greatest  care  and  accuracy 
sketched  a  sepulchral  monument,  which  was  indeed  more  suitable 
for  a  Lombard,  than  a  Carian  monarch,  but  which  was  at  the 
'•ame  time  so  beautiful  in  its  proportions,  so  solemn  in  its  various 
parts,  and  so  ingenious  in  its  characters,  that  people  regarded  its 
progress  with  pleasure,  and  admired  it  when  completed. 

During  this  time  the  architect  had  scarcely  turned  towards  the 
qii«en,bat  had  directed  all  his  attention  to  his  occupation.  At  last, 
when  he  bowed  to  her,  and  made  signs  that  he  believed  he  had 
executed  her  commands,  she  held  out  the  urn  to  him,  and  testified 
a  w'lsh  to  see  this  copied  on  (he  top.  Ho  did  so,  though  unwillingly, 
because  it  did  not  seem  suitable  to  the  character  of  the  other  part 
of  his  sketeh.  As  for  Luciana,  she  was  at  last  overcome  by  impa- 
tience, for  she  had  never  intended  that  he  should  make  a  serious 
drawing.  If,  with  a  few  strokes,  he  had  just  sketched  off  something, 
that  wonld  have  looked  rather  like  a  monument,  and  devoted  the 
rest  of  the  timo  to  her,  the  whole  wonld  have  been  more  in  accord- 
ancia  with  her  wishes  and  intentions.  His  conduct,  on  the  contrary, 
bad  placed  him  in  the  greatest  embarrassment ,  for  although  in  her 
expressiousof  pain,  in  her  commands  and  signs,  and  in  her  approval 
of  the  design  which  gradually  progressed,  she  endeavoured  to 
produce  a  tolerable  degree  of  variety,  and  had  sometimes  almost 
pulled  him  round,  to  come  into  some  connection  with  him,  he 
became  more  and  more  formal,  so  that  she  had  too  often  to  take 
tefoge  in  her  urn,  and  look  up  to  heaven.  Nay,  at  last,  as  'such 
aitnations  are  sore  to  increase,  she  looked  more  like  a  widow  of 


Ephesus,  than  a  queen  of  Caria.  The  performance,  therefore,  was 
unduly  protracted;  and  the  pianist,  who  usually  did  not  lack 
patience,  did  not  know  how  to  vary  his  music*.  He  thanked  Ood 
when  he  saw  the  urn  stand  upon  the  pyramid,  and  when  the  queen 
was  about  to  express  her  thanks,  involuntarily  struck  up  afively' 
air.  By  this  the  character  of  the  performance  was  completely 
changed  ;  but  new  spirits  were  giveu  to  the  party,  which  at  once 
expressed  its  joyous  admiration  of  the  lady  for  her  excellent  repre- 
sentation of  feeling,  and  of  the  architect  for  his  artistical  and 
elegant  drawing. 

The  bridegroom,  in  particular,' conversed  with  the  architect* 
"  I  am  sorry,"  he  said,  '«that  the  drawing  is  so  perishable.  You 
will,  at  least,  allow  me  to  take  it  into  my  room,  and  then  to  talk 
over  it  with  you.*'  •'  If  it  would  aflTord  you  any  pleasure,"  said  the 
architect,  "  I  can  lay  before  you  careful  drawings  of  such  edifices 
and  monuments.     This  is  a  mere  hasty  sketch." 

Ottilia,  who  was  not  far  off,  approached  them.  "  Do  not  delay,** 
she  said,  **  to  take  an  opportunity  of  showing  the  bridegroom  your 
collection.  He  is  a  fnend  of  art  and  antiquity,  and  I  wish  you 
to  be  better  acquainted  with  each  other. 

Luciana  came  up,  and  asked,  <*  What  are  you  talking  about?** 

•*  About  a  collection  of  works  of  art,"  replied  the  Baron,  "which 
this  gentleman  possesses,  and  which  he  will  take  an  opportonity  of 
showing  to  us. 

"  We  can  bring  it  at  once,**  cried  Luciana.  **  Am  I  ttot  right— 
you  will  bring  at  once,"  she  added,  in  a  coaxing  tone,  while  she 
affectionately  seized  him  with  both  hands. 

*'  This  might  not  be  the  proper  time,"  obiected  the  architect 

"  What,"  exclaimed  Luciana,  imperiously,  •*  Will  you  not  obey 
the  commands  of  your  queen  ?"  She  then  assumed  a  teasing  air  of 
entreaty. 

"  Do' not  be  obstinate,"  said  Ottilia,  in  a  half  whisper. 

The  architect  withdrew  with  a  bow,  which  said  neither  "yes"  nor 
"no." 

He  had  scarcely  gone,  than  Luciana  began  to  chase  a  greyhbuud 
about  the  room.  "Ah  1"  cried  she,  as  she  accidentally  ran  aguntt 
her  mother,  •* bow  unhappy  I  am!  I  have  not  brought  my  monkey 
with  mo^people  dissuaaed  me  from  it,  but  it  is  only  for  the  con- 
venience of  my  servants,  that  I  am  deprived  of  this  pleasure.  But 
he  shall  come  now,  some  one  shall  go  to  fetch  him  for  me.  If  I 
were  only  to  see  hi*  likeness  I  should  be  plea^^ed.  I  will,  indeed, 
have  him  painted,  aud  then  he  will  never  quit  my  side." 

"  Perhaps  I  can  console  you,"  said  Charlotte,  "  by  caudng  to  bo 
brought  from  the  library  a  whole  volume  full  of  the  strangest 
pictures  of  apes."  Luciana  screamed  aloud  with  joy,  and  the  foUo 
was  brought.  The  sight  of  these  hideous  creatures,  naturally  so 
like  human  beings,  and  rendered  still  more  like  them  by  the  artist, 
gave  the  greatest  pleasure  to  Luciana,  and  she  felt  quite  delighted 
at  finding  in  every  one  of  the  animals  a  resemblance  to  some  person 
of  her  acquaintance.    **  Is  not  this  like  my  uncle  ?"  she  mercilessly 

exclaimed— "this  like  M .  the  jeweller— this  like  Pastor  S , 

and  this  the  very  image  of  what's  his  name  ?  Apes,  after  all,  are 
the  real '  exquisites,'  and  it  is  quite  incomprehensible  why  they  are 
excluded  from  the  best  society." 

She  said  this  in  the  best  society,  but  no  ono  took  it  ill  of  her. 
They  had  grown  so  accustomed  to  accord  everything  to  her  grace- 
fulness, that  at  last  they  allowed  everything,  even  to  her  rudeness. 

Ottilia,  in  the  meanwhile,  conversed  with  the  bridegroom.  She 
hoped  for  the  return  of  the  architect,  when  more  serious  aad 
tasteful  collections  would  free  the  company  from  all  this  affair  of 
the  apes.  Nevertheless,  he  stopped  away,  and  when,  at  last,  ho 
returned,  he  merged  into  the  geneial  company  without  briagiiig 
anything,  or  acting  as  if  any  request  had  been  made.  Ottilia,  for 
the  moment,  was — what  shall  we  say  ? — cross,  angry,  perplexed. 
She  had  bestowed  a  kind  word  npon  the  architect^  and  bad 
endeavoured  to  procure  a  pleasant  hour  quite  in  his  own  way  for 
the  bridegroom,  who,  notwithstanding  his  infinite  lovo  for  Luciana, 
seemed  to  be  annoyed  at  her  conduct. 

The  Apes  crave  way  to  a  collation.  Social  games,  mor^  dancing, 
and  at  last  a  dull  sitting  about  and  an  attempt  to  revive  an  already 
worn  out  hilarity  lasted,  as  is  generally  the  case,  far  over  midnight. 
Luciana  had  already  acquired  the  habit  of  being  unable  to  get  up 
in  the  morning  and  to  go  to  bed  at  night. 

About  this  time  there  was  to  be  found  in  Ottilia's  diary  fewer 


156 


THE  MUSICAL  WORLD. 


recordit  of  erents,  but  more  maxims  and  sentences  having  referente 
to  life  and  taken  from  life.  As  the  greater  part  of  these  could  not 
hare  proceeded  from  her  own  reflection,  it  is  probable  that  some 
collection  was  given  her,  ft'om  which  she  copiea  what  was  suitable 
to  herself.  Many  that  have  a  more  intimate  reference  to  her  own 
case  will  be  easily  recognised  by — Me  red  thread.* 
JSLOU  Ottilia's  diart. 

We  like  so  much  to  look  into  the  future  because  we  would  so 
willingly  by  our  silent  wishes  turn  to  oar  own  advantage  the 
chances  VI  hich  in  the  future  seem  to  bo  nfiovcd  about  m  every 
direction. 

In  a  large  paKy  it  is  difficult  to  avoid  thinking  that  if  chance 
brings  together  so  many,  it  should  also  bring  our  fHends  to  us. 

We  may  live  as  retired  as  we  will;  we  are  sure  to  become 
debtors  or  creditors  before  we  are  aware  of  it. 

If  any  one  meets  us,  who  owes  us  gratitude,  It  strikes  us  directly  t 
but  how  often  can  we  meet  a  person  to  whom  we  ourselves  owe 
gratitude,  without  ever  thinking  of  it  ? 

To  communicate  ono*s  self  is  nature ;  to  receive  what  is  com- 
municated, as  it  is  given,  is  cultivation. 

No  one  would  speak  much  in  society,  if  he  were  Bwwe  how  often 
he  misunderstands  others. 

In  repeating  the  words  of  others  we  make  such  great  alterations 
onlv  because  we  have  not  understood  them. 

tie  who  long  speaks  alone  before  others,  without  flattering  his 
auditors  excites  a  feeling  of  dislike-    '  ^ 

Every  word  that  is  uttered  provokes  its  oppc^te. 

Both  contradiction  and  flattery  mar  oonvenaticm. 

The  pleassntest  societies  ate  those  In  which  th^re  prevatis  a 
cheerful  feeling  of  mutual  respect  among  the  members.  « 

The  ridiculous  arises  from  a  social  conttwt,  effected  in  a  manner 
that  does  not  offend  the  natural  senses. 

The  sensual  man  often  laughs  when  there  to  nothing  to  laugh  at. 
Whatever  excites  him  his  own  internal  satisfaction  is  made  manifest* 

The  man  of  understanding  finds  almost  everything  ridiculous  ; 
the  man  of  reason  scarcely  anything.^ 

An  elderly  man  was  once  reproved  for  occupying  himself  with 
young  ladies^ "  It  is  the  only  way,"  he  replied,  "  to  grow  ypung 
again,  and  that  everybody  likes.**: 

We  can  bear  to  be  upbraided  fur  mir  faults,  we  allow  onraelvea 
to  be  pumshed  for  theih,  and  on  their  aocouat  endure  much  with 
patience,  but  we  become  impationt  if  we  are  told  to  correct  tbem. 

Certain  &ults  are  necessary  to  the  existence  oi  the  individual. 
It  would  be  unpleasant  to  nsjf  oki  friends  put  off  certmo  pecu- 
liarities. 

When  a  person  does  anything  contrary  to.bis  nauid  way,  we  say, 
«  He  will  soon  die." 

What  faults  ought  we  to  retain,  nay  even  to  cultivate  P  Theee 
which  flatter  others  rather  than  offend  them. 

The  passions  are  faults  or  vtrtues*«-only  heightened. 

Our  passions  aro  real  phosnixes.  As  soon  as  the  oki  one  is 
burned  the  new  one  immediately  springs  from  the  ashea. 

Great  passions  are  diseases  without  hope.  That  which  could 
cover  them  would  first  make  them  truly  dangerous. 

Passion  is  botti  increased  and  softesed  by  confession^  In 
nothing,  perhaps,  would  the  middle  course  bo  more  desirable  than 
in  our  confidences  and  concealments  towsprds  those  we  love. 

•  The  reader  will  recollect  this  simile  in  the  second  chapter  of  this  part^ 

TaAMSLATOR. 

f  Those  who  have  no  acquaintanse  with  the  kmgvage  of  Ocrman  pUlo* 
•-' '-1  without  comprehepdmg  iu 


and  **  understanding" 


sophy  must  be  content  to  pass  ovex  this  nuuuni 
A  dissertation  on  the  difference  between  **  reason' 
would  be  too  long  to  Insert  here.— Translator. 

t  It  will  be  remembered  that  Gothe  was  sixty  when  he  wrote  this  romance. 
—Translator. 

{To he  contnmed*) 

«•«  To  m«vent  miaonderstedinff,  it  nuqr  be  stated  thai  the  conrriglit  ol  tbis 
tnuiaiation  bdoogs  solely  to  the  translator. 


C01VCCRT9. 

Ma.  H.  Philufs's  EwTteXAiNMirTS.— Mr.  Phillips  gave  one  of 
his  amusing  eoncertaoa  Monday  evening  in  the  Musie  Hall,  Store 
Street,  which  was  attended  by  a  select  and  crowded  audience.  The 
progiammo  was  divided  into  three  parts—the  two  first  bein^  made 
up  of  Mr.  Phillipe's  own  compositions,  neariy  all  bearing  roleronce 

i 


to  some  transatlantic  legend  or  Yankee  characceristio — the  last  eo»^ 
prising  selections  from  popular  modern  writers.  The  first  portions- 
of  the  entertainment  was  decidedly  the  best.  Mr.  Phillips  told 
several  exceedingly  amosing  American  anecdotes,  a  iewefwhieh 
convulsed  the  audience  with  laughter.  He  illustrated  the  Yankee 
peculiarities  with  great  humour  ;  and  the  manner  in  which  he  related 
the  Kentucky  Bear-hunt,  wherein  he  himsell  was  compelled  to  play 
a  conspicuous  part,  was  admirably  dramatic  Nor  were  his  illustra* 
tions  confined  to  the  hnmoroiB  and  the  laughable.  Tho  entettaia* 
memt  was  excellently  studded  with  relations  of  the  national  charac- 
teristics, and  interesting  and  instructive  anecdotes.  Each  relatipn 
was  followed  by  an  illustrative  song.  *<  The  Falls  of  ^nagara,** 
"  The  Prairie  on  Fire,"  and  •*  The  Kentucky  Bcai-hunt,"  wero 
mong  the  songs,  that  illustrated  the  different  subjects  introduced  br 
Mr.  Phillips,  in  tho  happiest  manner.  "  The  Bear-hunt"  was  encored, 
and  Mr.  Phillips  supplied  its  place  by  a  new  majaii^cript  composition 
of  his  Qwn,called  '*PiU  the  Poor,"  a  very  pretty  plaintiye  ballad*,  and 
which  was  most  exquisitely  sung*  '*  Thefe's  a  new  Year  coming," 
another  of  Mr.  Phillips's  manuscript  sones,  was  much  applauded, 
and  deservedly ;  but  the  tune  struck  us  as  being  none  of  tho  newest. 
In  the  second  part,  a  laughing  song,  the  words  selected  from  one  of 
the  comedies  of  Beaumont  and  Fletcher,  |^ve  the  vocalist  an  exceU 
lent  opportunity  of  displaying  his  dramatic  singing.  "  'the  Sla.v^x 
market,"  a  descr iptivo  scene  m  the  same  section  of  the  ejitestaui* 
ment  is  almost  too  terrible  for  music,  and  taxes  the  vc^y  highest 
powers  of  the  singer  to  giro  it  effect;  Mr.  Phillips,  however, 
acquitted  himself  more  tjian  creditably  in  reoderlng  it  effective/  A« 
American  ballad, "  The  pleasant  Ohio/'  adapted  firom  m  old  native  . 
mdody,  is  a  singular  illustration  of  the  all-insufficiency  (if  we  may 
coin  a  wgrd)  of  music  in  its  infancy;  it  was  not  wi^hs  Landing  rendered 
with  much  spirit  and  effect  bv  the  singer*  The  favourite  ballad,. 
'*  My  Boyhood's  Home*"  whicb  Mr.  Plillips.  was  wout  to  sing  so 
very  finely  in  Ropke's  AmeUe^  once  on  a  time  on  the  boards  of 
Covent  Garden  Theatre*  was  g^ven  on  Monday  night  with  all. the 
singer*s  skill  and  power,  and 'was  greatly  applauded.  Lover's  Irish 
Serenade,  « The  Widow  |Machree,"  and  Moore's  "  To  LiiKlios' 
Eyes,**  concluded  one  of  the  most  amusing  entertainments  we  have 
attended  for  a  long  time.  Mr.  Phillips  was  in  capital  voice,  and  in 
high  spirits,  and  the  audience  lefl  the  Music  Ball  delighted  at  the 
whole  performance.  In  answer  to  a  notice  made  some  weeks  ago 
by  the  AthtAMMm^  which  attempted  to  deteriorate  the  style  of 
entertainments  given  by  Mr.  Henry  Phillips,  we  took  leave  to  differ 
from  the  writer  of  the  article  on  various  grounds,  which  we  t|ienput 
forth.  On  Monday  evening  we  listened  most  attentively  to  the 
whole  concert,  and  are  now  mero  than  ever  satisfied  that  such  vocal 
entertainments  as  Mr.  Phillips  provides  the  puUic  with,  are  npt 
only  innocent  In  themselves,  but  nighjy  amusing  and  instructive.   . 

HoEN  TAVBEN.^The  Third  Concert  of  Classical  InstrumeptaVv 
Chamber- Music,  took  place  on  Tuesda^i  at  Johnson>  Assembly 
Rooms,  in  the  above  ../oca/e.  The  audience  was  most  select  and 
attentive.    The  prctgrammo  was  as  follows: — 

Part  I.---aaaTlet,  K<h  80^  in  B  FJ«^-Op.  U,  Haydm.  Twe-viaBtts«  rieU^ 
and  violonoaIkH  Msssrsp  U.  .Blsgreve,  Webb,  ¥f edike^and  Haaoock.  Qmart(tt. 
Ko.  8,  in  A,  Rmbetg,  *two  violins,  vioU,  and  violoncello,  Metars.  H- 
BUigrove,  Webb,  Weslake,  and  Hancock. 

Part  IL-^Chitntet,  No.  98,  In  A  Minor-^.  88;  OmiM.  Two  yiolins, 
viela,  VM>loncello,  and  centra  baMo,  MessriL  1ft.  Bbgrovti  Webb,  Wodatoai 
Hanoock,  and  C.  Sevcnu  Oaavtet,  in  C— Op^  59,  (dedioatad  to  Pkiiiea 
Rasamoufiky,)  Z^^Aoaa*.  Two  violins,  viffla,and  vioIonceUo,  Metsrk  Webb, 
H.  Blagrove,  Westake,  and  Hancock. 

This  progianme  was,  o«  the  whole,  eapkally  eaecuted.  Onslow's 
qtuatet  was  adfldirably  performed  ;  Mr«. Blagrove  played  with  firot 
precision^  and  brilliaoeyi  and  the  double-bass  of  Mr.  C»  Severn^ 
aithoogh  the  part  was  written  for  a  violoacelloi  isame  out  in  splendid 
style.  The  quartet  of  Beethoven,  one  of  the  composer'a  master- 
pieces,  was  auo  a  fretl  treat  Mr.  Blagrove,  however,  should  have 
changed  places  with  Mr.  Wobb»  who  though  a  propainiig  vowqg 
aAtst,  and  gettiag  through  the  first  violin  part  with  talent,  was  baidljr 
equal  to  so  high  a  fiight.  We  marked  the  beautifiil  tone  and 
improving  style  of  Mr.  Weslaka  inall  the  pieces.  These  ooneerts 
are  worthy  of  a  fuller  notice,  which  we  promise  to  afford  them  on 
the  next  occasion,  * 

Ma.  Lindsay  S:.opeb.— Tljis  accomplished  musician  gave  his 
second  soiree  of  classical  pianoforte  music  on  Wednesday,  at  tho 


Digitized  by  \^Ot>y  It: 


THE  MUSICAL  WORLD. 


?67 


Beethoven  Rooms,  in  Hariey.Hrdet.  Tbo  attendance  was  nnnicrotis 
SBd  select,  and  the  progfainuie,  which  wo  subjoin;  was  one  of:  bieh 
interest :—  ^ 

Sonata  hi  A  msior,  for  pianoforte  and  vioHn,  Mcstrg.  Lindsay  Sloper  and 
^ehmt,J,S.SiH^,  Sflectmi  froiiitha"Pi«ct^pourJ«  clavecin,"  pianoforte. 
Mr.  Lindaav  Sloper,  D.  ScftrlaUi,  German  5ong»,  with  violoAcello  obUmito. 
Hrrr  Brandt  and  M.  Rousselot.  «  Wi«enlied''  (All  is  quiet,  all  is  still)  sLhr, 

«"  ???**  <Jes  «aange$"  (On  son^  bright  pinions)  MenfleUtohn-vtbhti' 
eello  oblisato,  »C  Rousselot.  Sormto  in  F  minor,  op.  57,  pianofone;  Mt. 
Unduj  Sloper,  J^etthovin*  Aria,  «  In^iwitetoaiba  o«ura,»»  Mias  Ba«sno. 
£M*ai«ii.  Study  im  F  shacp  fo^Vf,  C/wwr, .  Study  in  B  flat  »i«or^  piano- 
forte,  Mr.  Lmd«y  Slopjy,  MofcMet.  Trio  in  C  minor,  op.  66,  pianoforte, 
vMin,and  vtoionceUo,  Mesvs*  Lindsay  Sloper,  Deloffre,  and  Pilet,  Jlf^nrff  ^ . 

Bach's  sonata  was  a  flofehed  and  most  masterly  performance  on 
both  hands.  Mr.  S!oper%  perfect  knowledge  of  the  compositions  o^ 
Bach  we  never  doubted, 'hot  we  iiad  no  expectation  to  find  M.  De^ 
loffre  so  thoroughly  np  to  tKe^marlc  in  Ihcm.  We  wy  this  with  no 
disrespect  for  his  abfliUes  ;  biit,  for  the  most  part,  we  hare  found 
▼iolinists  oF  the  French  school  anythitijg  but  conversant  wi(h  the 
music  of  the  ancient  rnksteHi.  In  the  selection  from  Scarlatti's 
"  Pieces  pour  Ic  clcvccin,'*  theboMneis,  freedom,  and  distinctness 
of  Mr.  Slopet*s  execdtion  were  called  itilo  play  with  excellent  results. 
It  was  altogether  a  most  faultless  performance,  'fho  studies  of 
Cramer  and  Moschelcs  may  be  dtstmsded  with  «he  same  ^iticism. 
But  Mr.  Sloper's  powers  orexpression  and  unerring  mechanism  were 
nore  finely  developed  \n  the  Sonata  Apassionafa  of  Beethotfn  than 
in  any  other  part  of  the  programme.  The  last  movement  was  taken 
with  cxtraordmaiy  rapidity,  but  the  energy;  precision,  and  finish  of 
the  performei^  stylo  were  preserved  throughout  viiih  undimintsfied 
power.  Mendelssohn's  maffhificerit  trio— very  excellently  rendered 
— ^made  a  good  climax  to  tfie  programme,  MM.  Pilet  and  Dcloffro 
seconding  the  excrtious  of  the  pianist  with  Vigfour  and  judMentj 
Wo  should  have  mentioned  that  Mr.  Sloper  was  encored  m  the 
▼cr^  clever  and  original  itiXiy  6f  Moscheles.  A  word  fbr  the  vocal 
moHc  must  conclude  our  Tcfmafks;  Mr.  Bratidt,  a  tenor  singer,  who 
has  not  appeared  for  four  years,  saug  the  beautiful  sohgs  of  Spohr 
and  Mendelssohn*  very  cliustcly, quietly,  and  weTl—an^i  was  accora. 
ptnied  by  M.  Housseloi  in  an  elegant'  and  musician-lrlte  manner. 
Jn  the  last,  "On  soughs  bright  pinions,"  he  narrowly  escaped  an 
encore,  a  compliment  which  he  and  his  accomplished  coadjutol^.  M. 
RoosseIot«  well  deserved.  Miss  Bassano  being  indisposed,  her  plfce 
was  supplied  by  Madame  Mdrder  de  Fontaine,  who  sang  two  com» 
potilions  verv-  charmingly— a  psalm  by  Martini  and  h  song  by 
Sdmroann,  «  Du  mein  Herz.'^  The  concert  gare  the  highest  batls- 
fac^on  to  all  present.  Mr.  Slojier  has  handsomely  changed  the  date 
of  his  third  and  last  soiree,  from  the  17th  to  the  18th  instant,  in  onler 
to  offer  no  impediment  to  the  attraction  oF  the  grand  concert,  an- 
noanced  for  the  former  day,  in  aid  of  the  family  of  the  late  Mr. 
Keanis. 

Ma.  GjBKGBgave  hl«.!f^ifih  Anndal Concert  on  Tuesday  night  at 
Crosby  Hall.  The  performers  included  Sf aster  Thirlwsll,  (violinist). 
Mr.  O.  Case,  who  played  on  tiie  conceitioa,  and  the  vocalists. 
Mn.  R  Newton,  Mrs.  A.  Smith;  Migi  Cubit*,  Miss  Tha«»to4i,  «id 
the  Messrs.  Sporie,  Shoubridgcr.  Kehch,  Blewitt,  H.  $mith,and  P. 
SmUh.  The  entertainment  was  arousing  and  varied.'  Mr.  Gonge 
has  a  treWo  voice  of  great  aweetness*.  Nearly  all  theipurnals  call 
him  a  tenor,  which  ia  a  palpable  tfrror.  He  sings  with  feeling  and 
expression  and  Is  capable  of  great  things  but  he  has  much  to  leiifn 
belore  the  means  can  fulfil  the  end.  Let  him  think,  study,  ami 
learn.  He  will  be  yet  more  than  he  is,  if  it  be  not  his  own  fault ; 
or  if  be  be  not  spoiled  by  the  high  place  h^tat  prasent  holds  in 
public  estimation.  The  concert  was  visited  with  much  appiaase 
and  several  encores,  and  concluded  most  satislactorily.  The  hall 
was  very  full  and  Mr.  Qcttgo  was  received  in  aH  his  songs  with 
great  acclamatibns. 

SocuTT  OFBamsti  McsiciAKs^The  concoitinaid  of  the  funds 
for  the  distressed  Irish  came  off  on  Thursday  last  in  the  Hanover 
Sqanre  Rooms.  The  progratnme,  la  many  respects,  war  rory 
attractive*     Wo  insert  it:—  • 

Part  L-fvuphonv^  in  P,  Ko.  ^yBwithmn.  eavatlaa,  •*  Per  vadcr  au  nasi 
ISl.?^  Jr**  ?«"*«»  (Farisiaa)  Dmifcem,  Tn^  the  Misses  and  Mr. 
2"*S?%  f^richmatu  Fantasia,  •«  The  recollections  of  Ireland,"  pianoforte^ 
Mr.  W.  H.  Holmes,  MoseheUi,  Becit.  and  Air,  *«  Deeper  and  deeper  still,** 
Mr.  Braham,  (Jfe^tbah).  ttiiwret,   Overture,  (lion  iSbilXotxyO.A.  Mncfarten. 

•  PnUbbed  by  Wessd  and  Co.,  Regent  Street.    (See  Programme.) 


Part  "•T?!*'?,  T^f  Nymphs,"  W.  Siemdale  Btwnett.      S6ng.  Miss 

WnV^v";  T^^^'^^V  p^'Sr^*,"**^'  "^^'^  ^*"«.«^  £"<  Miss  Dolby. 
S«  enade,  Mr.  Lockey,  C.  £,  tfarsley,  Overiure,  (The  Ruler  of  the  Spirits), 
V/eher,    Leader,  Mr.  ThirlwalL    Conductor,  Mr.  W.  S.  Bennett.  ' 

The  principal' feature  in  the  concert  was  tlic  provision  of  a  full 

orchestra,  consisting  of  seventy  instrumental  performers,  led  by  Mr. 

1  hirlwaU,  and  aelected  from  our  best  native  executant.  The  sym- 
phony  o/B^ethov^n,  one  ot  his  very  latest  woita,  was  heard  to  advan- 
tage, and  was  performed  with  great  effect.  Mr.  Jfarrett'a  horn  playing 
was  especially  admirable  in  the  trio  of  the  Miniielto.  Macia^ren'e 
overture  is  almost  delicious  eomposaUo^  filled  with  the  verv  gpirit  of 
come4y,  while  \t  evorywhere  dispbys  the  tri^o  tast<5  and  skillof  the 
musician.  It  was  performed  most  eifcctively.  Bennett's  overture 
IS  a  work  of  inspiration— one  of  ibe  most  graceful  emanatbns  from 
tho  elegant  ^od  of  ifco  cou»poser.  the  overturq  to  Eiuryautho  was 
tbo  other  4nstruinental  morceau^^nd  exhibited  iho  rapacity  of  tho 
orchestra  to  great  advantage.  Mr.  Holmes  played  Moschelcs'  fan- 
tasia most  brilliantly  fin4  obtained  great  applause  i  and  Molique's 
flute  concertino  was  rendered  very  chj*stely^  and  uith  much  exprca- 
UQ^  by  Mr^  Wells,  This  composition  was  vritten  by  the  author 
during  his  late  visit  to  England,  and  is  illustrative  of  his  sparkUng 
and  ^recable  ^yle*  The  vocaj  musio  w^  by  no  mean?  super- 
excellent.  Mr.  Braham  transported  the  whole  audience  bi  his  still 
splen^hd  .nwlhod  inHandpi's  song  and  taught  a  lesson  to  aU  onr 
young  singers,  from  which,  if  they  woi|ld  listen  to  learn,  they  would 
derive  golden  ad^Fantftgeis.  Cuischmau^s  pretty  trio  was  very  nicely 
sung ;  and  the  ve^  cfewer  compf)sitien  c4  Mr-  Charles  Horsley  was 
ren^eiedwitbgreajte»pref«o«.^nd  feeing  by  Mr.  Lbcicjr.  The  con- 
ducting of  McB^aneit ij'as^einarMjle  ftu-  Us  steadiness  and  ciiergy ; 
Mhing.cpuld  }m»  feeen*etler.  The  concert  concluded  a  little  after 
ten,  and  gave  great  satisfaction.  The  room  was  by  no  incaoa 
crowdedi  but  ibo.receipta<  we  uodemand,  a^o  bettor  th^n  one  might 
be  led  to^sappose  froui  the  appj^hiaiM^  of  the  audience.  Would  that 
all  the  flMHiciil  fiocieiies  m  Madpo  would  offer  an  eqiml  mitn  to  tho 
unfortunate  sufferers  in  Ireland. 

8A0aM>  HaaMomc  .Soci«ty.--A  selection    of  antlioms    and 
cathedral  music  was^riven  by  tho  above  iostilutioa  on  Thursday 
evening,  with  the  intention  of  exiiibiting  spocimcus  of  the  produc- 
tion of  thomost  eminent  English  composers  who  1  avo  written  for 
the  chtisoh  secva«&  In  order  toporeserve  unity  of  design  the  various 
compositions  were  given  in  a  chronological  order  and  included 
works  dating  firom  the  beginning  of  tho  seveatcbnth  century  to  our 
owtt  immedtatOF .times.     Soltding  from  a  period  of  two  hundred 
and  fifty  years  the  Sacred  Harmonic  Society,  on  Thursday  evening* 
presided  -speouneos  of  the  writing  of  Gii^boi^i^  T.  Purqell,  Wise, 
Dr.   Blow,  H.  Purcell,  Dr.  Crevghton,  Dr.   Croft,  WcWon.  Dr. 
Qfisene,  Robinson^  lir.  Boyc^^  Ifcent,  Hattishilfcand  Dr.  Mendels. 
sohn.     The  compositions  of  so,  many  writers'  were  necessarily 
various  in  merit.-*    Tho  seUctioo,  bo wfiyor». was. generally  good, 
and'bt  ou»t.  instances  the  peifocRiancee  w«r&  well  antl  carefully 
given.      The  workfr  which  we  think  most. deserving  of  eiilqgy 
wbe^two  anthems  of  iJ.  Purcell,  "  My  hesft  is  Jndilieg,*'  and*'  Xf, 
Give  Thanks  unto  the  Lord  s!  Dr.  Crofts  verse  anthem..'*  This  is 
tile  day  s"  Verse  ssilhem  by  Dr.i8re«Qe«  "  A  Gpd  o|  my  Righte- 
oosnesSi"  full  anthem  with  verse  of  Dr,  Boyoe,."  O  Gixe  thanks 
unto  the  Lord:**  fail  anthem  with  verse  of  BaltiahiH,  ''  Call  to 
Rememfairance  f"  and  Dr.  Mendelssohn's  Te  Deum.     With  regard 
to  the  last  named  composer,   we  cannot   forbear  from  pointing 
attefeition  to  a  gross  error  which  we  read  in  the  book  of  thoper- 
fi)rmanccs,  in  which  annotations  were  given  on  each  separate  com- 
poser ;  and  wherein  it  is  set  forth  that  the  Te  Dettm  of  MendolMohn 
IS  modelled  i^on  the  style  of  our  ecclesiastical  composers;  Nothing 
could  be  more  removed  from  tho  truth  than  this  statement ;  and  we 
need  only  say,  that  to  ihbso  who  had  ears  for  music  on  Thursday, 
no  Woiils  <ff  ours  sre  MCijtted  to  point  out  the  difference  between 
Dr.  Mendelssohn  and  our  service  writers.     In  the  performance  of 
this  Te  Deum  the  choir  seemed  to  have  thrown  their  chief  strength, 
and  the  singing  waj»  deserving  of  great  praise.     The  hall  was  very 
full..    The  principal  vocalists  were  Misses  A'.  and-M.  WilHumi;  and 
tho  Messrs.  Lockey,  Gcnge,  Hill,  Howe,  Kench,  and  H'  Phiil  ps. 

(tiBAND  ScotTisH  Entertainmbht*— A  Goncort  was  giveaJast 
nigh(  in  the  Hanbver  Square  Rooms  for  the  relief  of  the  distressed 
HlghUndors,  Which;^  we  are  very  sorry  to  say,  WM.batJndifferentiy 

Digitized  by  VnOOQ  IC 


1^8 


THE  MUSICAL  WOKLD. 


attended.  The  orchestral  and  choral  department  was  strong,  the 
latter  numbering  upwards  of  one  hundred.  The  vocalisrs 
engaged,  or,  more  properly,  ^ho  volunteered  their  services,  were 
Messrs.  Sinclair,  Borrani.  Burdini,  J.  A.  Novello,  and  Signer 
Brizzi,  with  Madame  G.  Macfarren,  the  Misses  Bassano,  Dolby, 
Bainforth,  Sarah  Flower,  P.  Horton,  M.  O'Connor,  and  the  Misses 
Williams.  The  instrumental  performers  consisted  of  Monsieur 
Sainton,  (violin),  Madame  Da!cken,  (piano),  F.  Chatterton,  (harp). 
Mr.  Dbtin  and  his  four  sons,  (the  Sax  horns).  The  singing  of 
Madame  G.  Macfarrcn,  Miss  P.  Horton,  Miss  Bassano,  and  Miss 
Bainforth^  were  particularly  admired.  Mad.  G.  A.  Macfarren 
sang  a  very  charming  ballad,  in  the  Scotch  style,  "  Fair  Helen  of 
Kirkonnal/'  which  was  well  suited  to  her  beautiful  contralto 
voice,  and  artist-lilce  and  expressive  style.  Monsieur  Sainton  was 
admirable  in  a  solo  on  the  violin,  as  was  also  Madame  Dulcken  in 
a  fantasia  on  the  piano.  Mr.  F.  Chatterton  and  the  Messrs.  Distin 
contributed  largely  to  the  attractions  of  the  entertainments  At 
the  end  of  part  the  first  the  chorus  sang  "  Au!d  Lang  Syne," 
arranged  for  full  choir  and  orchestra  bv  Mr.  T.  German  Reed,  the 
solos  being  taken  by  Mr.  Sinclair,  whicn  was  encored.  The  novelty 
of  the  evening  was  the  impromptu  introduction  of  three  Highland 
Pipers,  in  splendid  costume,  who  made  their  appearance  between 
the  parts,  and  treated  the  audience  to  some  of  the  popular  tunes  of 
the  country.  We  have  but  to  add  our  regret  that  so  excellent  a 
programme  put  forth  for  so  amiable  a  purpose  should  have  brought 
together  so  small  an  assembly. 

Mb.  Mangold's.  —  On  Monday  evening  Mr.  Mangold  gave 
a  concert  of  classic  instrumental  music,  in  the  Hanover  Square 
Rooms,  interspersed  with  vocal  pieces,  and  furnished  a  very 
pleasing  programme.  Mr  Mangold  opened  his  entertainment 
with  the  military  septet  of  Hummel.  The  performance  was 
spirited  and  effective.  Madame  Mortierde  Fontaine  sang  Mozart's 
••  Non  Piu  di  Fiori."  This  lady  has  a  sweet  voice,  and  her  method 
IS  neat  and  finished.  The  fair  vocalist,  if  she  did  not  attain  per- 
fection, at  least  acquitted  herself  excellently,  in  rendering  the 
beauties  of  the  aria  apparent.  The  "  Qui  la  voce,*'  aria  from  1 
Puritani  is  a  trifle  too  flimsy  for  Miss  Lincoln.  This  lady  was 
beard  to  much  greater  advantage  in  Spohr's  delicious  song,  "  The 
Bird  and  the  Maiden,'*  which  she  sang  extremely  well.  A  sonata 
for  the  pianoforte  and  violin  afforded  an  opprotunit}''  for  the  display 
of  the  executive  power  of  Messrs.  Sainton  and  Mane^old.  The 
violin  was  brilliant,  and  the  piano  sparkling  —  to  speak  in 
metaphor.  Mr.  Mangold  has  a  firm,  bold  touch  on  the  instrument, 
and  b  evidently  at  home  in  classical  compositions.  An  air  from 
Mitr(me%  quaint  and  pretty,  was  charmingly  sung  by  Miss 
Sarah  Flower,  whose  deep  tones  were  brought  out  with  great 
effect,  reminding  us  more  than  once  of  Brambilla,  the  queen  of 
coniraiti.  A  unanimous  call  was  made  for  a  repetition,  to  which 
the  lady,  after  some  time,  responded.  A  quintet  of  Mozart's  was 
very  finely  played,  all  the  executants  fulfilling  their  tasks  admirably. 
Madame  Mortier  do  Fontaine  was  effective  in  an  aria  finale  of 
Meicadante.  The  concert  wound  up  splendidly  with  a  quartet  of 
Mendelssohn's.  The  rooms  Were  full,  and  the  entertainments  con- 
cluded at  a  reasonable  hour — a  consummation,  in  all  such  cases, 
devoutly  to  be  wished.  Mr.  Mangold  deserves  every  credit  for 
programme,  and  the  manner  of  its  performance. 


SONNET. 

wo.  xxiv. 
Mr  dearest  life — ah,  didst  thou  know  the  pleasure 

Which  one  kind  foving  word  from  thee  bestows — 

How  round  my  heart  k^  genial  warmth  it  throws, 
Filllnd^  ^®  moments  of  a  dreary  leisure  I 
That  little  word  is  guarded  as  a  treasure 

In  mem'ry's  arms,  which  softly  round  it  close. 

My  wounded  soul  to  contemplate  it  goes. 
Soothing  its  anguish  with  the  deepest  pleasure. 
Oh,  in  the  saddest  love  there  is  a  bliss — 

A  rapture  which  is  far  beyond  the  telling. 

So  that  \vc  may  not  struggle  to  be  free ; 
One  word— one  smile—nay,  let  me  add — one  kiss 

Comes  to  the  heart,  where  sorrow  has  been  dwelling ; 

A  moment's  touch  heals  days  of  agony. 

N.  D. 


FOREIGN  INTELUGENCE. 

Vienna.— The  director  of  the  theatre  Ander-  Wien  has  had 
a  medal  struck  in  honour  of  Jenny  Lind.  It  contains  on  the 
one  side  her  portrait,  and  on  the  other  a  star,  with  the  motto 
"Neacitoeeasum"  (it  knows  no  settmg).  The  medal  is  to  be 
presented  to  Mdlle.  Lind  with  an  address,  signed  by  the  ^He 
of  the  society  of  Vienna. 

Naples. — A  new  opera,  Eleonora  Dori^  by  Battista,  has 
been  produced  at  Naples  with  indifferent  success.  Frascfaini 
and  Madame  Frezzolini  performed  the  principal  parts,  but  the 
theatre  was  half  empty  on  the  second  night.  Frasdiini  has 
since  started  for  England. 

DRAMATIC  INTELLIGENCE. 

Drury  Lane. — Mr,  Wallace's  opera  is  running  a  brilliant 
career  at  old  Drury^  and  promises  to  fulfil  a  lorig  destiny,  if 
we  may  judge  by  the  fashionable  and  crowded  audiences 
nightly  assembled,  and  the  enthusiasm  with  which  the  music 
is  listened  to  throughout.  Although,  as  we  have  stated  else- 
where, Mr.  Bunn  has  accepted  a  new  opera  from  Mr.  Laurent, 
yet,  fVom  the  increasing  success  of  Matilda  of  Hungary ^  there 
is  not  the  least  likelihood  of  its  being  put  into  rehearsal  for 
many  weeks  yet.  Nicolai*s  Tcmptario  was  also  talked  of, 
being  an  opera  in  which  Mr.  Travcrs  was  much  praised  at 
Milan ;  but  that  also  is,  we  hear,  abandoned,  and  for  the 
present  there  is  every  chance  of  Matilda  of  Hungary^  with 
Miss  Rainforth,  the  new  and  charming  representative  of  the 
heroine,  continuing  for  some  fifty  nights  in  succession  on  the 
boards.  ^Ir. Wallace  being,  we  much  regret  to  state,  seriously 
indisposed,  Signor  Schira  has  been  ^under  the  necessity  of 
assuming  the  baton  in  his  absence.  It  is  scarcely  necessary 
to  say  that  Signor  Schira  performs  his  task  in  a  musiciaa<* 
like  and  highly  satisfactory  manner. 

On  Thursday  night,  after  the  tenth  performance  ofMatiida 
of  Hungary  (during  wliich  the  three  favourite  melodies  of  the 
opera,  **  Gone  is  that  calmness,"  by  Mr.  Harrison,  "  In  that 
devotion,"  by  Miss  Rainforth,  and  *'A  lowly  youth,"  by 
Miss  Isaacs,  were  encored  with  as  much  enthusiasm  as  on 
the  first  night  of  the  opera),  a  new  ballet  of  action  was  pro- 
duced, under  the  title  of  Spanish  Gallanirien,  The  stolry 
turns  upon  the  cross  purposes  of  two  gentlemen  and 
two  ladies,  any  of  whom  loves  any  but  the  right  one,  each 
desiring  what  cannot  be  had,  and  each  declining  what  can 
be  had  for  the  asking,  so  that  all  four  are  in  love  with 
one  of  the  four,  and  all  four  are  in  hate  with  the  four 
that  love,  and  all  four  are  jealous  of  all  four,  any  of  any, 
whereby  either  party  vexes  individually  the  other,  and  either 
party  by  the  other  is  vexed.  Thereupon  ensues  a  carnival,  at 
which  presides  the  god  Momus,  and  all  ends  well.  So  that 
the  four  lovers  sort  not'  happily  until  Momus  puts  his  finger 
in  the  pie ;  and  then,  as  a  matter  of  course,  the  lovers  see  their 
folly,  and  arrange  matters,  by  an  interchange  of  contraries,  in 
the  most  peaceable  manner  conceivable.  This  plot  is  made  the 
vehicle  for  a  quantity  of  miming  and  gesturing,  and  for  a 
series  of  very  pretty  and  characteristic  dances.  To  M.  BlasiSy 
one  of  the  most  accomplished  and  experienced  of  ballet-masters, 
we  owe  the  composition  of  the  ballet,  and  the  invention  and 
arrangement  of  the  dances,  which  does  him  infinite  credit.  The 
music  by  M.  Blasis,  jo^r«,  is  a  gathering  from  many  sources. 
The  incidental  dances  comprise  a  Minuet  a  Fandango  by  Ma- 
demoiselles Uaderna,  and  Benart,  (in  the  salon  of  Donna 
Elvira's  chamber)  in  which  the  former  looked  very  charming, 
and  danced  with  stately  humour,  while  the  latter  became  her 
dress  of  a  chevalier  most  prettily,  displaying  a  pair  of  legs  that 
Baily  himself  would  ^leap  at —  a  i 


fS'zf^^^d^pt 


THE  MUSICAL  WORLD. 


159 


garden  of  the  chateau,  a  very  nice  scene,  which  vte  recollect  in 
Gi/sippw)  for  Mademoiselles  Dubignon,  Benart,  Giubilei,  A. 
Payne,  MM.  Paul  and  Tell,  a  composition  of  considerable  ele- 
gance ;  a  seguidilla  by  the  clever  and  popular  Mdlles.  St.Louin ; 
9l  pas  de  quatre^  by  Mesdemoiselles  Dubignon,  Louise,  Benart, 
and  M.  Tell,  which  was  capitally  executed,  and  loudly 
applauded;  and  La  Nouvelle  Cachoucha  by  Marietta 
Baderna ;  the  la»t  three  of  them,  in  the  Temple  of  Momus, 
a  clever  scene  by  Grieve,  preceded  by  a  sunrise  landscape 
from  the  same  pencil,  which  was  exceedingly  beautiful. 
The  Cachoucha  gave  Mdlle.  Baderna  an  opportunity  of  display- 
ing her  capabilities  as  an  accomplished  dancer  more  entirely 
than  she  had  previously  been  enabled  to  effect.  The  precision, 
agib'ty,  elegance,  and  vivacity  which  she  evinced  in  her  exe- 
cution of  this  national  dance  were  astonishing  for  her  years, 
and  obtained  rapturous  plaudits  and  an  enthusiastic  demand 
for  repetition  from  the  audience.  Nothing  daunted,  the 
spirited  young  danseuse  very  cleverly  varied  all  the  foses 
and  evolutions  of  the  step,  and  charmed  her  spectators  over 
again.  The  applause  was  again  tremendous,  and  little  Mari- 
etta was  compelled  to  come  forward  several  times,  and  acknow- 
ledge by  repeated  smiles,  courtesies,  and  other  demonstrations 
of  respect)  the  warm  appreciation  of  the  house.  It  is  now 
evident  that  in  Mdlle.  Baderna,  as  in  the  wonderful  Sophie 
Fuoco,  the  Coven t -Garden  company  have  secured  a  talent  of 
immense  promise  and  of  great  actual  distinction  for  their 
ballet,  about  which  there  was  so  much  doubt  and  uneasiness, 
previously  to  the  engagement  of  Fanny  Eilsler.  They  surely 
ought  to  present  Mr.  Bunn  with  a  piece  of  plate,  for  to  his 
enterprise  they  owe  the  discovery  of  both  these  feir  and 
bright  planets.  There  have  been  excellent  pits  at  Drury- 
Lane  all  the  week,  a  substantial  proof  that  Matilda  of  Hun- 
gary  draws  money  to  the  treasury. 

AnELPHi. — On  Thursday  will  be  produced  a  new  and 
original  drama  in  three  acts,  by  J.  B.  Buckstone,  Esq.,  called 
The  Flowers  of  the  Forest^  a  Gipsey  Story,  supported  by 
the  talented  company  of  this  favourite  theatie,  including 
Messrs.  Wright,  Paul  Bedford,  O.  Smith,  Boyce,  C.  J.. Smith, 
Mesdames  Celeste,  Fitzwilliam.  Woolgar  (who  has  recovered 
from  her  late  severe  indisposition),  E.  Harding,  Laws.  M. 
Taylor,  &c. 

Princess's. — Miss  Bassano  and  Miss  Anne  Romer  are 
still  performing  in  their  old  parts,  and  nothing  new  has  been 
announced.  Great  things,  however,  are  talked  about,  to 
which  we  cannot  pledge  all  our  faith.  Mrs.  Butler  is  to 
appear,  if  report  speaks  aright,  and  Macready,  and  Madlle, 
Nan,  and  a  new  opera  is  being  written  for  the  present  com- 
pany, &c.,  &c.  We  have  reason  to  believe  some  of  these 
reports  are  true,  and  we  know  the  manager  will  do  all  he  can 
to  uphold  the  character  of  his  theatre.  Meanwhile  one  novelty 
has  been  added  to  the  attraction  of  the  Princesv*s.  A  new  bevy 
of  Ethiopian  Serenuders  has  appeared  during  the  week  at  this 
theatre.  They  are  good  imitators  of  their  sable  brethren  at  the 
St.  James*.  The  **  Bones"  we  must  especially  notice  as  being 
of  an  excellent  quality,  and  he  of  the  tambourine  merits  ap- 
probation, not  only  for  the  peculiarity  of  the  antics  he  plays, 
but  for  die  orthodox  manner  in  which  he  practically  represents 
the  hardness  of  a  nigger's  Caput.  Young,  •*  Ole  Bull,"  deserves 
commendation  for  his  solo  on  the  violin. 

Feekch  Plays. — We  are  inclined  to  think  that  few  of  the 
frequenters  of  this  elegant  theatre  give  M,  Lafont  credit  for 
the  care,  study,  and  refinement  which  he  brings  to  bear  upon 
the  parts  allotted  him.  Many  are  inclined  to-  undervalue  all 
acting  which  does  not  deal  in  sobs,  tears,  horrors,  hysterics, 
and  convulsions.     They  require  startling  efi^cts,  and  no  actor 


is  good  but  he  who  thrills  their  souls  with  affright,  or  shakes 
their  sides  with  laughter.  M.  Lafont  is  of  a  school  which 
has  sent  forth  the  first  comedians  of  the  world — Fleury,  Mol€, 
Perlet,  Potier,  and  a  host  of  others.  He  does  not  aim  at  sur- 
prising the  sensibilities  of  his  audience,  he  does  not  tear  his 
hair,  dance  Jim  Crow,  or  cheat  them  out  of  their  applause  by 
grimaces  and  buffoonery.  His  means  are  all  legitimate; 
they  are  the  result  of  profound  and  conscientious  study,  which 
is  not  discouraged  by  apparent  neglect,  nor  led  away  to  adopt 
the  shorter  but  eventually  fatal  path  to  success.  It  is  to  be 
remarked  that  the  manners  and  literature  of  the  day  are,  as  it 
were,  stereotyped  on  the  stage.  '  We  find  in  the  new  aspirants 
to  artistic  honours  the  same  degree  of  impatience,  the  same 
feverish  excitement  which  characterises  the  railroad,  hot-house, 
high-pressure  age  in  which  we  live ;  no  matter  in  what  branch, 
whether  of  literature,  the  drama,  poetry,  painting,  sculpture, 
singing,  or  acting,  there  is  an  evident  disinclination  to  study. 
The  tyros  fancy  that  time  is  lost  which  is  not  employed  under 
the  public  gaze ;  the  results  obtained  by  their  predecessors  are 
spurned  as  old  fashioned.  They  depend  upon  the  powers  with 
which  they  may  be  endowed  by  nature,  and  wantonly  neglect 
the  experience  of  the  past.  Hence  new  schools  arise  to  last  a 
few  brief  hours,  and  then  disappear  for  ever.  But  in  the  midst 
of  all  this  conf\ision  and  scrambling,  there  are  men  who  avoid 
the  general  contagion,  and  imbued  with  an  ardent  love  for 
their  art,  discard  impulse  without  strict  epuration,  prefer  unity 
of  exception  to  mere  dap- trap,  avoid  exaggeration,  and  climb 
up  the  steep  ascent  to  fame  by  slow  but  sure  degrees  ,  never 
Battering  themselves  that  its  summit  is  attained.  These  men 
are  not  subject  to  the  ordinary  accidents  of  the  uneducated 
artist ;  they  arie  not  good  one  night  and  bad  the  next ;  they 
are  ever  the  same ;  and  as  improvement  has  ever  been  their 
object,  they  do  go  on  improving/  and  each  successive  perform- 
ance convinces  us  of  some  amelioration,  some  cornen  as  it  were, 
rounded  off,  some  polish,  some  new  refinement.  To  this  class 
M.  Lafont  decidedly  belongs.  He  is  a  perfect  gentleman  on 
the  stage,  the  most  difficult  of  all  assumed  characters.  In 
genteel  parts  he  is  perfectly  at  home  ;  in  humourous  parts  he 
never  shocks  our  susceptibilities ;  he  is  comic  without  ever 
being  vulgar ;  in  short,  as  we  have  already  stated,  he  is  the  man 
of  the  enlightened  few,  and  not  the  mountebank  of  the  multitude. 
Mathilde  was  played  on  Friday  of  last  week  and  on  Wednesday 
of  this.  The  plot  turns  on  the  jealousy  of  a  young  wife,  which 
creates  the  greatest  mischief  among  her  relations  and  friends. 
Madame  Darbert  has  before  marriage  given  birth  to  an  illegiti- 
mate child,  a  fact  which  she  has,  of  course,  concealed  from  her 
own  husband,  but  which  she  confides  to  the  husband  of  Ma- 
thilde. In  an  interview  between  Madame  Darbert  and  this 
gentleman,  Mathilde's  jealousy  is  excited,  and  in  the  explosion 
which  ensues,  she  places  her  husband  in  the  greatest  peril  by  ex- 
posing him  to  the  wrath  of  M.  Darbert.  There  are  some  excel- 
lent situations  brought  about  by  the  lady's  jealousy,  (not  alto- 
gether groundless,  it  must  be  owned,  in  many  respects)  in 
which  M.  Lafont  as  M.  Darbert,  the  man  of  high  honour,  gave 
a  ^ood  delineation  of  dignified  grief  and  sorrow.  Mademoi- 
selle Fargueil,  as  Matliilde,  gained  golden  opinions;  and  M. 
Dumery,  as  we  have  frequently  stated  before,  gave  evident 
signs  of  improvement,  and  bids  fair  to  arrive  at  distinction  in 
his  art.  As  a  ball-room  fop  he  was  excellent.  Les  Deux  Bri- 
gadiers is  what  may  be  termed  in  English  a  broad  farce.  The 
incidents  are  most  amusing,  and  called  down  roars  of  laughter. 
The  piece  turns  upon  the  attempts  made  by  Cardinal  Dubois 
to  conceal  an  early  marriage,  which  can  be  proved  by 
papers  in  the  possession  of  a  grisette ;  this  is  done  by  a  pro- 
posed marriage  between  the  yottn^j^g^^JjASJ^t^^ll^ 


1-60 


THE  MUSICAL  WORLD. 


cardinaFs  valet,  a  brigadier  in  the  regiment  of  Conde  dragoons. 
Tlie  intended  wife  and  husband  are  to  meet  at  the  cardinal's  pa- 
lace where  the  ceremony  is  to  take  place ;  but  as  the  intrigue  is 
conducted  by  the  cardinal's  secretary,  who  does  not  know  the 
intended  husband,  he  pitches  on  a  brigadier  of  the  Regiment 
de  la  Reine,  who  falls  in  his  way,  and  by  threats  forces  him  to 
consent  to  the  marriage ;  but  here  another  scene  of  confusion 
ensues — for  the  wrong  brigadier  marries  the  wrong  lady,  who 
turns  out  to  be  the  real  grisette's  sister.     On  this  canvass  a 
series  of  the  most  comical   incidents  is  founded,  in  which 
nothing  new  is  brought  forward,  but  which  produced  much 
laughter  and  amusement.     The  plotting  and  counterplotting 
of  the  cardinal's  two  servants,  the  scene  where  the  real  lover 
appears,  and  the  winding  up  of  the  piece  by  the  marriage  of 
the  grisette  and    the  real  brigadier  were    vehicles  for  some^ 
very  smart  dialogue  and   witty  allusions.     M.   Lafont  was 
inimitable  as  the  tall  stalwart  trooper.   Un  Mariqui  se  derange 
is  a  piece  in  two  acts,  given  for  the  first  time  on  Monday  last. 
Her  Majesty  being  present.     M.  Maurice  was  formetly  the 
pattern  of  a  husband,  but  has  latterly  turned  restless,  and  is 
never  so  happy  as  when  away  from  his  home.     He  returns 
home  too  lute  to  dinner,  and  pretends  he  has  been  to  the 
Bourse,    where  he  has  never  'set  his  foot;    when  his  wife 
attempts  to  accuse  him,  he  falls  asleep  and  dreams  about  the 
*'  Bal  de  Top^ra."     When  at  home  surrounded  by  his  friends 
he  starts  up  and  rushes  out  to  order  ices  which  never  appear' 
The  antitl^sis  of  this  M.  Maurice  is  a  respectable  physician,' 
Bertholin,  who  resides  in  the  same  hotel,  and  who  is  a  pattern 
of  conjugal  fidelity,  so  very  devoted  indeed,   that  his  wife 
considers  him  a  nnisance,  and  almost  wishes  he  would  be  less 
faithful.      This    honest   physician   always    chances    to    see 
Maurice,  when   the  latter   wishes  to  be  concealed,  and  un- 
wittingly causes  a  deal  of  ^mischief.     In  the  second  act  we 
see  the  consequences  of  all  his  deceptions  and  the  scrapes  into 
which  they  lead  him.     The  scene  is  at  the  **  Maison  d*or," 
overflowing  with  visitors  after  the  "  Bal  de  Topera."    All  the 
characters  arc  here  assembled.     M.  Maurice  comes  to  sup 
with  his  "  chere  amie,"  Madame  Maurice  comes  in  search  of 
her  husband,  attended  by  Mr.  Bertholin  ;  Madame  Bertholin 
is  present,  having  been  to  the  ball  with  a  party  of  friends ;  we 
have  also  several  friends,  including  a  marquis,  a  friend  of 
Maurice's  lady,  a  decided  bully,  who  has  a  peculiar  knack  of 
shooting  his  rivals*     We  have  several  complicated  situations, 
excessively  droll,  the  effect  of  ^hich  is  heightened  by  masks 
and  dominos.      At  tbe  end,  M.  Maurice  promises  to  mend, 
tired  of  the  perils  to  which  his  intrigues  have  exposed  him. 
The  piece  was  admirably  played.     Laifont  and  Cartigny  were 
richly  humorous.     We  must  not  omit  to  mention  that  the 
two  wives  were  exceedingly  well  played  by  Mesdemoiselles 
Valine  and  Fouquet.      These  two  ladies  are  excessively  useful 
members  of  the  company,  and  not  unfrequently  contribute  as 
much  or  more  to  the  completeness  and  success  of  a  piece  as 
the  more  prominent  stars  who  appear  in  it;     The  talent  of 
the  former  lady,  and  the  vivacity  and  good  humour  of  the 
latter,  more  than  merits  a  weekly  kind  word  from  the  critic 
of  these  performances.     The   waiter  was  uncommonly  well 
done  by  M.  Pngenier.     M.  Alfred  Tousez,  the  French  Buck- 
stone,  made  his  first  appearance  last  night. — J.  de  C e. 

"  PROVINCIAL. 

Dublin.— >0a  Monday  the  eminent  vocalist.  Madame  Anna  Bishop, 
took  her  benefit  at  the  Theatre  Royal,  when  Anna  Bolena  (first  time  in 
English)  and  the  second  act  of  the  Love  Spdl,  were  performed ;  Madame 
Bishop  was  the  jinna  Bolena  in  thf  first  opera,  and  the  Adina  in  the  last. 
The  house  was  quite  full— *the  dress  circle  being  crowded  with  fashion- 
able parties,  which,  tt  this  season  of  the  year,  and  considering  the  state 
of  the  country,  is  not  a  small  proof  of  the  high  estimation  in  which 


Madame  Bishop  is  held  by  the  Irish  public.    We  have  seen  Grisi  in 
Donizetti's  fine  opera  of  Anna  Bolena^  and  our  opinion  is,  that  Madame 
Bishop  is  not  only  quite  equal  to  that  celebrated  linger  in  the  ardnous 
part  of  the  injured  queen,  but  that  slie  surpasses  her  occasionally  In 
tenderness  and  pathos,  as  well  as  in  purity  of  style.     Anna  Bishop  is 
always  in  earnest — identifies  herself  with  the  characters  she  represents— 
her  byplay  is  excellent ;  and  her  entire  action,  as  well  as  her  singing, 
when  she  discovers  that  her  friend,  Jane  Seymour^  is  her  rival,  were  so 
fine  and  so  true,  that  she  was  rewarded  with  thunders  of  applause  and 
an  unanimous  encore.       Nothing  could  be  more  beautifol  than  her  last 
prison  scene,  and  the  manner  she  warbled  the  sympathetic  melody — 
"  Home  of  happy  days."       Mies  De  la  Vega  (Seymour,)  considering  the 
disadvantage  of  singing  duets  with  an  artist  like  Madame  Anna  Bishop, 
acquitted  herself  well  of  what  she  had  to  do ;  so  did  also  her  sister 
{Smeaion^)  who  was  encored  in   her  ballad.     She  has  a  good  contralto 
voice.    Messrs.  Bishop  and  Corri  were  effective;  and,  upon  the  whole, 
the  opera  was  brought  out  with  a  great  deal  of  care — the  orchestra  and 
chorus  being  well  drilled.    Last  night,  on  account  of  many  applications 
at  the  box-office,  Madame  Anna  Bishop  appeared  once  more  at  our  theatre, 
and  performed  three  characters,  entirely  opposite  to  each  other^-an 
artistic  feat  which  few  singers  in  Europe  could  do  so  successfully,  we 
think,  as  our  fa'nr  vocalist ;  viz.,  second  and  third  act  of  ^tma  Boiena,  the 
second  act  of  the  Love  Spell,  and  last  of  La  Sonnambuia^  all  in  one 
evening  land  all  sung  with  a  most  surprising  freshness  of  voice,  energy, 
and  spirit.    Again  the  house  was  full — ^again  the  applause  enthusiastic, 
and  the  encores  and  call  before  the  curtain  repeated.    Wedonot  recollect 
for  years  a  star  who  has  so  completely  won  the  good  will  and  sympathy 
of  our  public  as  Anna  Bishop.     We  sincerely  hope  that  that  great  artist 
will  come  again  amongst  us  at  a  more  propitious  time.— Dublin  Pilot, 
February  2G. 


MISCELLANEOUS. 

General  Theatrical  Fund. — The  eighth  annual  meeting 
of  the  members  of  this  institution,  established  for  "  granting  per- 
manent pensions  to  actors  and  actresses,  chorus  singers,  dancers, 
pantomimists  and  prompters,"  took  place  at  the  saloon  of 
the  Lyceum  Theatre,  for  the  purpose  of  receiving  the  reports 
of  the  committee  and  auditors.  Mr.  Buckstone  (treasurer)  was 
unanimously  called  on  to  preside.  Mr.  Cullenford  (secretary) 
then  read  the  report,  from  which  it  appeared  the  committee 
had  invested  3,45 1 Z  Ss,  in  the  public  securities,  and  that  a 
balance  of  22/.  19^.  S^d.  remained  in  the  hands  of  the  treasurer. 
After  discharging  all  demands  there  was  an  increase  in  the 
receipts  of  last  year  of  nearly  450/.  as  compared  with  those  of 
the  preceding  year.  The  report  having  been  adopted,  the 
Secretary  stated  tlvat  the  committee,  at  their  last  meeting,  had 
received  such  a  flattering  statement  of  the  finances  of  the  insti- 
tution, that  they  had  recommended  the  allowance  to  annuitants 
to  be  increased  5/.  per  annum,  viz.,  from  25/.  to  30/.  a  year. 
1  he  Chairman  then  announced  that  Mr.  Macready  had  kindly 
consented  to  take  the  chair  at  the  ensuing  aiyiiversary  festival 
of  the  Fund,  at  the  London  Tavern.  The  Secretary  also  read 
a  letter  from  Mr.  Charles  Dickens,  dated  from  Paris,  and 
announcing  the  intention  of  the  writer  to  be  present  at  the 
annual  dinner  of  the  society,  which  will  take  place  next  mouth. 
The  list  of  subscribers  contains  the  names  of  the  late  Duke  of 
Noithumberland,  50/.;  the  Duke  of  Devonshire,  10/.  IDs. 
(annuil);  Charles  Keari  Esq.,  50/.;  W.  C.  Macready,  Esq.; 
30/.;  W.  Farren,  Esq.,  30/.;  B.  Webster,  Esq.,  20/.;  Mr. 
Sergeant  Talfourd,  10/.;  Luke  J.  Hansard,  Esq.,  25/.;  Ben- 
jamin Bond  Cabbell,  Esq.,  21/, ;  Earl  FitzhardingCi  5/. ;  Earl 
of  Ellesmere,  5/. ;  Douglas  Jerrold,  Esq.,  5/. ;  Charles  Dick- 
ens, Esq.,  5/.;  John  Forster,  Esq.,  5/. ;  the  Hon.  T.  Hope, 
10/. ;  Sir  Bellingham  Graham,  Bart.,  10/. ;  John  Strutt,  Esq., 
10/.;  W.  H.  West  Betty,  Esq.,  5/. ;  Sir  A.  Bernard,  5/.; 
(annual ;)  Miss  Helen  Faucit,  5/. ;  (annual ;)  Mrs.  Glover, 
5/. ;  J.  Vandenhoif,  Esq.,  5/. ;  T.  P.  Cooke,  Esq.,  5/. ;  &c. 
The  election  of  officers  followed. — Trustees  :  Mr.  Sergeant 
Talfourd,  Charles  Dickens,  Esq..  and  Benjamin  Bond  Cabbell, 
Esq. — Honorary  Treasurer:  J.  B.  Buckstone,  Esq. — Com- 
mittee: Messrs.  A.  Younge,  ^j|fiS|J^^e,^^^^|J^W^^ 


THE  MUSICAL  WORLD. 


161 


0,  Osbaldeston,  Buckstone,  Attwood,  H.  Lewis,  Lyon,  Cul- 
lenford,  Cowle  (vice  N.  T.  Hicks,)  Saker,  J.  Howard,  H. 
Hughes,  and  Morelli. — Auditors  :  Mr.  H.  T.  Craven  and  Mr. 
W.  Searle.-— Secretary :  Mr.  Cullenford.  The  customary  vote 
of  thanks  was  presented  to  the  chairmaik  Mr.  Buckstone,  in 
an  appropriate  speech,  briefly  acknowledged  the  compliment, 
and  the  meeting  separated. 

A  New  Opsra  is  already  talked  about  at  Drury  Lane,  to 
be  produced  as  soon  as  Wallace's  Matilda  is  laid  aside.  We 
trust,  and  believe,  that  the  new  composer  will  have  some  time 
to' wait  ere  that  event  be  consummated.  Mr.  Laurent,  junr., 
the  pianist,  is  the  composer,  and  the  libretto  to  which  he  has 
wedded  his  music,  is  founded  on  Sir  Walter  Scott's  novel  of 
Quentin  Durward.  The  novel  is  one  of  the  most  wonderful 
productions  of  the  author,  but  its  magnificence,  diversity  of 
scene,  and  vigour  of  character,  it  seems  to  us,  are  scarcely  suited 
to  operatic  purposes.  We  can  fancy  seeing  QuerUm  Durward 
on  the  stage  of  Drary  Lane  performed  as  a  lyric  drama,  will 
be  something  like  viewing  the  Crucifixion  of  Rubens  through 
a  reverted  telescope.  Mr.  Travers,  we  understand,  is  to  play 
Quentin,  and  Mr.  Borrani  Louis  XI.  At  all  events,  we  shall 
have  Mr.  Tiavers  in  a  new  character,  a  matter  of  great  inte« 
rest  to  the  musical  public. 

Mr.  Lovb's  Entertainment. — This  admirable  ventrilo- 
qnist  and  polyphonist  gave  a  new  entertainment  on  Wednes- 
day evening,  at  Crosby  Hall,  which  brought  together  a  very 
crowded  and  respectable  audience.  Mr.  Love  commenced  with 
a  historical  and  philosophical  lecture  on  the  occult  powers  of 
the  human  voice  and  its  contributary  organs,  which  he 
illustrated  in  various  ways  clearly  and  copiously.  He  ex- 
plained at  great  length  the  difference  between  ventriloquism 
and  polyphonism,  and  gave  an  abstract  history  of  ventriloquy, 
with  a  brief  account  of  all  the  celebrated  professors  of  the 
art  from  the  earliest  ages  down  to  our  own  times.  This  part 
of  the  entertainment  was  highly  instructive.  It  was,  indeed, 
a  most  worthy  homilv.  The  second  part  was  of  a  different 
kind  altogether.  In  •*  The  Trip  to  ^Hamburgh,"  Mr.  Love 
exhibited  his  mimetic  powers  to  perfection,  and  proved  himself 
an  actor  of  great  capacity  and  versatility.  His  sudde,n 
changes  from  one  character  to  another*  and  the  celerity  with 
which  he  assumed  a  new  attire,  were  really  feats.  In  the  last 
portion  of  the  entertainment,  *•  A  Christmas  Party  in  the 
Olden  Time,"  the  facility  with  which  he  changed  from  a 
military  officer  to  a  servant  lad,  from  a  West  India  gentleman 
to  a  young  lady  of  fashion,  and  others,  excited  amazement 
and  delight  in  the  audience.  The  characters  he  assumed  are 
too  numerous  to  mention,  and  the  effects  he  produced  can 
only  be  ascertained  by  beholding  his  performances.  We  shall 
certainly  pay  Mr.  Love  a  second  visit.  We  have  seldom  been 
more  highly  amused. 

fisETuovEN  Quartet  Society.— The  first  soirte  will  take 
place  on  Monday,  in  the  Beethoven  Rooms,  Harley  Street. 
Thanks  to  the  zeal  and  activity  of  M.  Rousselot,  the  present 
season  promises  to  be  as  brilliant  as  the  last.  Sainton,  Hill, 
and  Rousselot  preserve  their  old  places.  The  post  of  Sivori 
is  filled  up  this  year  by  M.  Steveniers,  first  violinist  to  the 
King  of  the  Be%ians.  M.  Yieuxtemps  is  expected  in  tie 
course  of  the  season. 

Omslow.—- This  composer,  we  are  informed  by  La  Ciitique 
Musicale,  has  just  arrived  in  Paris. 

Presentation  o»  Plate  to  Mr.  H.  Farmer. — On 
Friday,  the  pupils  of  this  gentleman  invited  him  to  dine  with 
them  at  the  house  of  Mr.  John  Farmer,  the  Crown  and 
Cushion,  Market  Street,  in  this  town,  when  an  opportunity 
was  taken  to  present  himf  in  token  of  their  high  esteem  for 


his  attention  to  their  interests,  and  his  invaluable  exertions 
in  promoting  tlie  science  of  music,  with  a  splendid  silver  cup, 
and  a  purse  of  twenty-five  guineas,  the  proceeds  of  a  concert 
given  to  him  on  the  7  th  of  December  last.  The  following  is 
a  copy  of  the  inscription,  which  is  beautifully  engraved  on  the 
cup—**  This  cap,  together  with  a  puree  of  twenty-five  guineas » 
was  Presented  to  Mr.  Henry  Farmer,  by  his  pupilst  December 
7,  1846.''  F.  Wakefield.  Esq,  occupied  the  chair,  and  the 
evening  was  spent  in  an  interesting  and  delightful  manner. — 
Nottingham  Review. 

Carlotta  Grisx. — This  charming  dauBeusn  is  daily  ex- 
pected in  Paris,  on  her  return  from  Rome.  A  new  ballet. 
La  Taitienne,  the  music  by  Adolpho  Adam,  in  which  she  will, 
of  course,  shine  as  a  star  of  the  first  magnitude,  patting  all 
the  sidera  minora  in  the  shac^e  by  the  lustre  of  her  presence, 
will  be  put  in  rehearsal  immediately  after  her  return. 

Mendelssohn's  "  St.  Paul "  is  to  be  performed,  for  the 
first  time,  at  Paris,  on  the  19th  of  this  month.  This  great 
work  has  been /or  nearly  ten  years  well  known  to  the  English 
musical  public.^-^Z)at7y  News, 

Amateur  Musical  Society. — The  third  performance  took 
place  last  night.     Full  particulars  in  our  next. 

Mr.  Henry  Russbll.^ — The  enteKainraents  of  this  po- 
pular vocalist  have  continued  to  attract  crowded  houses  during 
the  week  to  the  Strand  Theatre. 

ViNCBKT  Wallace.— It  is  with  much  regret  that  wc  have 
to  announce  the  serious  indisposition  of  this  favourite  com- 
poser, who  now  lies  suffering  seriously  from  an  attack  of 
optbalmia  and  a  general  derangement  of  the  system.  Mr. 
Wallace  caught  a  severe  cold,  when  presiding  in  the  Drury - 
Lane  orchestra,  which  flew  to  his  eyes,  and  affected  him  to 
such  a  degree  that  he  has  been  unable  to  bear  the  light  for 
several  days.  We  trust  we  shall  have  better  news  to  record 
of  the  author  of  Mariiana  next  week. 

ADVERTISEMENTS. 


FAIR      COMPLEXION. 

Under  the  Patronage  of  the  Nobility  and  Gentry. 

TO   THB   INDIES. Woaderftil  and  Zmportaat  Disooversr- 

eoesBcrss^s 

ORIENTAL    BOTANICAL    PREPARATION, 

For  removing  almost  instantaneously  CBtaneous  eruptions,  freckles,  pimples,  tpotSi 
and  other  discolorations  of  the  skin.  After  one  application  of  the  Botanic  Extract, 
which  must  be  used  twice  a  day,  a  wonderful  change  will  be  perceived,  and  in  the 
course  of  a  few  days  the  complexion  will  assume  a  beautiftil  transparent  roseate 
hue  api  earance.  The  extract  to  apply  is  of  the  moat  agreeable  nature,  and  the 
first  application  will  prove  ita  wondenul  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

GC0R6S  H.  J.  OOCKBURN,  9,  Aldfrate,  iMnAoni 
And  Barclay  and  Sons,  Farringdon-street,  London ;  in  bottksat  2s.  9d.  and4s.6d. 
each ;  also  by  Sanger.  150,  Oxford-street;  Keating,  St.  Paul's  Church  Yard; 
Johnson,  68,  Comhill;  Hannay  and  Co.,  68,  Oxford  street ;  Butler  and  Co..  4, 
Cheapside ;  Edwards,  St.  Paul's  Churchyard;  Prout,.229,  Strand ;  and  of  aU  other 
Chemists  and  Periomers  in  the  kingdom. 


DR.    STOLBERG'S   VOICE   IsOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years*  trial,  for  improving 
the  yoice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 

The  Proprietors  have  just  received  the  following  Testimonial,  omongst 
many  others,  from  Madame  Anna  Bishop:—  ,       • 

"  Deab  Sir,— I  am  happy  to  say  that  ail  I  have  heard  respecting  the 
efEcacy  of  Dr.  Stolbero's  celebrated  Lozekoe  is  perfectly  true,  as  yester- 
day, feeling  n)ysell  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  lelaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

"  IFth  November  1846.— Jermyn  Street"  ^      ^      ^ 

Bardav  and  Sons,  Farriiigdon-street ;  Sutton  and  Co.,  Bow  Churchyard; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Chuichyard:  Sanger,  and 
Dietrichsen  and  Hannay,  Oaford  street ;  and  retail  ^y i^g^*f^fW^ 
ChymUu  in  the  Kingdom.  Digitized  by  Vn VJ VJ  V  IV^ 


162 


THE  MUSICAL  WORLD. 


Jntt  Published,  the  Opera  of 
MATILDAOF     HUNGARY, 

AS  PBRFOBMBD  AT  THB 

'SJiatre  Hogal,  i^rutg  Hane; 

WKITTBN  BT  ALFRED  BUNN,  COMPOSBD  BY  W.  VINCBNT  WALLACS. 


u— OBAMBR,    BBALB,  fend  Oo.^    QOl,  Revent-Btreet ) 
and  67j  OoBdoit-street. 

ACT    I.  *.  d, 

X  *<  Hay  Heaven  nrotect  tke  Queen,"  Introdoction  and  Chorus               .  *  SO 

2  "The  Propbet  bis  standard  was  rearing*''  Song^.    Sung  by  Mr,  Weiss^.  2    0 

S  **One  day  I  wandered,"  "It  was  a  form,^  Recit.  and  Air.  Mr. W.  Harrison  2    6 

4  "  8tae  comet  in  all  her  loveliness,"  Cavatina.    Mr.  Borrani        ..       ..  SO 

5  "  What !  shall  my  bright  and  spotless  crown,*'  Duet.    Miss  Romer  and 

Mr.  Borrani 

9  "  Before  our  Queen  we  kneel,"  Chorus          20 

7  "What  form  is  that?"  "  It  is  my  Queen,"  Recit.  and  Duet    Messrs. 

Harrison  and  Borrani          SO 

8  "  Adieu,  fisir  land,"  Ballad.    Mr.  W.  Harrison       SO 

9  '*  The  soldier  silenUy  doth  stand,"  Finale  to  Act  I-           6   0 

ACT    If. 

10  "At  ICBcth  in  absence  monm*d,"  *«Fly  hence  each  idle  fear,"  Mita  Rmner. 

Reclt.andAir SO 

11  "This  happy  day  we  celebrate,"  Chorus        SO 

U  "  Long  live  the  King,"  Chorus 3    0 

IS  "  The  moment  comes,"  Canon.    Mesvi.  Harrison,  Borrani  and  Jones  2   6 

14  "  Like  waves  which  o*er  the  ocean,"  Barcarole.    Mr.  W.  Harrison      . .  2   0 

15  "  6  jne  is  the  calmness,"  Ballad.    Mr.  W.  Harrison         SO 

16  "  O  vengeance,  rage  and  shame,"  Duet    Messrs.  Harrison  and  Borrani  S   0 

17  "  Thy  fimdest  wiili,  thy  highest  aim,"  Chorus        16 

18  "They  who  would  still  be  happy,"  Ronoance.    Miss  Romer                ..  2   0 

19  "This  deep  affinont  I  did  not  need,"  Duet.  Miss  Romer  and  Mr.  Harrison  8    6 
28  "The  people,  past  assuaging,"  Finale  to  Act  11 

ACT    III. 

21  '*  These  halls  of  revels  once  the  scene."  Recitative 

28  "A  lowly  youth  the  mountain  child,'^  Ballad.    Miss  Isaacs       ..        ..2    0 

25  "  Oh,  welcome  with  shouts,"  Chorus  and  Solo        8    0 

24  "In  the  devotion  which  we  breathe,"  Ballad,    Miss  Romer       ..       ..2    0 
2K  "  Suppress  these  giddy  transports."  Cborus  and  Solo       

26  "  To  see  my  King,"  Trio.    Messrs.  Harrison,  Borrani  and  Weiss 

27  '*  What  do  I  hear  7"  Duet.    Miss  Romer  and  Mr.  W.  Harrison 

28  "  Here,  by  our  laws,  tor  Justice,"  Concerted  Piece  

20  "  One  gentle  heart,"  Rondo  Finale.    MissRomer 

The  Cetera  wiU  be  printed  in  a  complete  form  on  the  25/A  0/  March,  prieg  42s, 

PIANO.FORTE    ARRANCEMCNTS. 

The  Overture,  arranged  by  Lavenn  

Select  Airs,  in  thraelMMks.  by  dttto,  each           4   0 

Ditto,  with  a  Flute  or  a  Comet  accompaniment  to  each  book           ,.       ..  5   0 

Quadrilles  fh>m  the  (^ra,  by  Coote          SO 

The  Overture  arranged  ai  a  Pianoforte  duet,  by  J.  W.  Davison                . .  4   0 
iVJ).  Other  earrangeeunte  are  in  preparaiion, 

O^oncert  Ifloomst)  l^anob^r  ^qfuare. 

UNDER  THE  PATRONAGE  OF  H.R.H.  THE  DUKE  OF  CAMBRIDGE. 


A   CRAND   VOCAL  AND   INSTRUMENTAL   CONCERT 

Witt  be  given  at  theabove  Rooms  (the  use  of  which  has  been  most  kindly  granted 

by  T.  Ma  RTi N,  Esq.)  for  the  Benefit  of  the 

Widow  and  Nine  ChUdroi  of  the  late  Mr.  KBARN8, 

(FkKmerly  a  Member  of  the  Philharmonic  Society  and  Ancient  Concert  Orchestra 

On  Wednesday  Evening^  March  17,  1847, 

To  commence  at  Eight  o'clock  precisely.  The  tollowing  eminent  artistes  have  most 
IdAdly  promised  their  valuable  assistance :  —  Vocalists— Miss  Birch.  Mailame 
Siradon  Allan,  BCiss  Raintorth,  Madame  Albertazzi,  Miss  Bassano,  Miss  Steele, 
Mrs.  A.  Toulmin,  Misses  Williams,  Miss  Lockey,  Bliss  Lincoln— Miu  Dolby,  Miss 
ftower.  Miss  Maria  B.  Hawes,  Mme*  G.  A.  Macnurren,  and  Madame  F.  Lsblache. 
Mr.  Harrison,  Mr.  Travers,  Mr.  Allen,  Siguor  Brizxi,  Mr.  Manvers,  Mr.  Hobbs, 
Mr.  Lockey— Mr.  H.  PhilUps,  Mr.  Mschin,  Mr.  J.  A.  Novello.  Mr.  J.  L.  Hatton, 
and  Siipior  F.  Lablache^  The  members  of  the  Choral  Fund  will  sing  a  popular) 
Madrigiil.  Instrumentalists  .'—Pianoforte.  Mrs.  Anderson ;  Messrs.  Benedict  and 
W.  S.  Bennett,  who  will  perform  Bach's  Cx>ncerto  for  three  Pianofortes*  Violin, 
Messrs.  Sainton.  Blagrove,  WUly,  and  C.  Patev,  who  will  perform  Maurer's  cele- 
brated Quartet  for  four  Violins.  Violoncello,  Messrs.  Lindley  and  Lucas,  Contra 
Basso,  Mr.  Howell,  who  will  perform  one  of  Corelli's  celebrated  Trios.  A  numerous 
Orchestra,  combinmg  the  dlite  of  the  Philharmonic,  Ancient  Concerts,  and  Opera 
Bands,  will  be  conducted  by  Signor  Costa,  and  will  perform  Beethoven's  Sym- 
phony in  D,  and  Weber's  Overture  to  Oberon.  The  under-named  gentlemen  have 
tfreaay  consented  to  serve  on  the  committee :— Sir  George  Smart.  Chairman.  Mr. 
O.  A.  Macfsrren.  Secretary.  Messrs.  G.  F.  Anderson,  M.  W.  Balfe,  M.  Bamett, 
BL  Blagrove,  J.  Benedict,  Sir  H.  R.  Bishop,  R.  K.  Bowley,  Card,  Carte,  J.  B. 
Gbatterton,  J.  Clinton,  G.  Goote,  W.  Erat.  Ewer  and  Co.,  W.  Goodwin,  C.  L. 
Qruneison,  T.  Harper,  J.  L.  Hatton,  R.  Hatton,  J.  Hobbs,  G.  Honrth,  W. 
Horsley  (M.B.  Oxon.)  C.  Horsley,  J.  Howell,  J.  Loder,  C.  Lucas,  C.  Neate, 
V.  Novelo,  R.  W.  OlUvier,  W,  L.  Phillips,  J.  Richardson,  H.  Smart,  J.  Thirlwall, 
W.  Thoi  ia%  W.  V.  Wallace ;  Thos.  CbappeU.  Treasurer.  Tickets,  7s. :  Reserved 
Seats,  IC  s.  ed.  each,  may  be  obtained  at  all  the  Music  Warehouses  and  Libraries ; 
the  Cofc  nittee,  by  whom  Donations  and  Subscrmtions  will  be  most  thankfully 
received  \  and  of  Mrs.  Reams,  IS,  Princes  Place,  Kennington  Cross. 


PIANOFORTES    FOR   SALE. 

A  very  superior  and  powerful  toned  «|  Octave  Rosewood  COTTAGE,  br  Zeitter 
and  Co.,  with  metallic  string  p^ate,  check  action.  &c.,  cost  C«  guinaas  a  searttioao 
since,  and  will  now  be  sold  for  half  that  sum ;  an  elegant  Rosewood  Semi-CABINBT, 
01  octaves,  with  all  the  latest  improvements,  only  35  guineas  t  a  OOITASK, 
14guineaa;  aOOCTAVE  SQUARE,  byBroadwood,  with  metallic  spring  plaU^ 
onHr  jf  18.,  cost  52  guineas :  a  5^  DITTO,  itf4.  Also,  a  variety  of  new  and 
improved  CABINET,  COTTAGE,  and  PICCOLO  PIANOFORTBS,thND  25  gnineM 
each.    Fscked  free  of  expense. 


C.  SCOTCHER, 
(from  Collard  and  Collard's),  60,  Mortimer-street,  Cavendish^uare* 

PlANOFO&TBS  TAKEN   IN  EXCHANGB. 

EXETER     HALL. 


The  Committee  of  the  HULLAH  TESTIMONIAL  FUND  beg  leave  to 
that  the  next 

CONCERT, 

(BBIKQ  THB  TUIBD  Of  THB  SBBIBS,)  ILLUSTBATIVB  Of  'nLM,  tttSTOBt  Of 

ien0(tdO  l^ocal  ififlu^iCi 

Will  take  place 

ON    MONDAY    NEXT,    MAftOH    Stli, 

Commencing  at  Eight  o'clock ;  in  which  will  bepresehted,  in  Chronologies!  Order » 
specimens  flrom  the  Music  of  John  Bishop,  Wbldon,  Csorr,  Gebbn,  Nabbi^ 
and  Boycb;  Aldrich,  Carby,  Travbrs,  Abnb,  Cookb,  Jackson,  sncL 
Battishill. 

For  the  Performance  of  Pieces  requiring  AcconnMmimenL  a  NEW  ORGAN  he* 
been  erected  by  Mr.  Robson  ;  and  the  CONCERT  BAND,  under  the  Directiosa 
of  Mr.  Willy,  has  been  engaged.— The  CHORUS  will  consist  of  Mr.  Hullah's 
Uppbb  Sinqinq  Schools. 

Principal  Vocal  Perfortnert : 

MISS  RAINFORTH, 
MR.  MANVERS,  MR.  W.  H.  SEGUIN, 

Organist,-MR.  OLIVER  MAT,  Conductor,  MR.  MAT. 

Tickets.— Area,  Ss. ;  Western  Gallery,  8s.  6d. ;  Reserved  Seats,  Ts. ;  may  be 
procured  of  Mr.  J.  W.  PARKER,  Publisher,  445,  West  Stn|nd:  of  the  ]prijM:ipa 
Music  Sellers ;  and  at  the  Apollonicon  Rooms,  101,  St.  Martin's  Lane. 

Warreik's    20   Guinea   Cottage   Piano-Fortes 


MISS  DUVAI^ 
and  MR.  ICACHIN. 


ARE  NOW  SELLING  AT  THE 

Mannfoctory,  71^  Leadenhall  Street 

{Removed from  1  and  2,  Liverpool  Street,  Bithop^ate  Street,) 
These  Instruments  are  well  manufsctured  of  the  best  seasoned  wood»  FINS 
FULL  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  given  with  each  foMru- 
roent.  ESTABUSHED  TWENTY-ONE  YEARS.  The  only  house  bk  Lendoii 
where  a  good  sound  instrument  can  be  obtained  at  the  above  low  price,  (Unr  cash 
only).    SMALL  PROFIT  AND  QUICK  RETURNS! 

JOHN  WARnaN,  71,  i*Mtdeii]han  at.,  oppoai««  amcam  Yunp. 


sss 


THE  MUSICAL  WORLD. 


163 


TO    TBB    MUSIC    PBOFB88ION. 


"NASSAU 


STEAM 

AND 


PRESS, 


PUBLISHING     OFFICE^ 

60,    ST.    MARTIN'S    LANE,*  CHARING    CROSS. 

Brery  dwaiptioii  of  CONCERT  PRINTING,  Q^iblic  or  Private,)  coiwistiiu; 
of  Pboobammii,  Not»s»  Tio«ax8,  Posting  Bills,  ftc,  are  neatly  and 
ezpeditkniaty  executed  with  economy  and  taste  by 

W.    8.    JOHNSON, 

PBINTKA    TO     HBK    MAJESTY'S    THBATBB. 

Where  dio  may  be  had  ''Hie  Musical  Worid,"  and  all  Operas,  Comedies, 
Flays,  Flurces,  Biutiesqaes,  and  the  whole  of  Webster's  unique  Acting  Drama. 

SONGS 

BOB  THE 

O&ASSKSAEi   VOCAEiISV. 


Ju(  PublisAed— 

TWELVE    SONGS, 

Selected  from  the  Compositions  of 

ALOOB,  HANPBIv  HAYDN,  MOZABT,  PBBQOLBSI,  PUBCBLL,  AND  BOSSX. 

EDITED    AND    ARRANGED    BY    MISS    MA8SOM, 

And  dedicated  (by  permission)  to 

HBm    MOST    GRACIOUS    MAJfiSTY    THB    QUBBN. 

Price  complete,  bound  in  cloth,  19s.    Also,  published  separately. 

A  Hat  of  Contents  may  be  had  on  application,  or  will  be  forwarded  by  post. 

"  Nothing  can  be  more  correct  than  the  title  which  Miss  Maseon  has  bestowed 
on  her  Tolume.  It  is  made  up  of  the  richest  gems  ot  vocal  art ;  and  they  have  the 
torther  recommendation  of  being  not  only  rich,  but  rare.  Miss  Masson  is 
entitled  to  the  thanks  of  the  musical  world  for  this  beautifal  selection,  for  the 
tsste  and  skill  with  which  the  accompaniments  are  arrangped  from  the  original 
Korea,  and  lor  the  clear,  correct,  and  elegant  manner  in  which  the  work  is 
hrascht  oiit.r-lMly  iVMsr,  Jam.  39.  1047." 

London:— Published  by 

IiBA.DBB  and  COCK,   03,  New  Bond-street. 

IMPORTANT  SALE  OF 
MUSIC  AND   MUSICAL  INSTRUMENTS. 

Messrs.  PUTTICK  fc  SIMPSOW, 

(Saccessors  to  Mr.  Fletcher,) 
Auctioneers  of  Music   and   Literary   Properly, 

WILL   SELL   BY  AUCTION, 
At  their  GB  BAT    BOOM,    lOl,    PIOCADIZiZ-.Y, 

On  TUESDAY,  MARCH  9th,  and  following  day, 
At  One  o'dock  most  punctually,  the  Musical  Library  ot  the  Uit«  Mr.  Obobob 
Pbbson,  comprising  Vocal  Music,  Sacred  Music,  Handel's  Works,  Operas,  Piano- 
tete  sad  Organ  Music,  Instrumental  Music,  Theoretical  and  Historical  Works,  See. 

ALSO, 

VAIsUABLE   VIOLINS, 

(Including  the  final  roBTiONOf  the  collection  of  Mr.  Fbansois  Cbamkb;) 

Yiokmodlos,  a  Double  Bass,  Pianofortes  by  Messrs.  Broadwood,  &c. 
Miy  be  viewed  on  Saturday  and  Monday  before  the  sale,  and  catalogues  had  (or 
win  be  sent  on  application). 

EXTENSIVE  SALE  OF" 


Manuihctnred  by  the  late  Mr,  Stuupfp. 

PUTTICK    AND     SIMPSON, 

(Successors  to  Mr.  Fletcher,) 

Auctioneers  of  Music  and  Literary  Property, 

WILL  SELL  BY  AUCTION, 
AV  TBBIB    GBBAT    BOOMS,     191,    PICCADILI.Y, 

And  on  the  Premises^  No.  44,  Gbkat  Portland  Strbbt, 

In  a  ftw  days,  (by  order  of  the  Executor  of  the  late  Mr.  Stumpff),  the  FAlnable 

stock  in  trade,  consisting  of  elegant 

OpUBLE-ACTION  H  ARPS, 

bOwaHMitetare  or  which  the  bte  Mr.  arvutfr  eqjond,  lo  deMrredly,  Ugh 
repotatiOD. 

PIANOFOBTES. 

HothEODtal  Oiindfl,  and  (Cottages  of  extended  compass,  in  mahogany  and  rose- 
wood cases.  Also,  the  stock  of  InstnimenU  partlyfinlshed,  iTateriala,  Tools, 
"S^*^JS<^  CaUlogues  (which  wiU  shortly  be  ready)  will  be  sent  on  apffication. 
'*-^TiS*  Ihilihea  Instruments,  with  some  other  portions  of  the  stock,  will  be 
'^BBOved  Our  gn  ato- convenience  of  sale)  to  the  great  rooms  of  Messrs.  Puttick 
SSSS^K^'d^^^  ^«.d  effects  wm  be  sold  on  the 


PIANOFORTES, 

Parties  in  want  of  a  really  good  PIANOFORTE,  at  a  moderate  price,  will  do  wdl 

to  call  at 
J.  C.  JONES  AND  C0.*8, 
2,  Hanway-street.  Oxford-street,  a  few  doora  on  the  right  from  Tottenham-court- 
road,  who,  fk'om  their  intimate  acquaintance  with  every  kind  of  instrument  made^ 
have  endeavoured  to  combine  the  separate  good  qualities  of  each  with  all  the 
latest  improvements,  therefore  for  tone,  toach,  dtuitbility,  and  appearance  these 
Instruments  are  not  to  be  surpassed  at  the  price. 

Instruments  tuned,  repaired,  exchanged,  and  lent  on  hire- 
Tuning  by  the  year,  one  guinea.    Second-hand  Pianos,  from  3  to  SO  guineas. 

MESBRa. 

B.  COCKS's  NEW  MUSICAI.  PUBLICATIONS. 


NEW  PIANOFORTE    MUSIC, 
W.    VINCENT    WALLACE. 

"  The  Last  Rose  of  Summer,**  "  The  Blue  Bell's  of  Scotland,"  "  Nocturne,'' 
each  Ss.  Pretty  Merry  Waltz,  Anna  Waltz,  and  L'Hirondelle  Walts,  each  28. 
At  the  urgent  request  of  the  most  eminent  professors  of  music,  residing  in  all 
parts  of  the  united  kingdom,  Messrs.  R.  Cocks  and  Go.  have  been  so  fortunate 
as  to  obtain  from  that  gii\ed  composer,  W.  Vincent  Wallace,  the  above-named 
six  pieces,  which  are  written  in  bis  happiest  style.  To  meet  the  amateur's 
constant  demand,  they  have  been  written  expressly  to  suit  the  drawing-room,  as 
they  may  be  acquired  by  memory- — Now  ready,  the  26th  edition  of  Hamilton's 
Dictionary,  of  2,500  terms,  by  John  Bishop,  price  Is.  Pianos  for  sale  and  hire. 

TO   TEACHBHS   OF   BmSIC. 

HAMILTON'S  PIANOFORTE  TUTOR,  with  Exercises  and  36  Ain 
fln|(ered  by  Czemy,  price  only  4s.  "  ^his  work  is  clearly  written,  and  intel- 
ligible to  the  most  ordinsrv  capacity,  and  the  book  is  worthy  the  attention  of 
teachers." — Vide  No.  44,  Musteal  World,  Also,  by  Hamilton,  hb  Miniature 
Course  of  Harmony  and  Composition,  live  vol«.,  each  2s.  and  3s.  Dictionary 
of  2,500  Musical  Terms,  Is.  Catechism  of  Singing,  3s.  ;  ditto  Organ,  3s.; 
ditto  Violin  and  Violoncello,  each  Is.  "What  Mrs.  Barbauld  in  her  day  did 
lor  the  infant  reader,  Mr.  Hamilton  in  his  has  done  for  the  musical  beginner." 
•^Musical  World.  **  Mr.  Hamilton  has  done  for  musical  students  what  Mr. 
Pinnock  has  achieved  ibr  general  education." — BenVs  Literary  4dvertuer 
And  to  be  had,  on  order,  of  all  musicsellers  and  bookiellers.  Pianos  and 
harps  fpr  sale  or  hire.  

SCHOOL  MUSIC  FOR  THE  PIANOFORTE. 

CHAULIBU'S  First  Six  Months  at  the  Pianoforte,  six  books,  each  8s.;  or 
the  six  in  one  volume,  1.5s.  *<  So  excellent  is  the  plan  of  this  truly  admirable 
work,  and  so  novel  and  ingenious  its  execution,  that  it  is  in  the  highest  degree 
masterljr.  Indeed  I  have  no  hesitation  in  saying  that  for  the  tution  of  children 
on  the  pianoforte,  no  work  of  equal  merit  and  utility  has  ever  come  before  the 
public ;  and  for  class  or  school  teaching,  it  will  be  found  absolutely  invaluable. 
Country  teachers  and  persons  who  have  not  had  long  experience,  in  tuition 
will  by  its  aid  be  enabled  to  guide  thdr  pupils  into  a  short  and  pleasant  path, 
along  which  their  progress  towards  excellence  wilt  be  rapid  and  certain,  and 
which  will  assuredly  redound  equally  to  their  profit  and  their  reputation."— 
J.  Hamilton,  author  of  Th§  Musical  Catgehisms. 

CATHEDRAX   MUSIC. 

Nearly  ready  for  delivery,  Dr.  BOTCE'S  COLLECTION  of  CATHE- 
DRAL MUSIC  (under  the  immediate  patronage  of  His  Royal  Highness  Prince 
Albert),— newly  edited  by  Joseph  Warren.  In  score  with  an  accom- 
paniment for  the  organ,  in  three  large  folio  volumes  (upwards  of  1,000  pages), 
containing  Tallis's  rull  Cathedral  Service, and  numerous  Services  and  Anthems 
by  Farrant,  Byrd,  Morley,  Orlando  Gibbons,  Child,  H.  Purcell,  Dr.  Blow,  and 
other  celebrated  church  composers,  with  an  appendix  to  each  volume,  contain- 
ing additional  Services  and  Anthems,  a  Life  and  Portrait  of  Dr.  Boyce,  and 
new  biographicsl  particularsof  the  composers.  Price  to  8ubscribers,i6!4. 14s.  6d.; 
to  non-subscribers,  £8  8s.  London,  Messrs.  R  Cocks  and  Co.  Ladies  and 
gentlemen  who  intend  to  honour  this  new  edition  with  their  names,  will  please 
to  forward  them  as  esriy  as  possible  to  the  publishers,  where  maybe  had  John 
Bishop's  edition  of  Tallis's  Order  of  the  Daily  Service,  In  one  elegant  volume, 
gilt  edges,  6s. ;  and  separate  parts  of  the  Morning,  Evening,  and  Communion 
Services,  for  treble,  tenor,  alto,  and  bass,  2s.  each ;  and  organ  ditto,  3s. 

ROYAL  PIANOFORTE  SALOON. 

SUPERIOR  PICCOLO  and  COTTAGE  PIANOFORTES,  Nos.  I  to  7, 
manufSictured  by  R.  Cocks  and  Co.,  No.  6,  Burlington-street,  London,  Music- 
sellers  to  the  Queen. — **  These  pianofortes  sre  remarkable  for  the  b<>auty  and 
equality  of  their  tone,  the  facility  of  their  touch,  and  their  extremely  etegant 
exterior.  They  have  the  advantage  of  being  6rmly  and  compactly  made,  of 
the  best-seasoned  materials,  and  of  keeping  well  in  tune  for  an  unusual  length 
of  time."— iHttftcoi  World,  Dec.  11,  1845.  **  It  is  our  candid  opinion  that  for 
workmanship  and  quality  tbrouffhout,  together  with  the  extreme  reasonable- 
ness of  the  prices,  these  pianofortes  cannot  be  surpassed." — Dramatic  and 
Musical  Review,  Jan.  24^  1846.  N.  B.  A  list  of  prices  and  other  particulars,  to 
be  had  gratis,  postage  free.  Seven  of  Eraid's  Harps,  and  One  Hundred  Pianos 
for  sale  or  hire,  on  very  moderate  terms,  including  several  Qrand  SquMjes  by 
Messrs.  Collard  and  CoUaid,  and  Broadw^ed  by  ^  ^^  ^'  ii^rri^ 


,^^^™^3 


i 


1(H 


THi;  MUSICAL  WORLD. 


JULLIEN'S      ALBUM 

FOR  1347, 

A  uoBt  b«antUal  OhrlBtnuta  Preaaak,   N*w  Yaar'a  OUt, 
aad  Btrennes. 


M.   JULLIEN 

Has  the  honor  to  announce  that  his 

MUSICAL    Al^NUAIc    FOR    1847 

It  Published,  and  is  by  far  the  best  work  of  the  kind  that  has  ever 
appeared ;  contains  no  less  than 

THIRTY    PIECES    OF    VOCAL 

AND 

FOURTEEN   OF   INSTRUMENTAL 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
hairing  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  th« 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
dacldea  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include 

TWO   MAONIPICENT   VIEWS 

or   THB 

interior  of  CoDettt^^arlieit  E'^ZBttt, 

The  one  taken  during  the  brilliant  scene  exhibited  in  that  splendid  arena  of 
the  occasion  of  M.  JULLIBN'S  GRAND  BAL  MASaUE;  the  other  a 
VIRW  OF  THB  THGATRE  TAKBN  DUIIING  THE  CONCERTS, 
the  grouping  of  the  Figures  in  both  Views  exhibiting  the  mdiencf  in  a 
manner  at  once  life-lUct  and  elegant.  To  those  who  have  visited  the 
Theatre  on  cither  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  acciu-ate  idea  of 
the  gorgeous  scene. 

A   BPLENDIDLT-COLOUREa 

PORTRAIT 

Of  the  celebrated  Danseuse, 


In  the  admired  Pas,  LA  CASTIGLIANA. 
AN   ORIGINAL   SUBJECT, 

"THE     FORTUNE     TELLE  E," 

Illustrating  BAKER'a  beautiful  Ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDAllD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  ALBUM,  and  in  proof  of  its 
v€Ut  mperiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributors,  where  will   be  found  the  principal  talent  in  Europe:  viz. 


ROSSINI,  VERDI, 

ROCH-ALBERT,  HCELZELL, 


SCHULZ, 

MASARNAU, 

IIATTON, 

KNIGHT, 

LAKE, 

FOREST, 


STCEPBL, 

MAIIATZEK, 

BARRET, 

BAKER, 

FITZBALL, 


DONIZETTI,  RUBINI, 

GOLDBERG/  SCHIRA, 

DUFRBZ,  JOSE  GOMIS, 

BALFB,  JULLIEN, 

ALEXANDER  LEE,  KCENIG, 
FARMER,  LINLEY, 

MOULD,  HURREY, 

ALBERT  SMITH,      DESMOND  RYAN,      &c. 

It  will  thus  be  perceived  that  in  rddition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  will  contain  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c.,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attractiag 
the  attention  of  the  Continental  dileUctL 

Price  188.  aho  £i.  Is. 

ROYAL   CONSERVATORY   OF    MUSIC 

214^  Reqskt-Stbebt,  and  AS,  Kikg-Strsst. 


sovBRsiesr 

No..  6,   St.  JAMES'S    STREET, 


Sir  A.  Brydgei  Hennlker.  Bart. 
B.  Bond  oSbeU,  Baq.,  M.P. 


Tnui€«§, 


Chairkam,  lieutenant  Colonel  Lord 

Arthur  Lennox.- 
DspUTY-CHAiBMAir,  T.  C.  OfMiger, 

Bmi.,M.P. 
John  Athbttmer,  Esq.,  M.D. 
T.  M.  B.  Batard,  Esq. 
PhUipF.BlythyEsq; 


Dirsefert. 


Henry  PownalL  Esq. 
dande  Bdimd  Seoit,  Kaq. 


Henry  Broadwood,  1 


M.P. 


Sir  Jawis  GarmidisSl^iart. 
Charles  Duebrodier,  Baq., 
WiUiam  Tullob  Fraaer«  Esq. 
John  Gardiner,  Esq. 
Aaron  Asher  Goldsmid,  Esq. 
HenryWttlian  PownS,  Bsq. 


Bwkere.  Sir  Oaude  Scott,  Bart,  and  Co. 

Soiieitors,  Messrs.  Davies,  Son,  and  Campbdl. 

Assurances  on  the  lives  of  persons  in  every  station  of  life  and  every  part  of  the 

world,  granted  on  a  plan  wiifch  oomhines  the  utrooat  amount  of  beneil  to  tte 

flunllies  ot  the  assured  at  deatk,  with  evciy  attainable  advantage  dmrhg  lift, 

which  the  system  of  life  Assurance  ia  capable  of  aftonUnr. 


It  affords  |)ertect  sacnrity  in  a  subscfibed  Capitel,  which  guaraa^^aa  the  prampt 
settlement  of  every  daim,  wMi  participating  and  non.partrd^tteg  ratca  on  tie 
lovrest  scale,  etpecully  for  terms  of  years. 


The  Assured  can  anticipate  or  obtain  the  advance  of  the  ftill  amount  of  the 
Pblicy,  on  giving  approved  avathOtle  security  Ibr  a  certain  nmnber  ot  annIM 
payments,  as  explained  by  the  Prospectua. 

Every  facility  is  afforded  to  persona  assuring  the  Urea  of  others,  ao  as  to  render 
such  Policies  effectual  securities. 

A  new  plan  of  gradoal  or  accumulative  Aasuranee,  particutaily  adapted  for. 
young  livea,  and  for  auch  as  cannot,  without  inoonveniance,  uadortalM  the 
naynant  of  a  Hxed  premiom,  securing  at  once  proviaion  in  case  of  ] 
death,  and  an  accumulating  fund,  available  during  life,  should  occasi 

Annuities,  Endowments,  Advamcbs,  and  Loans,  on  liberal  ( 

Detailed  Prospectuses,  with  forms  of  Proposal,  and  every  infonsation,  may  be 
had  on  applfcalioo.  either  personally  or  by  letter,  at  the  Comrao|*a  OAces. 

The  usual  commiasion  to  SoUcbora  and  Agenta. 

H.  D.  Davbiipobt,  AteM<«iy. 

BY    ROYAL    LETTERS    PATENT. 

THE     DIATONIC     FLUTE 

Can  only  be  procured  of  the  Patentee,  at  his  mamfhelory, 
•i  Btf  1  Yard,  GrMMhvreh  StrMt. 

This  Instrument  is  flngend  in  the  same  manner  as  the  ordinary  flnts^  aad  maar 
be  pUyed  as  par*cUy  in  tune  as  the  Violin.  Itaauperiority  k  no<rsiiiainili%ai 
by  all  who  have  adopted  it. 

In  March  will  be  pHblished,  "Thboey  op  thb  Patent  Diatonic  Flittb*" 
by  Abel  Siccama,  h. A.,  Patentee. 

BOBDIOAL  OAX.VANI8M;     : 

HORNE,  THORNTH WAITR,  ft  WOOD,  SuooessoiB  to  B.  Pamba,  IMjtew* 
gat»4treet,  ia  submitting  their  improved  KLKCTRO^GALVANlC  MAOHXNBB. 
oeg  to  state,  that  they  have  availed  themselvea  ot  the  discoveries  of  Oa  la  Biva, 
Paraday,  Smee,  and  others,  by  which  they  are  enabled  to  construct  a  ooB  with  all 
the  required  intensity  and  quantity  of  electricity  for  medical  xiaa,  thereby  '^ 
both  a  saving  of  expense  and  trouble  to  the  invalid,  and  pliEng  in  lua 


En  HViective,  powerfbl,  and  simple  instmicent,  that  may  be  excited  at  a  mlnrnte's 
notice, and  without  tronble.— Price,  ^S.  3a. ;  468.  Ms.;  and  4^.  6a. 

PHILOSOPHICAL  APPABATUS.— Every  description  of  Apparatua  eonected 
with  Chemistry,  Hydraulica,  Hydrostatics,  Pneumatics,  Fricttonal  and  V«ltale 
Electricity,  Electro-Magnetism,  Elect ro-Metallurgy,  Optica,  (tachuthog  the  da* 
solving  Views,  Photosraphy.  fcc)  manofiictured  and  sold  by  Home,  l  homthwalta 
and  Wood,  anccessors  to  edirard  I'almer,  133,  Newgate  Street,  London. 

Fbreirn  orders,  enclosing  a  remittance  or  order 
promptiy  attended  to. 


for  payment  in  Londoa, 


THI  PATENT  HARMONItrtf . 


This  beautlfttl  Instrument  possesses  the  softness  of  the  voic^  with  the  vsrldy  of 
tone  of  every  wind  Instrument,  aa  also  tbe  power  of  a  large  Osgan.  Itia  eguBy 
suitable  for  Sacred  Music,  or  the  Dance,  and  adapted  tar  the  Dnwing  aoon, 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lu  rr  and 
Son,  sole  agenta,  where  the  PATENT  HARMONIUM  can  be  heard  irom  10  tiU  4 
daily;  and  where  can  be  inspected 

LUFF  k  SOX'S 
Elegant  Assortment  of  PZAIVOFORTBS^ 

Made  by  experienced  workmen,  and  thoroughly  aeaaoned  wood^  all  of  whidi  la 
prepared  on  tbe  premises.    Tney  are  warranted  to  atand  well  m  l^n^  aadsia 
prepared  for  extreme  climates :  prices  one-third  less  than  uaually  chaifsd. 
Instruments  takea  in  exchange,  and  a  liberal  alloirance  to  dealera. 

laUFT  and  80N«  lOS,  Graat  RnaaaU  Strtat, 

Printed  and  Publiaheil,  for  the  Proprietors,  at  the  <'Nasatu 
by  William  Spencee  Johnson,  00,  St.  Martia'a  Lane,  in  tha 
Martin*s  in  the  Pidds,  in  the  County  of  Middlesex  i  where  aU 
for  the  Editor  "       "  *  . .    - 

Street,  Soho 
—Saturday, 


Iditor  are  to  be  addressed  post  paid.  To  ne  had  of  Q. 


€1)0  iHttSital  Worm. 

i.  (PUBLISHED    EVERY    SATURDAY    AT    N«ON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATDKE,  FINE  ARTS, 
.     FOREIGN  INTELLIGENCE,  &c. 

.    T«nui'  of  flttbsetlptlDiiy  per  Amram^  16b,  Stamped ;  Ifls.  Unstemped  j  to  be  forwarded  by  V^mey  Order  or  Postage  i taaq^ 
to  tke  Publisher,  W.  8.  Jotaiuioii,  '^  Vi^saan  Stoam  Frees/'  60,  St.  Vartla's  liaae^  Ohartav  Crooo< 
SsbseHbor  Is  entitled  to  aa  Admlsslom  to  an  Annnal  Coneert,  and  a  Piece  of  Mnslc^  (recidar  Mnsle  sise)  Vomtldp. 


No.  11.— Vol.  XXII. 


SATURDAY,  MARCH  13,  1847. 


('nucK  THRSEPitetiB : 

1  STAMFED,'VOt)RPBl?e  - 


.   THE   BEETHOVEN    CtUARTET   80CIETY. 

Tni  zealous  and  enthusiastic  lover  of  music,  iwho  originated 
this  admirable  society,  is  no  more,  biit  the  example  he  set 
we  trust  has  not  been  lost  on  his  survivors.  If  ever  an 
amateur  deserved  the  title  of  the  Mecaenas  of  music,  it  was 
the  late  Mr.  Alsager.  Not  content,  as  many  are,  to  make  it 
an  egotistical  source  of  mere  private  amusement,  his  object 
was  to  spread  taste  for  its  more  recondite  and  elaborate 
beauties  far. and  wide,  to  popularize  its  philosophy  among 
amateurs,' and  by  their  medium  to  refine  the  general  feeling  of 
the  public.  Music  was  his  sole  relaxation,  his  chief  social 
delight ;  and  as  his  heart  was  open  to  all  the  eloquence  of  its 
appeal,  so  were  the  portals  of  his  princely  hospitality  thrown 
^ide  apart  to  welcome  its  professors,  who,  as  hearers  or  as 
players,  found  an  equally  warm  and  generous  reception.  The 
good  he  thus  gradually,  but  surely  effected,  was  incalculable. 
The  more  profound  and  poetical  works  of  the  great  triad  of 
instrumental  composers,  which  for  so  long  had  remained  a 
sealed  book  to  the  multitude  of  amateurs,  aye,  and  of  musicians 
too,  were,  through  his  exertions,  made  familiar  as  household-* 
gods.  But  it  is  the  lover  of  Beethoven  who  should  most 
fondly  cherish  the  memory  of  Mr.  Alsager.  Perhaps  never 
was  there  an  instance  of  such  unbounded  enthusiasm  for  the 
works  of  a  great  man,  as  in  that  lamented  gentleman's 
reverence  and  adoration  for  the  chamber-compositions  of 
Beethoven.  He  knew  them  all  by  heart ;  every  one  of  their 
melodies  was  to- him  as.  a  dear  friend  ;  he  doted  on  them.  And 
as  the  mother's  fondness  for  her  offspring  is  so  frequently 
exemplified  in  b  preference  for  the  least  generally  admired  : — 
"  The  feeblest  and  yet  the  favorite  ;" 

80  was  his  devotion  to  the  quartets  of  Beethoven.  In  pro- 
portion to  their  being  unknown  and  more  neglected  was  the 
measure  of  his  love  for  them  administered.  He  loved  the 
first  six  dearly,  (as  who  would  not  ?)  but  much  more  dearly 
the  three  that  follow.  The  tenth  and  eleventh  he  venerated — 
and  the  last  six,  "  the  Posthumous,"  he  idolized ;  for  they 
were  the  coyest  to  disclose  the  treasures  of  their  beauty — 
wrapped  and  folded  in  an  atmosphere  of  golden  mist,  which 
only  the  eye  and  the  heart  of  enthusiasts  could  penetrate.  So 
these  were  less  courted  ;  nay,  for  a  time  almost  abandoned  ; 
and  for  this  Mr.  Alsager  loved  them  more  ;  felt  for  them 
more ;  devoted  himself  to  their  interest ;  and  preached  a 
crusade  in  their  behalf,  which  ended  in  the  conversion  of 
sceptics,  and  the  establishment  of  the  truth,  which  was  hidden 
until  he  unfolded  it  to  the  world.  This  was  the  noble  use  to 
which  he  gave  up  the  whole  of  the  leisure  he  enjoyed  from 
those  worldly  occupations  in  the  conduct  of  which  he  had 
earned  such  high  distinction.  In  recording  the  opening  of 
the  third  season  of  the  Beethoven  Quartet  Society,  it  would 


have  been  but  false  delicacy  in  us  to  refrain  from  alluding,  in 
a  manner  suiuble  to  the  occasion,  to  him'  who  was  iti 
originator,  to  him  who  not  only  laid  the  se^ds  but  fostered 
the  growth,  as  it  gradually  reared  its  head  above  the  ground, 
and  who  has  now  bequeathed  it  to  his  friend  and  associate  in 
the  good  work,  Scipion  Rousselot,  a  musician  aiid  an  enthu« 
siast,  and  a  fit  holder  of  such  a  legacy.  The  day  is  indeed 
far  distant  when  amateurs  and  professors  of  that  tat  which  he 
loved  so  well  shall  have  ceased  to  mourn  the  loss  of  Mr. 
Alsager  ;  a  loss  as  unexpected  as  it  was  cruel ;  aiSd  it  would 
be  an  unworthy  affectation  in  us  to  shrink  from  avowing  the 
deep  sympathy  we  entertain  for  the  general  feeling  of  regret. 
He  was  an  intellectual  and  a  good  man — may  we  never  foi|^t 
to  cherish  and  revere  his  memoiry.  ' 

The  first  meeting  for  the  season  1847  (the  .third),  took 
place  on  Monday  evening,  at  the  Beethoven  Rooms,  which, 
in  their  new  garb  of  .white*wash,  wore  an  app>e6rance  of 
desolation  easily  accountable  to  those  who,  like  ourselves,  hsd 
not  entered  them  since  last  summer.  Ifowever,  there  were 
so  many  fiimilar  faces,  that  as  the  performances  went  on 
things  began  to  look  more  oheerfal,  and  faith  and  hope  assumed 
their  comfortable  sway.  The  programme  of  the  evening, 
according  to  the  plan  already  adopted,  comprised  three 
quartets  selected  from  the  three  difierent  epochs  of  the  master's 
career.  The  first^was  the  quartet  in  F  major,  belonging  to 
the  Op.  18,  which  Beethoven  composed  in  1791,  and  dedi- 
cated to  his  illustrious  patron  and  kind  friend,  the  Prince 
Lichnowsky.  In  this  quartet  will  be  remarked  the  character- 
istiesof  Beethoven's  early  style,  exemplified  in  great  pelfection.' 
It  is  one  of  the  most  admirable  of  all  his  works,  and  was 
written  just  as  his  manner  was  threatening  to  assume  its 
second  forn^.  Nevertheless,  we  have  the  clear  design,  the 
short  and  simple  subjects,  the  independent  use  of  the  faXL 
cadence,  the  free  control  of  counterpoint  (some  fine  examples  of 
which  occur  in  the  final  movement),  the  natural  and  unaffected 
harmonies,  and  the  employment  of  lengthened  phraseology 
only  for  the  effects  of  climax,  which  are  the  elements  of 
Mozart's  and  Haydn's  styles,  with  perhaps  a  greater  leaning 
to  the  tender  pathos  of  the  former,  than  to  the  robust  vivacity 
of  the  latter.  The  first  movement  (in  F  major),  AUtgro  con 
Brio,  has  a  bold  subject,  easily  retained  by  the  ear,  and 
worked,  throughout  with  great  fluency  of  countei^int.  It 
is  highly  energetic  and  commanding.  The  Adagio  ajfettmoio 
ed  Apatsionato  (in  D  minor),  would  leave  nothini^  to  be 
desired  if  Beethoven  had  made  no  progress  in  his  «t  beyond 
what  it  develops.  It  is  exquisitely  pathetic,  and  many  of 
its  bursts  of  anguish  would  draw  tears  from  the  most  callous^- 

"  And  make  men  tremble  who  never  weep." 
The  scherzo  is  playful  and  most  ingeniously  wptten ;  a  fine 
contrast  being  produced  by  the  very  pppoute  | ' 


166 


THE  MUSICAL  WORLD, 


=5E= 


trio.  T^e  final  Allegro  (fp  F  major),  ||  |prmed  on  %  th^ma 
-wbic)!  qiptiyates  ))y  its  fuipr|pio|2s  yivai^iiy,  while  the  tr^ftt* 
ment  If  inasterly  iti  its  development  and  interesting  in  its 
variety.  The  introduction  of  the  second  theme  is  novel  and 
beautiful,  and  its  employment  throughout  the  movement  is 
marked  by  the  most  exquisite  fancy.  The  fipe  effect  pro- 
duced by  the  occasional  appearance  of  the  first  subject  in 
the  fugued  style  is  also  worthy  the  attention  of  those  who 
would  study  Beethoven's  scores  with  profit.  There  is  no 
dryness  or  pedantry  in  it,  but  it  appears  in  all  the  freshness 
of  ^  new  and  beautiful  thought.  It  inay  seem  a  bold 
Msertion,  but  we  cannot  help  stating  our  conviction  that 
this  quartet,  which  stands  No.  1  on  the  list  (although  we 
believe  it  was  really  the  third  in  the  order  of  production)  is 
equal  to  any  of  the  seventeen,  since  from  the  first  bar  to  the 
last  it  i^  a  mftnifestation  of  genius  and  power  of  the  highest 
order*  It  is  also  strikingly  original,  while  it  adheres  in  a 
great  measure  to  the  plan  of  these  models  which  are  left  us 
In  the  imperishable  works  of  Mozart  and  Haydn. 

Before  stating  our  impressions  of  the  manner  in  which 
this  quartet  was  executed,  it  may  be  as  well  to  say  a  word 
or  two  ^bout  M*  Rousselot's  position  with  respect  to  the 
engagements  for  the  season,  resulting  from  circumstances 
over  which  he  could  have  no  control.  The  loss  of  Camillo 
Sivpri,  who  is  absent  in  America,  pannot  be  sufficiently 
lamented.  The  idea  of  supplying  his  place  by  any  other  than 
Srnst  or  Joachim  would  be  preposterous.  But  M.  Rousselot 
did  bif  best  under  the  circumstances,  by  engaging  Herr 
David,  the  celebrated  violinist  from  Leipsic.  Here  he  was 
disappointed,  however — illness  or  some  other  cause  rendering 
Herr  David's  advent  this  season  impossible.  At  his  wit*s 
end  for  a  substitute,  the  arrival  of  M.  Steveniers  from 
Brussels  offered  a  means  of  extricating  himself  from  difficulty, 
wbieb  M»  Rousselot  would  have  been  unwise  to  overlook. 
Steveniers  was  aceordingly  engaged  to  lead  the  quartets  in 
ilteroation  with  M.  Sainton,  until  the  arrival  of  Vieuxtemps, 
irho  is  expected  later  in  the  season.  This  gentleman  is 
yiolioist  to  the  king  of  the  Belgians,  and  enjoys  a  very  high 
veputatipn  on  the  continent.  The  F  major  quartet  of 
Beethoven  gave  us  an  excellent  opportunity  to  form  a  judg* 
ment  of  his  capabilities.  His  execution  is  bold  and  energetic 
perhaps  occasionally  wanting  in  finish,  but  for  the  most  part 
effective.  His  intonation  is  rarely  at  &ult,  and  his  tone 
though  thin,  is  agreeable  and  stands  out  in  good  relief.  His 
style  is  chaste,  polished,  and  wholly  devoid  of  exaggeration. 
He  takes  no  liberties  with  the  text  of  his  author,  moreover — 
which  is  a  great  point  of  recommendation.  On  the  whole, 
though  M.  Steveniers  is  not  a  Sivori,  he  is  a  very  excellent 
artist,  and  few  will  be  dissatisfied  with  him  in  his  post  among 
the  Beethoven  quartettists.  The  quartet  was  generally  well 
executed.  The  adagio  gave  M.  Steveniers  occasion  to  show 
that  he  is  quite  at  home  in  the  pathetie  and  expressive  style, 
and  many  of  his  readings  were  highly  poetical.  In  the  finale 
too,  his  execution  was  often  so  neat,  brilliant,  and  effective, 
as  to  elicit  marks  of  special  approval  from  the  audience.  In 
the  other  parts,  Sainton,  Hill,  and  Rousselot  were  all  that 
could  be  desired,  and  the  ensemble  was  generally  most  satis- 
faetory.  Some  exquisite  effects  were  produced  in  pianissimo 
passages,  which  did  not  pass  unnoticed. 

The  next  quartet  performed  was  ore  which  Beethoven 
wrote  in  1808,  seventeen  years  later  in  life — the  C  major,  from 
the  set  dedicated  to  Prince  Rasumowsky,  op.  59.  This  con- 
tains the  plaintive  and  mysterious  movement  in  6-8  measure, 
Jlniante  Qon  mpto  quasi  allegretto,  in  A  minor,  and  the  magni- 
408P(  Cug9#4  Fint^e,  wbioh  rank  among  the  mpat  astonishing 


fUSpiratiqps  of  |h9  gre(|f  pMlMaflt  We  fcff e  sq  ofteu  \ 
ijftpnted  apop  thf  bu^utjee  of  ibis  quartet,*  thjt  it  fa  «pi|f cf sh^ 
here  to  dwell  upon  them.  Suffioa  }^  ^^^^  i^  ^^  c^fpposed  wheu 
Beethoven's  second  style  had  attained  its  meridian,  when  he 
had  entirely  forgotten  Mozart  and  Haydn,  retaining  only  their 
peculiarities  of  form  which  he  had  developed  to  gigantic  pro* 
portions.  It  is  remarkable  throughout  for  savage  independence 
of  rhythm  and  harmony,  for  phrases  long-drawn  out  and  pro- 
tracted ai  inJiBHum,  for  unexpected  eadencee  and  hold  pro- 
gressions, for  pretty  melodies  cut  short  as  they  are  bom  or 
twisted  into  singular  proportions  by  the  wayward  and  patolanft 
fancy  of  .the  creator,  for  endless  suecessioas  and  repetitioas  of 
climaxesi  and  in  short  for  all  those  peculiarities  which  in  the 
Posthumous  Quartets  are  carried  to  the  very  utmost  verge  of 
musical  propriety,  and  sometimes  (must  it  be  said  ?)  tumble 
into  the  chasm  beyond*  Nevertheless  it  is  a  magnificent  work, 
the  genius  of  Beethoven  having  been  in  its  Veriest  prime  at  the 
epoch  of  its  production.  There  are  effects  in  it  that  of  themselves 
are  worth  a  whole  quartet ;  the  most  wonderful  example  we 
can  adduce  being  the  startling  interruption  of  the  climax  in 
the  coda  of  the  last  movement,  by  a  sjngle  note  (A  flat^  if  we 
recollect)  played  by  the  four  instruments  in  unison,  and  the 
unexpected  increase  of  power  and  fullness  of  effect  almost 
orchestral  that  distinguishes  the  resumption  of  the  coda,  and 
continues  augmenting  and  augmenting  till  the  v^ry  last  notes 
have  been  struck.  The  frenzy  of  genius  is  here  exerted  with 
a  grandeur  that  almost  terrifies. 

We  were  much  pleased  with  the  execution  of  this  wonder- 
ful quartet.  No  one  plays  the  "  Rasumowskys  Quartets '' 
with  more  fire  and  abandon  than  M.  Sainton ;  and  the  G  major 
suits  the  breadth  and  energy  of  his  style  better  than  i|ny  of 
them<  He  played  very  finely  on  Monday,  execution  and  style 
walking  hand  in  hand  up  as  far  towards  the  walls  that  human 
fallibility  is  destined  always  to  meet  in  its  march  to  perfection 
as  it  was  well  possible  for  human  fallibility  to  accomplish.  The 
value  of  M.  Steveniers  was  doubly  felt  in  this  quartet.  The 
manner  in  which  he  made  every  point  of  the  second  violin  tell, 
without  improper  obtrusiveness  on  the  unity  of  the  whole 
effect,  proved  him  an  excellent  musician  as  well  as  an  expel- 
lent  violinist.  Mr.  Hill,  on  the  tenor,  always  invaluable,  in 
the  C  major  quartet  comes  out  with  giant  force.  Mark  him 
in  the  fiorid  passage  of  the  trio,  in  the  sentimental  bits  of  the 
Andante,  and  in  the  numberless  traits  de  bravoure  of  the 
finale ;  in  each  and  all  he  is  excellent— quick,  steady,  ener- 
getic, and  effective.  Rousselot  has  made  these  quartets  an 
especial  and  laborious  study.  It  is  not  then  to  be  wondered 
at  that  he  is  acquainted  with  every  bit  of  light  aad  abade 
that  is  necessary  for  their  appropriate  interpretation,  and  that 
his  pure  and  classical  style  is  never  so  well  employed  as  what 
in  the  act  of  giving  them  utterance. 

The  third  and  last  performance  of  the  evening  was  the  B 
flat.  No.  15,  op.  127,  the  first  of  the  quartets  styled  <'  Poathu. 
mous/'  composed  in  1 824  (sixteen  years  after  the  second,  and 
thirty-three  years  after  the  first  of  those  included  in  the  |  ro* 
gramme),  and  dedicated  by  Beethoven  to  the  Ruseian  prinee* 
Galitain,  who,  though  a  zealous  amateur,  turned  out  idler  all 
but  a  scurvy  patron.  No  music  grows  more  upon  you  than 
these  Posthumous  Quartets.  At  first  they  seem  wild,  vague, 
rambling,  and  incoherent;  then  gleama  of  light  appear  to 
burst  out  here  and  there,  giving  us,  as  it  were,  glinpsea  of  a 
paradise  concealed ;  then  full  floods  of  glory,  in  the  form  of 
stately  and  transparent  melodies,  sinuous  and  long-drawn-oot, 
eloquent  and  persuasive,  winning  by  repeated  appeals  to  the 

*  Ptrformed  at  tbe  Moiical  World  Concert,  July  8,  18«6,  bV  Abl^'ifiWI^ 
HiU,  and  Booiislot,  of  tha  Bcatkorca  Qnaitet  8oci«tf . 

Digitized  by^^UOy  ItT 


THE  MUSICAL  WOKLD. 


167 


seat  of  passion  in  the  heart ;  then  harmonies  that  sparkle  and 
shine,  as  rubies  under  the  influence  of  the  sun  ;  thep  effects 
of  gigftQtic  pontr^t,  like  mighty  mountains  isolated  on  a  limit- 
less plain  ;  then  mshings  of  irresistible  sound,  like  the  roar 
of  Uie  ntighly  ocean,  beating  and  bellowing  with  eternal 
excitement,  or  like  the  torrents  of  some  huge  and  ever- 
tujnbling  cataract.  These  al  first  come  out  in  fragments, 
seemingly  unconnected ;  but  gradually  they  appear  to  melt 
into  one  particular  h\\e  ;  a  tone  sleeps  upon  the  whole,  as  the 
sto's  lights  more  or  less  bright  according  to  the  period  of  the 
day,  upon  the  bosom  of  the  earth ;  the  thought  of  the  com- 
poser, the  sentiment  of  his  work,  breaks  out  by  degrees,  like 
the  irtt  peepings  of  the  morning,  and  finally  the  whole  mean- 
ing finishes  upon  the  brain,  as  the  noon-day  sun  suddenly 
emerging  firom  behind  a  cloud,  or  some  tremendous  truth  but 
jus(  discoyered,  which  has  been  a  truth  from  eternity,  albeit 
humanity '9  imperfection  has  been  blind  to  its  manifestation. 
Wfii  have  had  our  doMbts  and  qualms  about  these  quartets. 
V#  would  fftiA  b«ve  tUoughl  them  perfect,  because  they  were 
Beethoven's ;  but  for  many  a  long  day  our  hearts  were  as 
stone  to  their  impression.  They  melted  not,  nor  touched  us. 
Strong  in  our  faith,  however — our  faith  in  Beethoven — we 
hav^  undergone  the  ordeal  of  influences  and  impressions  which 
Vf^  h^ye  faintly  striven  to  explain,  and  day  afttr  day  new  lights 
break  in  upon  us,  and  carry  us  further  and  further  towards 
conTiction* 

The  E  flat  quartet,  performed  on  Monday  night,  is  one  of 
thoee  most  likely  to  make  themselves  ultimately  understood. 
We  never  enjoyed  a  hearing  of  one  of  the  "  Posthumous*' 
more«  There  is  so  much  of  dim  grandeur  in  the  Maestoso ; 
of  {ms^ion,  brojcen  on  the  wheels  iu  the  Allegro  teneramente ; 
of  tenderness  and  loving  pathos  in  the  Adagio ;  of  capricious 
playfuUiees  in  its  twin-sister  that  mixes  with  its  being,  the 
Andanie  era  »oto ;  of  wild  mystery  in  the  Sckerno,  and  such 
a  mingling  of  the  whole  of  them  in  the  Fimaie,  that  it  is  impos- 
sible to  grapple  with  the  varied  intensity  of  our  sensations  in 
listening  to  it.  It  is  a  vagary — but  the  vagary  of  the  poet, 
nmgnificently  various,  ss  the  many-hued  clouds  that  wait  upon 
ikq  scu^t.  The  e^^ecutive  triumph  of  the  evening  was  decid- 
edly Uiis  quartet,  to  which  each  of  the  four  players  brought 
their  whole  amount  of  enthusiasm.  It  was  indeed  a  fine  per- 
formance. Though  Sainton  held  the  first  violin,  he  was  not 
first  violin,  for  Steveniers  played  up  to  him  so  admirably  that 
the  efifect  was  as  of  one  first  violin  playing  a  double  part. 
In  such  A  performance  station  could  not  be  taken  into  account ; 
vioUns,  tenor,  violoncello  were  united  into  one  loud  instru- 
nent  whieh  gave  utterance  to  the  eloquent  thoughts  of  the 
naglity  dead*— the  poet  who  sleeps  in  the  tomb,  while  his 
m^odies,  winged  cherubs,  fly  over  the  face  of  the  earth,  and 
deljght  mankind  with  their  beauty.  The  audience  were 
encbanted,  and  rewarded  the  four  executants  with  repeated 
biqrm  of  applaitse  and  an  enthusiastic  greeting  at  the  conclu- 
ttoi)«  M.  kousselot  has  thus  begun  the  season  of  1847,  in 
spite  of  sinister  events,  mo^t  propitiously. 

Among  the  company  we  observed  Mr.  and  Mrs.  Benedict, 
Miss  liorsley,  Mrs.  Anderson,  Miss  Kate  Loder,  Miss  Judine, 
(t^ie  charming  young  pianist  and  pupil  of  Moscheles,  who 
delights  in  giving  concerts  of  classical  music,  and  in  playing 
Beethoven's  concertos  with  full  orchestra,)  Mr.  Lindsay  Sloper, 
Mr.  Ferdinand  Praeger,  Mr.  Hogarth,  Signor  Piatti,  M. 
Lavigne,  Mr.  Robert  Bamett,  M.  Bouch^  (the  once  cele- 
brated violinist),  M.  Barret,  Mr.  Ella,  M.  £uf;ene  Coulon, 
14.  Jules  de  Qlimes,  and  many  other  distinguished  artists  and 
%9^t^9r8.  The  second  meeting  is  fixed  for  Monday,  the  22nd 
inst.    We  shall  attend,  and  strongly  recommend  our  readers 


to  follow  our  example.    At  all  events  no  nuisieian  should 
absent  himself  from  any  of  the  meetings. 

LOUA  MONTU.  ^ 

This  celebrated  d^inseuse  has  been  lately  cutting  capers  after 
her  own  peculiar  fashion,  in  Munich.  It  appears  that  she  is 
generally  accompanied  in  her  perambulations  by  »  novel  life- 
guardsman,  in  the  person  of  an  outrageous  semi-bull-dog^  who 
does  not  always  confine  himself  to  acting  qu  the  defensive,  but 
sometimes  indulges  iu  a  small  morceau  of  spontaneous  warfare, 
purely,  it  might  be  suppt^sed,  to  keep  his  tusks  in  practice.  On 
one  occasion  the  fair  denizen  of  Terpsichore  (as  the  Moaning 
Post  would  say)  was  taking  a  forenoon  promenade  in  Louis 
Street,  attended  by  her  strong-sided  champion,  and  ia  passing 
close  to  a  a  grape  waggon, 

"In  England  'twould  be  dang,  dust,  or  a  drty," 
it  seems  that  one  of  the  horses  stared  somewhat  impudently 
at  the  fair  lady,  at  which  Cerberus  took  umbrage,  and  without 
more  ado  flew  at  him,  and  fastened  his  teeth  in  his  throat* 
The  waggoner,  indignant,  rushed  upon  the  dog,  and  struck  him 
with  his  whip—  which  observing,  with  the  speed  of  lightning, 
the  irritated  Lola  rushed  u:  on  the  waggoner,  and  fractured  his 
proboscis  with  a  blow  of  her  par  ap/vte.  The  cartman  threw  up  his 
hands  to  feel  his  nose,  and  finding  the  damage  greater  than  the 
pain,  gave  vent  to  vollies  of  imprecations  through  his  fingers,  and 
calling  the  citizens  round  him,  denounced  the  damsel  with  the 
fatal  bull-dog,  and  still  more  fatal  umbrella.  Lola  endeavoured 
to  make  her  escape,  but  for  some  time  was  hedged  in  by  the 
crowd  that  had  gathered  at  the  call  of  the  damaged  waggonert 
all  of  whom  visited  hex  with  threats  and  oaths.  Bethinking 
herself  of  her  umbrella,  and  calling  on  Cerberus  to  lend  a  tooth, 
she  made  for  that  point  where  the  surrounding  enemy  was 
weakest,  and  striking  two  lookers  on  in  quick  succession,  she 
pushed  her  way  through  the  affrighted  remainder,  and  bolted 
into  a  druggist's  shop,  closing  the  door  after  her  with  so 
much  violence  that  every  pane  was  broken,  and  thus  shut 
herself  in  from  the  vengeance  of  her  pursuers.  The  druggist, 
though  a  staid  man,  was  inclined  to  ladies  and  bull- dogs,  so 
he  vowed  to  protect  Cerberus  and  Lola  from  the  rage  of  the 
populace.  By  this  time  a  crowd  had  gathered  round  the  door, 
led  on  by  the  waggoner,  protecting  his  ruptured  frontis- 
piece with  the  aid  of  a  red  cotton  pocket-handkerchief; 
nor  did  they  depart  before  they  had  demolished  every 
pain  of  glass  in  the  druggist's  house,  and  swore  to  return 
and  wieak  their  wrath  after  they  had  dined.  Lola 
escaped  through  a  back  door,  and  arrived  with  Cerberus 
at  her  hotel,  but  the  people  found  her  out,  and  besieged  her 
even  on  her  own  hearth.  They  threatened  dissolution  to  the 
house,  and  were  about  to  carry  their  resolves  into  execution^ 
when  the  city  guard  appeared,  dispersed  the  mob,  and  restored 
the  dancer  and  the  bull-dog  to  comparative  se'junty.  The  hst 
accounts  state  that  the  guards  still  watch  around  the  house* 
Lola  is  determined  to  leave  the  aflair  to  arbitration,  and  then 
to  leave  the  city.  A  surgeon  and  two  waggoners  will  be 
appointed  to  adjudicate  on  the  wholesale  value  of  a  nose,  upon 
which  Lola  will  refund  the  sum  awarded,  deducting  a  trifle  as 
compensation  for  the  loss  of  one  of  Cerberus's  eyes,  which  for- 
tunately was  blind.  The  entire  town  is  divided  for  and 
against  the  captivating  and  striking  danseuse,  but  from  all  we 
can  learn,  we  are  inclined  to  think  that  the  Noes  will  certainly 
have  the  worst  of  it. 


MADAME   BI8HOP   IN  THE   PROVINCBS. 

From  a  CarreipondenL) 

On  Tuesday  last,  Madame  Bishop  made  her  bow  in  the 
Edinburgh   Theatre,  in  Sonnambula.     She  received  a  most 


168 


THE  MUSICAL  WORLD. 


flattering  reception  from  a  full  and  highly  fashionable  audi- 
ence. The  opera  was  listened  to  throughout  with  great 
attention  ;  and  it  was  evident  that  much  was  expected  from 
the  heroine  of  the  evening.  In  the  opening  Cavatina, 
"  Dearest  Companions,"  Madame  Bishop  at  once  raised  her- 
self to  the  greatest  height  in  the  estimation  of  the  audience  ; 
her  most  exquisite  singing  producing  such  an  effect  on  her 
hearers,  that  they  could  not  refrain  from  interrupting  her  with 
manifestations  of  delight.  Every  point  of  Madame  Bishop's 
vocalizing,  every  artistic  and  delicate  effect,  was  responded 
to  by  the  house,  that  seemed  fully  to  appreciate  the  talents 
and  genius  of  the  sibger.  A  more  critical  audience  could 
hardly  be  assembled  within  the  walls  of  any  theatre  than  there 
was  at  the  Theatre  Royal,  on  Tuesday  evening.  The  artist 
could  not  have  been  done  greater  justice  nor  could  she  have 
received  a  greater  amount  of  homage.  To  say  the  truth,  an 
Edinburgh  audience  has  seldom  been  roused  to  such  a  pitch 
of  enthusiasm.  Generally  speaking,  our  audiences  are  not 
easily  excited,  but  when  they  are  excited  their  feelings  know 
no  bounds  Such  was  the  case  on  Tuesday  evening.  Madame 
Bishop's  splendid  acting  and  magnificent  singing  awoke  them 
from  their  natural  apathy,  and  almost  drove  them  wildT  They 
were  unprepared  for  so  wonderful  an  exhibition  of  vocal  and 
histrionic  powers  combined ;  and  though  they  expected  much, 
from  Madame  Bishop's  great  fame,  yet  the  reality  so  far  sur- 
passed expectation  as  to  produce  amazement  and  surprise. 
The  walls  of  the  Edinburgh  Theatre  have  not  been  asssailed 
by  such  deafening  clamour  for  many  years  as  hailed  them  on 
Tuesday  evening.  Madame  Bishop  was  twice  rapturously 
encored  in  the  finale — a  compliment  seldom,  if  ever,  paid  to  a 
singer  at  the  Edinburgh  Theatre  ;*-and  when  the  fair  vocalist 
came  before  the  curtain  to  answer  to  the  unanimous  call  of  the 
house,  the  entire  audience  rose  at  her^  as  they  were  wont  at 
Kean,  and  cheered  her  for  several  minutes.  So  much  for  en- 
thusiasm for  talent  in  Auld  Reekie.  Mr.  Reeves  performed 
Elvino  decently ;  and  Mr.  P*  Corri  but  indifferently.  The 
opera  was  well  got  up.  The  Sonnamhula  was  repeated  on 
Wednesday,  with  increased  effect  and  redoubled  enthusiasm. 
As  Madame  Bishops  singing  is  heard  oftener,  it  delghts  the 
more.  Like  some  singers,  she  does  not  strike  with  all  her 
powers  at  once,  and  leaves  1  title  or  nothing  to  after- hearing. 
Her  effects  do  not  evaporate  with  a  first  performance;  there 
is  always  something  new  to  astonish  and  enrapture,  and  even 
when  rapture  and  surprise  are  satisfied,  there  is  always  some- 
thing new  to  learn.  This  is  the  divinest  consummation  of 
art,  which  only  singers  gifted  like  Madame  Bishop  can  attain. 
To-night  the  Maid  of  Artois  will  be  produced,  of  which  you 
shall  have  due  notice  early  next  week. 

;from  t|^e  €ierman   of  €^i6t|)c. 

Continued  fntm  page  154. 

PART    II. CHAPTER    V. 

Thus,  in  She  social  whirlpool  did  Luciana  still  keep  urging  on 
this  bustling  life.  Her  court  daily  increased,  partly  because  her 
doings  were  exciting  and  attractive  to  a  great  number,  and  partly 
because  she  managed  to  gain  others  by  her  kindness  and  affability. 
Her  liberality  knew  no  bounds  ;  and  when  so  much  that  was  valua- 
ble and  beautiful  poured  in  upon  her,  through  the  affection  of  her 
aunt  and  bridegroom,  she  seemed  not  to  possess  anything  of  her 
own,  nor  to  know  the  \aluo  of  the  things,  which  they  had  heaped 
around  her.  Thus  she  did  not  hesitate  a  moment  to  take  off  a 
costly  shawl  and  hang  it  round  a  lady,  who  seemed  too  meanlv  clad 
in  comparison  with  the  others,  and  she  did  this  so  archly  and  dex- 
terously ^that  it  was  impossible  to  refuse  the  gift.  One  of  her  court 
always  had  a  purse,  with  the  office  of  making  enquiries  in  any  place 


they  entered,  conceruing  the  sick  and  aged,  and  of  relieving  their 
wants  at  least  for  the  moment.  Thus  in  all  the  country  round 
she  acquired  an  excellent  name,  which  nevertheless  caused  her 
much  inconvenience,  as  it  frequently  incumbered  her  with  idle 
paupers. 

But  nothing  so  much  increased  her  fame  as  her  remarkably  kind 
and  persevering  conduct  towards  an  unfortunate  young  man,  who, 
being  in  other  respects  handsome  and  well  made,  avoided  society, 
because  he  had  lost  his  hand,  though  honourably  in  battle.  This  disfi- 
gurement excited  in  him  so  much  melancholy  ; — it  was  for  him  such 
an  annoyance  that  every  new  acquaintance  had  to  be  informed  of 
his  calamity— that  he  chose  rather  to  shut  himself  up,  to  abandon 
himself  to  reading  and  other  studies,  and  to  have  nothing  more  to 
do  with  society. 

The  existence  of  this  young  man  did  not  remain  concealed  from 
Luciana.  Ho  was  forced  to  come  and  join  first  a  small  party,  then 
a  larger  one,  then  one  larger  still ;  she  behaved  to  him  more  agree- 
ably than  to  any  other,  and  by  her  lurgency  in  obliging  him,  con- 
trived to  give  a  certain  value  to  his  loss,  as  she  showed  herself  so 
active  in  replacing  it.  At  table  lie  was  forced  to  take  his  place  by 
her  and  she  cut  his  meat,  that  he  might  only  have  to  use  his  fork. 
If  persons  who  were  older  or  of  a  higher  rank  prevented  this  prox- 
imity she  extended  her  attention  over  the  entire  table,  and  the  hur- 
ried servants  had  to  compensate  the  young  man  for  that  of  which 
distance  threatened  to  deprive  him.  At  last  she  exhorted  him  to 
write  with  his  left  hand,  all  his  efforts  were  to  be  sent  to  her,  and 
thU9,  near  or  far,  she  always  stood  in  connection  with  him.  The 
young  man  did  not  know  what  had  befallen  him,  and  from  this 
moment  he  really  began  a  new  life. 

Perhaps  we  mav  imagine  that  such  conduct  was  displeasing  to 
the  bridegroom..  The  contrary  was  the  case.  He  considered  her 
endeavours  highly  meritorious,  and  wa^  so  much  the  more  satisfied 
in  this  respect  that  he  had  learned  to  know  the  almost  exaggerated 
qualities  by  which  she  contrived  to  remove  from  herself  cvery- 
uiiug  that  appeared  in  the  slightest  degree  critical.  She  wished  to 
fly  about  with  every  one  at  her  pleasure,  every  one  was  in  danger  of 
being  pushed,  pulled  or  otherwise  teazed  bv  her,  but  no  one  could 
venture  to  do  the  like  with  her,  to  treat  Ker  as  he  pleased  or  to 
return  a  liberty  which  she  herself  took,  in  the  slightest  way  ;  thus 
she  held  others  in  the  strictest  bounds  oi  decorum  towards  herself, 
while  towards  others  she  seemed  every  moment  to  be  overstepping 
them. 

Altogether  one  might  have  thought  that  it  was  her  fixed  maxim 
to  expose  herself  equally  to  praise  and  blame,  to  being  liked  and 
disliked  ;  for  if  she  sought  to  gain  people  in  various  w  ays,  she 
generally  spoiled  all  again  with  her  wicked  tongue,  which  spared 
nobody.'  Thus  not  a  single  visit  was  paid  in  the  neighbourhood, 
nor  were  she  and  her  party  ever  kindly  received  in  the  casties  and 
residences  without  her  showing  on  her  return,  in  the  most  reckless 
manner,  that  she  liked  to  regard  all  the  relatives  of  humanity  only 
on  the  ridiculous  side.  There  were  three  brothers  who  were 
overtaken  by  old  age,  while  complimenting  each  other  as  to  who 
should  he  married  first ;  there  was  a  short  young  lady  with  a  tall 
old  man  ;  there,  on  the  ccntrary,  was  a  little  active  man  with  an 
unwieldy  giantess.  In  one  bouse  you  stnmbled  over  a  child  at 
every  step  ;  another  never  seemed  full  to  her,  even  with  the 
largest  party,  because  no  children  were  present.  Old  married 
people,  she  thought,  ought  to  be  buried  as  soon  as  possible,  that 
somebody  might  laugh  in  the  house,  when  no  heirs  hud  been  given 
them.  Young  married  people  ought  to  travel,  because  a  domestic 
life  did  not  suit  them.  Just  as  she  dealt  with  persons  she  dealt 
with  things,  with  buildings,  with  house  and  table  furniture.  The 
decorations  of  walls,  above  all,  elicited  some  comical  remark.  From 
the  oldest  tapestry  to  the  most  modern  papering— from  the  most 
venerable  family  picture  to  the  most  trivial  copper-plate — all  was 
food  for  her  jeering  remarks,  so  that  it  was  a  wouder  that  for  five 
miles  round  anything  was  still  in  exbtence. 

In  this  negating  tendency  there  was  perhaps  no  malice,  properly 
so  called  ;  she  might  have  been  generally  impelled  by  a  wanton 
self-will,  but  in  her  deportment  towards  Ottilia,  there  was  real 
bitterness.  She  looked  down  with  contempt  on  the  calm,  uninter- 
rupted activity  of  this  dear  girl;  and  when  it  was  remarked,  in  the 
course  of  conversation,  what  great  care  Ottilia  took  of  the  gardens 
and  hot-houses,  she  not  only  made^a  jest  of  it,  while,  forgetful  of 


THE  MUSICAL  WORLD. 


169 


the  depth  of  winter,  she  appeared  to  wonder  that  neither  flowers 
Dor  fruit  were  to  be  seen,  but  she  fetched  so  much  verdure,  so 
many  branches,  so  much  indeed  of  everything  which  was  budding, 
and  empKyed  it  for  the  daily  decoration  of  the  rooms  and  the  table, 
that  Ottilia  and  the  gardener  were  not  a  little  hurt  at  the  destruc- 
tion of  their  hopes  for  the  ensuing  year,  and  perhaps  for  a  longer 
time. 

Jmt  as  little  did  she  allow  Ottilia  to  follow  in  quiet  her  domestic 
routine,  in  which  she  ordinarily  had  moved  so  commodiously. 
Ottilia  was  to  join  all  the  parties  of  pleasure  and  fsledging-ezpe- 
ditions  ;  was  to  go  to  the  balls  given  in  the  neighbourhood ;  was  to 
shun  neither  snow,  cold,  nor  strong  night-winds,  since  so  many 
others  cccld  bear  them  without  dying.  Ottilia  suffered  not  a  little 
on  this  account,  but  Luciana  gained  nothing  ;  for  although  Ottilia 
was  very  simply  clad,  she  always  was,  or  at  any  rate  seemed  to  be, 
the  most  beautihil  in  the  eyes  of  the  gentlemen.  A  soft  attracting 
power  asembled  all  the  men  around  her,  whether  in  the  extended 
spaces  she  occupied  the  first  or  tho  last  place.  Even  Luciana's 
bridegroom  conversed  often  with  her>  the  more  so  as  he  desired 
her  advice  and  co-operation  in  an  affa^  which  occupied  him. 

He  had  become  better  acquainted  with  the  architect,  had,  whilo 
over  his  collection  of  works  of  art,  talked  much  with  him  on 
historical  matters,  and  on  other  occasions,  especially  while  looking 
over  the  chapel,  bad  learned  to  appreciate  his  talent.  The  baron 
wa«  young  and  rich  ;  he  made  collections,  and  wished  to  build ;  his 
love  for  building  was  gre^t,  his  knowledge  of  it  was  small ;  and  he 
thought  that  in  the  architect  he  had  found  a  man  with  whom  he 
could  carry  out  several  of  bis  views.  He  had  communicated  his 
intentions  to  his  bride,  who  commended  him,  and  was  highly 
pleased  with  the  proposal ;  more  perhaps  to  detach  thd  young  mrin 
from  Ottilia  (for  she  thought  she  had  observed  in  him  something 
like  an  inclination)  than  because  she  thought  of  employing  his 
talent  for  any  purpose  of  his  own.  For,  although  he  had  been 
very  active  at  her  extempore  festivals,  and  had  offered  many 
resources  on  many  occasions,  she  always  thought  that  she  herself 
was  the  best  judge.  Moreover,  as  her  inventions  were  generally 
of  a  common-place  kind,  the  talent  of  a  clever  valet  was  just  as 
servicottble  to  her  as  that  of  the  most  eminent  artist.  If  she  wished 
to  pay  any  one  a  festal  compliment  on  his  birthday,  or  any  other 
day  of  note,  her  imagination  did  not  soar  beyond  a  votive  altar,  or 
the  coronation  of  a  living  or  plaster  head. 

Ottilia  was  able  to  give  the  best  information  to  the  bridegroom, 
who  hidd  asked  what  was  the  architect's  position  with  respect  to 
the  house.  She  knew  that  Charlotte  had  already  been  looking  out 
ft  situa'tion  for  him,  since,  if  the  company  had  not  arrived,  the  young 
man  would  have  retired  immediately  after  the  completion  of  the 
chapely  as  there  must  necessarily  be  a  pause  in  all  building  during 
the  winter.  Hence  it  would  be  very  desirable  for  the  clever  artist 
to  have  the  benefit  of  a  new  patron. 

The  personal  connection  of  Ottilia  with  the  architect  was  per- 
fectly pure  and  dispassionate.  The  agreeable  manners  and  the 
activity  he  had  displayed  in  her  presence,  had  amused  her  and 
pleased  her  like  the  vicinity  of  an  elder  brother.  Her  feeling 
towards  him  remained  on  the  calm  passionless  surface  of  con- 
unguinitv,  for  in  her  heart  there  was  no  place  left.  It  was 
completely  filled  with  her  love  for  Edward^  and  only  the  Deity, 
who  penetrates  everything,  could  share  this  heart  with  him. 

The  deeper  the  winter  set  in,  the  wilder  the  weather,  the  more 
impassable  the  roads,  the  greater  appeared  the  attraction  of  spend- 
ing the  decreasing  days  in  such  good  company.  After  a  little 
ebbing,  the  house  was  gradually  overflowed  by  a  multitude. 
Officers  from  remote  garrisons,  of  whom  the  more  educated  were 
very  acceptable,  the  ruder  very  annoying  to  the  party,  were  among 
the  number ,  nor  was  there  any  lack  of  civilians,  and  one  day  the 
Count  snd  Baroness  arrived,  completely  unexpected. 

Their  presence  seemed  first  to  create  a  real  court.  The  men  of 
rank  and  .M>cial  position  surrounded  the  Count,  while  the  ladies  did 
full  justice  to  the  ^aroness.  People  did  (not  long  wonder  to  see 
them  both  together  and  so  cheerful,  for  they  learned  that  tie 
Caunt's  wife  had  died,  and  that  a  new  union  would  take  place  as 
Sffou  as  etiquette  permitted.  Ottilia  remembered  their  first  visit — 
every  word  which  had  then  been  uttered  about  marriage  and  sepa- 
ration, union  and  division,  hope,  expectation,  self-denial  and 
resignation.     Both  persons,  then  completely  without  prospects, 


now  stood  boforo  her,  close  to  the  prombed  happiness,  and  an 
involuntary  sigh  escaped  from  her  heart. 

Luciana  had  scarcely  heard  that  the  Count  was  an  amateur  of 
music,  than  she  managed  to  get  up  a  concert,  at  which  she  wished 
to  sing  with  a  guitar-accompaniment.  Her  wish  was  fulfilled :  she 
played  on  the  instrument  with  some  talent,  and  had  a  pleasing 
voico.  As  for  the  words,  they  were  as  little  understood  as  when 
any  other  Gorman  beauty  sln^i^  to  tho  guitar.  However  all  assured 
her  that  she  sang  with  great  expression,  and  sho  could  well  be  con* 
tented  with  the  applause  sho 'had  received.  Only  a  strange  mis- 
chance befel  her  on  this  occasion.  There  was  among  the  party  a 
young  poet,  whom  she  particularly  hoped  to  oblige,  as  she  wished 
to  have  some  songs  by  him  addressed  to  herself,  and  hence  she 
cniefiy  sung  his  songs  on  this  particular  evening.  Ke,  like  all  the 
rest,  was  polite,  but  she  had  expected  more.  She  had  sometimes 
pressed  him«  but  could  get  nothing  further  out  of  him,  until  at  last, 
tn  a  fit  of  impatience,  she  sent  one  of  her  retinue  to  sound  him,  as 
to  whether  he  was  not  delighted  to  hoar  his  excellent  poems  so 
excellently  sung.  <'  My  poems  ? "  said  he,  with  astonishment ; 
then  he  added,  "  Excuse  me,  sir,  I  have  heard  nothing  but  vowels, 
and  not  even  all  of  these.  However  it  is  my  duty  to  show  my 
gratitude  for  such  a  kind  intention."  The  courtier  was  silent, 
while  the  other  tried  to  get  out  of  tho  affdir  with  some  well- 
sounding  compliments.  Luciana  gave  the  poet  to  understand,  in 
no  obscure  manner,  that  she  expected  something  written  expressly 
for  her.  If  it  would  not  have  been  too  hard,  he  could  have  placed 
before  her  the  alphabet  to  pick  out  at  pleasure  a  poetical  panegyric 
to  any  melody  that  might  bo  at  hand.  Nevertheless,  she  could 
not  get  out  of  this  affair  without  being  wounded  in  her  feelings ;  for 
she  learned  shortly  afterwards  that  the  poet  had  on  that  very  even- 
ing written  to  a  favorite  melody  of  Ottilia's  a  charming  poem,  the 
tone  of  which  was  more  than  complimentary. 

Luciana,  like  all  persons  of  her  kind,  who  constantly  minjple 
together  what  is  advantageous  for  them,  and  what  is  injurious,  now 
wished  to  try  her  luck  in  recitation.  Her  memory  was  good,  but 
her  style  of  delivery — ^to  speak  the  truth— was  mindless,  and  vehe- 
ment without  being  impassioned.  She  recited  ballads,  narratives, 
and  other  pieces  of  the  kind  usually  employed  for  declamation,  and 
had  contracted  an  unfortunate  habit  of  accompanying  her  words 
with  gestures.  Thus  the  properly  lyric  and  epic  were  unpleasantly 
jumbled  rather  than  connected  with  the  dramatic. 
^  The  Count,  who  was  an  acute  man,  and,  therefore,  soon  took 
a  survey  of  the  company,  with  their  inclinations,  passions,  and 
amusements,  induced  Luciana— happily  or  otherwise^to  try  a  new 
style  of  performance,  which  was  very  suitable  to  her  person.  **  I 
find,**  he  said,  *'  many  well-made  people  here,  who  assuredly  mu^t 
be  able  to  imitate  picturesque  movements  and  attitudes.  Should 
they  not  try  to  represent  real  well-known  pictures?  Such  an 
imitation,  if  it  requires  much  trouble  in  the  arrangement,  produces 
an  incredibly  charming  effect." 

Luciana  quickly  perceived  that  here  sho  would  be  quite  at 
home.  Her  fine  stature,  her  tall  figure,  her  face  reguLir  but 
expressive,  her  plaited  light-brown  hair,  her  slender  neck,— all 
seemed  made  on  purpose  for  a  picture  ;  and  if  she  had  known  that 
she  looked  more  beautiful  when  standing  still  than  when  in  motion 
— since  in  the  latter  case  a  certain  want  of  grace  often  marred  tne 
general  effect — she  would  certainly  have  given  herself  up  moro 
zealously  to  this  natural  sort  of  painting. 

They  looked  for  prints  from  celebrated  pictures,  and  first  chose 
tho  *'Bolisarius,"afker  Vandyck.  A  tali  well-made  man  of  a  certain 
age  was  to  represent  the  sitting  figure  of  tho  blind  general,  the 
architect  was  to  imitate  the  warrior  standing  before  him  in  mournful 
sympathy,  whom  he  really  somewhat  resembled.  Luciana  had 
half-modestly  chosen  for  herself  the  young  woman  in  the  back 
ground,  who  is  counting  out  a  liberal  donation  from  a  purso  into 
the  palm  of  her  hand,  whlio  an  old  woman  seems  to  be  dissuading 
her,  and  demonstrating  that  she  is  doing  too  much.  Another  lady, 
in  the  veiy  act  of  giving  alms  to  Belisarius,  was  not  forgotten. 

On  this  and  other  pictures  they  set  to  work  right  earnestly.  The 
Count^ave  some  binti^  to  the  architoct  who  forthwith  constructed  a 
theatre  for  the  purpose,  and  took  the  necessary  precautions  for 
lighting.  It  was  not  until  they  had  plunged  deep  into  their  preli- 
minary arrangement  that  they  perceived  their  project  required  a 
constderable  outlay,  and  that  many  requisites  were  not  to  be  ootained 


ITO 


THE  MUSICAL  WORLD. 


lA  k  country  place  in  the  middle  of  the  winter.  That  nothing 
migiit  interrupt  the  amusement,  Luciana  cut  up  nearly  the  whole 
of  her  wardrobe  to  make  the  diffbrent  costumes,  which  the  trtUts, 
irbiirarilj  enough,  had  represented. 

The  evening  arrlfed  and  the  performance  took  place  in  presence 
of  a  nvmerous  assembly,  and  with  irreat  applause.  Music  of  a 
•ignificant  character  served  to  raise  the  expectations.  The  "  Beli- 
tariut*'  was  done  first.  The  forms  were  so  suitabiei  the  colours 
wtre  so  happily  distributed  and  the  lighting  was  so  artistically  man- 
tcred,  that  one  really  supposed  one's  self  transported  into  another 
world.  Still  the  presence  of  the  real,  instead  of  the  merely  seeming, 
produced  a  kind  of  painfnl  sensation. 

The  curtain  fell  and  was  raised  again  more  than  once  in  compli- 
ance with  the  general  desire.  A  musical  intermezzo  then  amused 
tin  company,  who  wefe  to  be  astonished  bv  a  picture  of  a  higher 
kind.  This  am  Poiis^in's  a-eil-known  **  Ahasuerus  and  Esther." 
This  time  Lnciana  had  provided  better  for  herself ;  as  the  fainting 
quean  she  displayed  all  her  charms,  and  for  the  girls  who  supported 
har  sha  had  prudently  chosen  mere  pretty  Well-made  figures,  none  of 
which  could  ih  every  degree  compote  with  her  own»  Ottilia  ro- 
mained  etcluded  from  this  picture,  as  from  the  rest ;  to  rapreisent 
the  Jupi'er-like  king  on  his  golden  throne,  Luciana  had  selected  the 
handsomest  and  most  robust  men  of  the  party,  so  that  a  really 
incomparable  di>gree  of  perfection  was  obtamed. 

At  a  third  subject,  they  had  selected  the  so-cAlled  **  Paternal 
Admoaition,"  by  Torburg  ;  and  who  is  unacauainted  with  the  fine 
coppar-plate  by  our  Wille  from  this  picture  r  A  noble  knightly 
fatner  is  sitting,  with  one  foot  crossed  over  tho  other*  and  seems  to 
be  appealing  to  the  conscience  of  his  dausrhter,  who  is  standing 
bafbre  him.  She  is  a  majestic  person,  dressed  In  white  satin,  rich 
III  folds,  who,  though  only  seen  from  behind,  seems  to  indieate,  by 
her  whole  appearance,  that  she  is  collecting  herself.  Howaven  we 
see  by  the  mien  and  gesture  of  the  father,  that  the  admonition  is 
aot  very  rehement  ana  overpowering,  while  as  for  the  mother,  she 
laems  to  be  concealing  a  slight  degree  of  confusion,  by  looking 
iato  a  gla^s  of  wine,  which  she  is  in  the  act  of  drinking. 

This  was  an  opportunity  for  Luciana  to  appear  in  her  greatest 
brilliancy.  Her  tresses,  the  form  of  her  head,  the  back  of  her 
neck,  were  licantiful  beyond  measure,  and  her  waist,  which  was 
aiceediogly  slender,  and  but  little  shown  off  bvthe  modern-antique 
dress  worn  by  ladies,*  was  displayed  most  acfvantageously  in  the 
older  costume.  Moreover,  the  arehitect  had  taken  care  to  adjust 
the  ritth  folds  of  tho  white  satin  with  the  most  artificial  nature,  so 
that  this  living  imitation  was,  without  question,  far  superior  to  tho 
original  picture,  and  occasioned  universal  delight.  Tncre  was  no 
and  to  the  demands  fbr  repetition,  and  the  natural  wish  to  see  the 
facoofa  lovely  being  whose  back  they  hftd  looked  upon  so  long, 
gained  so  much  in  strength,  that  one  impatient  wag  cried  out  the 
words,  often  written  at  the  end  of  a  page,  *'  Tournezs'il  vous  plait,** 
and  met  the  approval  of  all.  However,  the  performers  knew  their 
advantage  too  well,  and  had  too  deeply  felt  the  meaning  of  these 
Works  of  art  to  comply  with  this  general  demand.  The  apparently 
tnodest  daughter  stood  quietly^  without  vouchsafing  to  the  spec- 
tatdrs  the  expression  of  her  countenance,  the  father  remained 
sitting  in  his  admonitory  position,  and  the  mother  did  not  move 
her  eyes  or  nose  from  the  transparent  glass,  in  which,  though  she 
appeared  to  drink,  the  wine  did  not  diminish.  We  need  not  say 
»  much  of  the  little  aflcr-pieces,  for  which  Dutch  scenes  of  inns  and 
hits  had  been  selected. 

The  Count  and  the  Baroness  took  their  departure,  promising  to 
return  during  the  first  happy  weeks  of  their  approaching  union  ; 
and  Charlotte  at  last  hoped,  after  painfully  toiling  through  two 
ikionths,  that  she  would  soon  be  freed  from  the  rest  of  the  company. 
Sha  was  certain  that  her  daughter  would  be  happy  when  the  first 
tumult  of  marriage  and  youth  had  subsided,  for  the  bridegroom 
considered  himself  the  happiest  man  in  the  world.  Having  a  great 
fortune  and  a  modest  disposition,  he  seemed  wonderfully  6attered 
by  the  privilege  of  possessing  a  lady  who  must  please  everybody. 
He  had  sttch  a  peculiar  way  of  rofening  everything  to  her,  and 
only  through  her  to  himself  that  it  produced  an  unpleasant  sensation 
if  a  new  comer  did  not  at  once  direct  all  his  attention  to  her^  and 
sought  to  come  into  closer  connection  with  himself,  without  troubling 

I    irf^Mrf    I  M  ■!!■■■       11  ■—     ■  III.  11.^      tm;,   :m.      ■■  ■   ■  1 1  ■  iin In     IJi 

•  Tfte  roftaaee  wal  written  in  ths  ^ys  of  the  «  short  waHU.'*— TaANSLAtoa. 


himself  particularly  about  her,  as  indeed  wai  often  the  casoi  etA^ 
dally  with  older  people,  on  account  ef  his  own  good  ^aalitiaa. 
With  tho  architect  matters  were  soon  settled.  In  the  new  year  he 
was  to  follow  the  bridegfoom^  and  spend  the  carnival  with  hia  in 
the  city,  where  Luciana  anticipated  the  greatest  deiighl  from  the 
repetition  of  such  beautifully  contrived  tabkakr,  and  frofa  a  haa- 
dred  thino;s  besides,  especially  as  her  aunt  and  bridegro'^m  seemM 
to  regard  as  trifling  every' expense  that  wa*  requifod  for  her 
amusement. 

A  general  departure  was  then  to  take  plhce,  but  thit  coald  fiot 
take  place  in  an  ordinary  manner.  Some  tolerably  loud  jests  were 
uttered  that  Charlotte's  winter-provisions  would  soon  be  eonsamed, 
when  the  gentleman,  who  had  represented  Belisarias,  and  Was 
indeed  sufficiently  rich,  being  carried  away  by  the  attraction  of 
Luciana,  to  whom  ho  had  paid  homage  fbr  to  lottg  a  time«  oriad, 
'*  Then  let  it  be  in  the  Polish  fashion.  Come  and  eomuaie  aie, 
and  thus  let  it  go  round ! ''  No  sooner  said  thin  done.  Laeiaaa 
consented.  The  following  day  everything  Was  peaked  up*  and  the 
wholo  maldtude  moved  off  into  mother  resideneeb  Ueretbefe 
was  room  enough,  Ymt  less  ^convenience  and  management.  Heaee 
arose  much  that  was  unsuitable,  and  this  first  made  Lueiataa  truly 
happy.  The  mode  of  life  became  more  and  mora  wild  and  dis- 
orderly. Bafiaee  in  the  deepest  snow,  and  other  iiitomnodioas 
•ports  of  all  sorts  aere  tentrived.  Ladies  could  na  more  etetade 
themselves  than  gentlemen^  and  thus  they  went  on,  hunting  sad 
riding,  sledging  and  rioting,  fh>m  one  estate  to  another,  till  they  at 
last  approached  the  capital.  Here  the  inlelligence  how  people 
amused  themseWes  at  court  and  in  the  city  gave  another  tdra  to 
tho  imagination,  and  drew  Luciana  and  her  train  into  another  sphere 
of  life.     Her  aunt  had  gone  before  her. 

F&oM  Ottilia's  diaby. 

la  the  World  we  take  crery  one  to  be  that  ^hxh  be  rcp'-cscctfl 
himself  to  , be— but  he  must' represent  something.  We  bear  the 
aunojing  better  than  the  insignificant. 

We  can  force  ever)' thing  upon  society t  excepting  that  which 
has  a  consequence. 

We  do  not  learn  to  know  people  when  they  come  to  U5»  To 
learn  their  real  peculiarities  wo  must  go  to  (hem. 

I  feel  it  almost  natural  that  wo  find  a  great  deal  of  fault  with  our 
visitors,  and  that,  as  soon  as  they  arc  gone,  wo  do  not  judge  them 
in  the  most  amiable  manner,  for  we  have — so  to  speak — a  right  to 
measure  them  by  uur  own  standard.  Even  intelligent  and  charita* 
le  men  scarcely  abstain,  in  such  cases,  from  a  revere  censure^ 

If,  on  the  contrary,  we  have  been  with  others,  and  have  seen 
them  in  their  ordinary  circumstances  and  habits,  and  the  situation 
which  is  inevitably  imposed  upon  them — have  seen  how  they  act 
in  their  own  sphere  or  adopt  themselves  to  events— it  is  malice  and 
a  want  of  understanding  to  find  that  ridiculous  which  for  more  thaa 
one  reason  we  ought  to  respect. 

By  what  we  call  conduct  and  good  manners,  that  should  be 
attained  which  otherwise  is  only  to  be  attained  by  foree  of  per- 
haps not  even  by  force. 

Intercourse  with  ladies  is  the  element  of  good  manners. 

How  can  the  character  and  peculiarities  or  the  individual  co-exist 
with  the  rules  of  social  life? 

Peculiarities  should  first  be  properly  brought  out  btr  social  life. 
Every  one  desires  what  is  important,  only  it  must  not  be  obtrusive. 

A  military  man  of  education  has  the  greatest  advantages,  both  in 
life  and  in  society. 

Rough  military  men  do  not  at  any  rate  depart  from  their  char- 
acter, and  as  there  is  generally  something  of  good  humour  concealed 
behind  their  strength,  they  are  quito  manageable  in  case  of  need. 

No  one  is  more  intolerable  than  a  clumsy  civilian.  W*e  have  a 
right  to  require  refinement  from  him,  as  he  has  sot  to  employ  biia* 
self  in  any  rough  occupation. 

When  we  live  with  persons  who  have  a  fine  feeling  for  what  if 
proper,  we  fed  an  uneasiness  on  their  account  if  anything  improper 
occurs.  Thus  1  always  feel  for  Charlotte,  if  anjr  mo  shakea  his 
chair,  because  she  has  a  mortal  dislike  to  the  practice. 

No  one  would  join  a  familiar  party  with  spectacles  on  hit  note 
if  he  knew  that  we  ladies  at  once  lost  the  pleasure  of  lookiag  at 
him,  and  conversing  with  him.  '  ,^ 

Familiarity)  iu  the  place  of  respect,  is  always  ridiaulous.   Ne  ana 


THE  MUSICAL  WORLD. 


171 


#oii]d  tiike  off  hit  hat  Iftmediately  he  had  paid  a  compliment,  if  he 
knew  hoikr  comical  it  looked. 

There  if  do  outward  mark  of  politenesa  that  may  not  have  a 
deep  social  cause.  A  right  education  would  teach  the  sign  and  the 
cause  together. 

Conduct  is  a  mirror  in  which  every  one  shows  his  image. 

Theie  is  a  certain  politeness  of  the  heart  which  is  akin  to  love» 
and  firom  which  springs  the  most  agreeable  politeness  of  external 
tonrtiict. 

Yolentary  independence  is  the  finest  situation,  and  how  would 
that  be  possible  without  love  ? 

We  are  oeYer  farther  from  our  wishes  than  when  we  fancy  we 
possess  the  olgect  of  our  desires. 

No  one  is  more  a  slave  than  he  who  considers  himself  free 
without  actually  being  so. 

A  pe^on  need  only  declare  himself  free,  and  that  mometit  he 
ftels  tb  be  confined.  If  he  tenturei  to  declare  himself  confined, 
be  feels  himself  fre«. 

Agalnsi  the  great  superiority  of  another  there  is  no  resource 
bet  loiro. 

There  is  something  frightful  about  a  superior  man  who  is  made 
much  of  by  stupid  persons. 

They  say  no  one  is  a  hero  to  his  vaht'ie'chambre.  The  reason 
is,  that  a  hero  can  be  appreciated  by  het-oes  only.  The  valet  will 
probably  know  how  to  estimate  those  of  his  own  class. 

Tlkere  is  no  greater  consolation  for  mediocrity  than  the  fkct 
that  geniua  is  not  immortal. 

Ihe  greateat  men  are  always  attached  to  their  age  by  a  weak* 


Persons  are  usually  thought  more  dangerous  then  they  really  are. 

Fools  and  clever  people  are  alike  Larmless.     Only  the  half-fools 
and  half  wise  are  very  oangerous. 

Art  is;,the  surest  uay  of  receding  from  the  world,  atid  the  surest 
way  of  connecting  one^s  sl^lf  with  it. 

Even  in  the  moment  of  the  highest  felicity  and  the  highest  need 
we  l«qliire  the  artist. 

Art  busies  itself  with  the  difficult  and  the  good. 

beeing  the  difficulty  easily  managed,  gives  us  an  intuition  of  the 
impossible. 

Difiiculties  increase  the  nearer  we  approach  the  goal. 

Sowing  is  not  So  troublesome  as  reaping. 

( To  be  continued.) 

V  TO  ptwrtit  tafSnndersiandiiijr,  it  inay  be  Stated  that  ths  eottyricrht  W  this 
»---ibsloin  solely  » the  trandatur. 


SONNET. 

no.  XXV. 

Though  oft  I  tell  thee  of  my  love,  I  fear 

Thou  thlnk^st  that  of  my  passion  much  I  feign. 
And  Seek  in  wantonness  thy  heart  in  pain, 

"While  my  own  heart  is  from  all  anguish  clear. 

Perchance  thou  think'st  1  like  to  see  thee  near. 
And  smile  on  thee,  and  bid  thee  Smile  again, 
To  fill  a  moment  ^ith  amusement  vain, 
nd  that  some  other  might  be  quite  as  dear, 
ost  thou  think  this  ?     My  life,  it  is  not  so  ; 
Thou  art  mine  all — to  inee  1  w  ildly  cling. 
As  he  thafs  drowning  grasps  the  i.elghbMi)g  tree. 

The  pasaine  signs  of  Sorrow  which  I  show 
But  faintly  indicate  my  suffering. 
Oh»  I  implore*  doubt  not  my  love  for  thee. 


N.  D. 


MU8IC   AT   MANCHESTER. 

(^om  our  oum  Correspondent  J 

Tbs  Hargreaves  Choral  Society  gave  a  dress  Concert  (the  fourth  of  the 
sixth  teries  in  the  Free  Trade  Hall,  Peter-street,  on  Thuisday  evening,  the 
i5th  ult.  The  progrsnnme,  a  curiosity  in  Its  way,  wholly  composed  t)f 
CletS  and  eHorUf  aft,  and  wholly  suitalfied  by  local ariisu,  merits  citation. 

Pa  St  I.w^OVertore  *M)herofi.**  Weher,  Chorus  Glee  with  an  orchestral  accom. 


"^^ 


Uuiiment,  '*  Give  me  the  harp,'*  Sir  J.  Sfevensom,  ^U,  Messrs.  Walton  and  J.  W. 
I^herwcM.  C'bonis  jBoprSni)  <*  Charity,"  KotHni,     dolo,  Mrs.  John  Wood, 


Cksrua  Qiss  witli  orchtstral  acoanj 
Solo,  Mr.  J.  jiv  Isherwood. 
Chorua,  "BHgnl  seofu  of 


scoanpaniueots  "Shades  of  ifaa  heroes,"  T.  Gooke, 
.^.Nocturne,  violin,  Mr.  C.  A.  8eymonr,  Panqfka. 
liberty^"  mbtr,    Soaae,  «Tes,  ^  m  Indian 


dram,"  Fernando  Cortes,  SirH.R  BUkop,    German  Glee,  «11ietiK>ItoSSS,'* 
Wemer.    Chorus,  '<  Tremble,  tremble,  Don  Giovanni,  illo«ir/. 

Part  n.-Overture,  *' Zampa,"  H«toW.  Chorus,  "The  Stonn  Seen V' Vir- 
fin  of  the  Sun,  Sir  H.  R.  Bithop.  Soli,  Mrs.  John  Wood,  Mrs.  Winterbottom, 
Mr.  Walton,  and  Mr.  J.  W.  Isherwood.  Chorus  Soprani,  "  Come  away  witli 
willing  feet,"  Martyr  of  Antloch,  Cudmore.  Chorus  Glee,  "  Strike  the  lyrei"  T. 
Cooke.    Choras,"  The  tiger  conches,"  The  Manifu:,  Air  tf.  A.  A<«A«!p.    Madngai, 


"  Lady,  when  1 


)id,"(A.D.  1859,)  WUhj/c.    Glee, 


.,^.    ,     Foresters,  sound  the  chetr- 

fiil  horn,"  Sir  H.  R.  BUkop,  March  and  Chorus,  "  Crown  ye  the  alters,"  RtBna 
of  Athens,  Beeikoven.  Chorus,  "FtU  high  the  generous  measures,"  Robert  le 
Diable,  Meytrbeer.  Chorus,  "The  Chough  and  Crow,"  Guy  Mannering,  Sir  B. 
R,  Bukop,  SoU,  Mrs.  John  Wood,  Miss  Parry,  and  Mr.  J.  W.  Ubanrood. 
Leader,  Mr.  C.  A*  Seymour.    Conductor,  Mr.  John  Waddington. 

The  above  is  the  reirarkable  scheme  alluded  to  last  week— a  daring 
innovation  on  all  established  modes  of  giving  concerts—ronsist- 
ing  of  no  less  than  sixteen  choruses  in  succession,  and  almost  witbodt 
intermission  !  The  avowed  object  of  the  dhectors.  in  thus  relying  on 
the  unaided  strength  of  their  excellent  choir,  was  to  reserve  the  funds, 
which  the  engagement  of  principal  singers  would  have  expended,  in 
order  to  give  the  Elijah  with  so  much  the  greater  effect  in  April  neat ; 
the  object  is  doubtless  a  goodone^butwe  doubt  whether  it  will  hi  fooiid 
to  have  been  good  policy.  The  Free  Trade  Hall  was  at  the  commencement 
tMn,  and  at  no  period  of  the  evening  was  near  so  full  as  at  any  of  the 
former  concerts  this  season.  We  noticed  a  number  of  new  faces  too, 
and  a  goodly  sprinking  of  juveniles— evident  proofs  that  many  of  tne 
members  had  given  away  their  tickets,  instead  of  attending  themselves  ; 
an  ominous  warning  that  the  great  body  off  subscribers  to  the  Hargrcavta 
Society  were  not  satisfied  with  the  bill  of  fare  provided  for  them. 
Weber*B  "Oberon"  was  given  in  first  rate  style;  the  horns,  which  so 
often  mar  this  overture  in  the  provinces,  were  perfection.  Sir  John 
Stevenson's  chorus  made  an  excellent  opening  to  the  voral  business. 
Mr.  Walton  and  Mr.  James  Isherwood,  two  of  our  resident  vocalists, 
acquitting-  tliemseives  very  well  in  the  solo  parts,  the  whole  being  more 
effectively  given,  thsn  we  ever  before  heard  it,  by  reason  of  the  great 
number  of  the  voices,  and  the  addition  of  the  full  orchestral  accompani« 
menls.  Rossini's  treble  chorus  "  Carita,"  was  charmingly  warbled  by 
our  Lancaster  witches  and  was  loudly  applauded.  Cooke's  glee,  "shades 
of  the  heroes,"  was  done  in  such  a  manner,  as  it  would  have  delighted 
him  to  hear,  it  is  a  glee  right  well  known  in  Manchester,  and  a  favourite 
too :  but  all  present  were  astonished  to  hear  it  given  with  such  precision, 
such  vsiiety  of  light  and  shade,  by  so  numerous  a  choir;  the  effect  too 
Of  the  band's  accompaniment  was  even  greater  in  this,  than  in  Sir  Ibfin 
Stevenson's  glee.  Mr.  James  Isherwood  deserves  favourable  mention  fw 
his  merited  ftelivery  of  the  solo,  and  the  choir  nnbounded  praiAt. 
The  forte  at  "Raise  ye  hundred  bards,"  with  full  band  and  chorus,  had  a 
thrilUnff  effect.  Mr.  Seymour  the  leader  of  the  band,  then  gave  Panofka's 
nocturne  on  the  violin,  in  a  finished  and  masterly  manner-^thocgh  he 
does  not  produce  the  tone  of  some  of  the  more  celebrated  ^  olo  violinists, 
he  makes  his  instrument  to  sing*  as  It  were,  and  his  execution  is  alwiys 
remarkably  neat  and  clear—he  was  much  applauded  The  next  piece 
which  calls  for  remark  is  Sir  H.  R.  Bishop's  round,  who  hag  heard  much 
of  our  Manchester  vocalists,  and  knows  what  they  can  do;  but  I  dare 
say  he  never  dreamt  of  their  ever  attempting  to  sing  his  beautiful  round 
as  a  chorus,  some  twenty  voices  or  so,  each  of  the  four  parts !  Ail  praise 
to  the  Hargreaves  Choir  I  they  accomplished  it  admirably,  and  we  were 
delighted  with  our  old  iavourite  in  its  dress.  Werner's  glee  although 
very  pretty  and  nicely  sung,  (still  chorus  all  through)  did  not  so  well 
merit  the  encore  it  received  as  Bishop's  round.  The  finale  to  Don 
Giovonni,  wound  up  the  first  part  with  some  capital  stuff  for  both  band 
and  choir,  and  it  went  adrokably.  The  second  piart  of  the  concert  did  not 
go  off  so  well,  thus  showing  that  the  ear  begins  to  tire  of  such  a  long 
succession  ot  choruses,  unrelieved  by  a  single  song,  and  that  the  singers 
tire  also.  Mrs.  Jolm  Wood  was  very  ineffective  In  the  solo  of  the 
"Storm  Scene,"  yet  how  well  she  gave  the  solo  in  "Charity."  The 
trebles  were  less  efiScient  in  the  soprani  chorus,  from  the  Martyr  of 
Antioch,  than  we  have  heard  them  for  a  long  time.  Tom  Cooke's  seoi  nd 
glee,  had  equal  justice  done  to  it  with  "Shades  of  the  Heroes,"  It  was 
most  beautifully  sung— not  so  the  Madrigal,  which  was  all  tut  a  brelk 
down.  Mr.  Edward's  horn  was  again  heard  to  advantage^  In  the  accom- 
paniment to  the  hacknied  chorus  of  "  Foresters  sound  the  cheerfol  horn/' 
which  went  very  smoothly.  Beethoven's,  March  and  Chorus,  "Crown 
ye  the  al'ars,"  would  have  made  a  noble  finish  to  the  concert,  as  it  is  a 
glorious  composition,  and  was  splendidly  given ;  but  no,  we  must  have 
two  more  choruses,  "  Fill  high  the  generous  measure,"  from  Robert  le 
Diable,  and  Bishop's  so  very  much  hacknied,  "Chough  and  Crow."  It 
really  is  not  doing  justice  to  the  Hargreaves  Choir,  or  the  indefatigable 
conductor,  Mr.  John  Waddington,  to  crowd  so  may  choruses  into 
one  evening's  performance,  to  say  nothing  of  the  extra  labour  and  dili- 
gence required  in  getting  them  up  ;  they  would  have  told  as  well  again 
il,  say  one  half  the  number  had  been  feiven,  and  those  interspersed  With  a 
due  mixture  of  songs,  duets,  '&c.  we  wish  to  see  this  society  second 
to  none  in  the  provintes :  hence  Vhese^i^fk^a  ^i  c^naamiit^as 


\T2 


THE  MUSICAL  WORLD. 


been  tried  in  this  concert,  vrhich  we  think  would  be  hazardous  to  the 
well  being  of  the  socieiy  to  repeat.  The  Hargreaves  Society  bus  a  charac- 
ter at  stake  now  that  will  not  admit  of  common  place  or  second  rate 
concerts,  and  we  trust  that  in  future  it  will  not  be  necessary  to  pinch  any 
one  concert  for  the  sake  of  another— but  that  the  entire  six  each  season 
be  made  as  attractive  as  possible  This  is  the  only  way  in  which  a 
large  number  of  subscribers  can  be  obtained ;  and,  without  means,  the 
society  falls  to  the  ground.  We  trust  that  "  Elijah/*  may  be  done,  as  it  is 
hoped  to  be,  in  April— and  that  we  may  ha?e  Miss  Birch,  Staudigl,  and 
Mendelssohn  on  that  occasion,  when  no  doubt  great  eclat  will  be  given 
to  the  Hargreave's  Choral  Society.  Jullien  had  the  Free  Trade  Hsli,  fuller 
than  ever,  on  Wednesday  last,  it  is  said  above  four  thousand  persons  were 
present.    He  is  coming  again  in  April  with  Pischek. 

HER  MAJE8TY>8  THEATRE. 

The  past  week  has  been  signalised  by  the  return  of  Made. 
Castellan  and  the  debut  of  a  new  tenor,  the  most  renowned 
of  the  actual  talents  of  Italy, — Signor  Fraschini. 

Neyer,  perhaps,  did  the  value  of  competition  receive  a  more 
striking  illustration  in  the  history  of  operatic  doings,  than  at 
the  present  moment.  All  the  world  considered  Mr.  Lumley's 
star  to  have  set ;  and  even  his  friends  despaired  of  its  ever 
appearing  agsin  on  the  horizon.  But  circumstances  lashed 
his  energies  into  exertion ;  and  throwing  off  a  supineness 
that  had  grown  upon  him  in  the  days  of  prosperity,  he 
displayed  qualities  of  enterprise  and  daring,  for  which  few 
would,  in  the  old  time,  have  given  him  credit.  "  Where,"  was 
the  question*  '*  will  Mr.  Lumley  get  his  tenors  ?*'  Mario  and 
Salvi  were  secured  elsewhere;  but  their  substitutes,  Gaidoni 
and  Fraschini,  have  been  tested,  and  are  found  worthy. 
**  Where,"  was  again  the  question,  *'  will  Mr.  Lumley  find 
his  barytones  ?"  Tamburini  and  Rnnconi  were  secured  else- 
-  where ;  but  in  their  stead  we  have  Coletti  and  Superchi,  who 
have  equally  undergone  the  ordeal  of  public  judgment,  and 
are  pronounced  worthy  of  public  approval.  The  name  of 
Lablache  stopped  the  moutii  of  conjecture,  when  it  opened  to 
prate  of  basses ;  and  as  if  that  were  not  enough,  there  comes 
a  Signor  Bouch^,  from  over  the  water,  who,  in  one  night's 
performance,  wics  himself  a  station  and  a  name.  Tl;e 
departments  of  soprani  and  coniraUi  were  less  easy  to  fill  up ; 
hut,  if  we  are  not  greatly  mistaken,  the  course  of  next  month 
will  unfold  a  no  less  satisfactory  solution  of  that  perplexing 
question.  Two  little  words,  displayed  in  large  Roman 
characters,  at  the  head  of  the  Opera  bills,  will  suffice,  for 
a  time  at  least,  to  draw  the  world  within  its  walls.  And 
if  the  spell  those  words  contain  prove  not  to  be  damnable 
sorcery  and  witchcraft,  their  influence  must,  perforce,  endure; 
and  thus,  a  season,  begun  in  the  darkness  of  despair,  will  end 
in  the  sunlight  of  exultation.  Much,  very  much,  depends 
not  only  upon  the  appearance  of  those  two  little  words  on  the 
posters  of  Her  Majesty's  Theatre,  but  on  their  turning  out  to 
be  worthy  of  the  halo  of  glory  that  has  shone  around  them 
through  the  haze  of  continental  rumour.  JENNY  LIND  is 
the  spell  that  must  diarm  the  tide  of  popular  favor«  and  cause 
its  waves  to  beat  upon  the  shores  of  Mr.  Lumley 's  territory. 
Meanwhile,  we  have  the  graceful  and  feminine  Castellan,  who 
will  help  the  improving  Sanchioli  to  sustain  the  ancient  and 
time-honored  Opera-house  in  its  battle  against  the  armies  of 
an  adverse  power. 

On  Tuesday  night,  Donizetti's  pleasing  opera  of  Lucia  di 
Lammermoor  was  given,  with  a  caste  that  excited  a  very  unani- 
mous and  accountable  curiosity.  The  story  and  the  music 
are  both  so  well  known  to  our  readers  that  we  are  saved  the 
necessity  of  commenting  upon  either.  I'he  characters  were 
thus  supported  : — Lucia,  by  Madame  Castellan — Edgardo,  by 
Signor  Fraschini — Enrico,  by  Signor  Coletti — Bidebent,  Arturo 
and  Kormando,  respectively  by  Signori  Solari,  Dai  Fiori,  and 


Guidi.  Let  us  begin  at  the  end,  and  dismissing  the  subordi- 
nates with  a  wordi  proceed  to  discuss  the  merits  of  the  piinci- 
pals.  Of  the  representatives  of  Arturo  and  Normando,  then, 
we  have  nothing  to  say  at  all ;  but  the  character  of  Bidebent, 
being  one  of  some  consequence,  we  should  wi^  to  have  seen 
in  more  efficient  hands.  Where  was  Frederick  Lablache,  an 
artist  ever  welcome  to  the  public  for  his  own  sake,  no  less 
than  for  that  of  the  name  he  bears,  and  one  in  every  respect 
more  competent  to  sing  and  act  the  part  than  the  gentleman 
to  whose  care  it  was  entrusted  ?  The  pui  lie  have  a  right  to 
put  this  question,  and,  as  the  public's  representative,  we  put  it 
for  the  public.  Where,  then,  was  Frederick  Lablache,  who  on 
such  an  occasion  should  have  been  called  upon  to  complete  the 
strength  of  the  caste,  and  ensure  the  well-going  of  much  that 
is  important  in  the  agreeable  music  of  Donizetti  ?  We  feel 
assured  that  the  management  will  not  answer  the  query,  and 
therefore  put  it  twice,  as  a  sign  that  it  is  unanswerable. 

But  to  something  more  agreeable.  Madame  Castellan  baa 
returned  to  us  with  her  wonted  charms  of  person  and  manner, 
her  delicious  freshness  and  wonderful  corcpass  of  voice,  her 
facility  in  the  use  of  florid  ornament  and  rapid  utterance  of 
notes — ^in  short,  with  all  the  characteristics  that  have  gained 
her  distinction,  and  these  strengthened  and  improved  by  the 
beneficial  influence  of  a  long  (perhaps  too  long)  repose.  Her 
impersonation  of  the  beautiful  character  of  Lucia  is  marked 
by  many  very  high  excellencies,  accompanied  by  some,  not 
very  striking  defects.  Nothing  can  be  more  prepossessing  than 
her  first  two  acts.  The  pensive  heroine  of  Scott,  with  an 
enthusiastic  temperament  concealed  under  the  covering  of  a 
gentle  and  innocent  bearing,  like  water  that  is  the  deeper 
from  its  stillness,  was  before  us,  with  all  the  interest  that 
belongs  to  our  recollections  of  one  of  the  most  pathetic  of 
romances.  Her  first  duet  was  charmingly  given.  In  the 
finale  to  the  second  act  there  was  the  same  wonianly  grace, 
but  a  wat\t  of  intensity,  which  is  the  principal  drawbaidk  to 
Madame  Castellan's  becoming  an  artist  of  the  first  rank.  In 
the  third  act,  the  mad  scene,  one  of  the  triumphs  of  Persiani, 
in  her  hands  was  deficient  in  reality ;  as  a  dramatic  effort, 
iadeed,  it  is  beyond  her  power.  But  her  singing  was  very 
artistic,  and  her  execution  of  fioriture  and  passages  of  energy 
was,  in  many  instances,  astonishing.  She  was  warmly  greeted 
on  her  entree,  liberally  applauded  throughout  the  opera,  and 
recalled  upon  the  stage  several  times.  That  Madame  Castellan 
is  a  very  great  favourite  with  the  public  is  indisputable ;  and 
it  is  equally  certain  that  she  is  an  accomplished  artist  and 
deserving  of  her  popularity. 

Signor  Coletti,  in  Enrico,  displayed  the  fisulta  and  beantiea 
we  have  already  recorded  of  his  talent.  His  voice  and  atyle, 
though  the  one  is  superb  and  the  other  agreeable,  are  both 
somewhat  monotonous.  The  former  produces  much  the 
effect  of  a  fine  organ-pipe,  being  equally  resonant  and  mag- 
nificent, and  equally  incapable  of  gradations  of  tone;  the 
latter  fatigues  by  its  want  of  variety.  We  have,  moreover,  to 
reproach  Signer  Coletti  for  dragging  certain  passages  in  the 
second  finale,  so  much  so  as  to  spoil  the  connection  and  damage 
the  effect  of  the  music.  Mr.  Balfe  should  put  hie  veto  upon 
thia.  In  other  respects  we  can  praise  Signor  Coletti  without 
difficulty.  He  is  evidently  a  ^ood  musician,  and  his  value 
in  the  concerted  music  is  inestimable.  His  airs  are  alwaya 
effective,  for,  though  he  lacks  energy  and  colour  in  his  acting, 
he  has  a  large  amount  of  impulsive  expression  in  his^  singing. 
Moreover — and  this  after  all  must  weigh  heavily  in  the  scale- 
take  him  for  all  in  all,  balancing  his  merits  and. his  defects,  it 
would  be  difficult  to  match  him  at  the  present  moment,  were 
Mr.  Lumley  to  acour  the  whole  of  Italy  for  another- ^^^^T^ 

Digitized  by  VnDOQ  IC 


THE  MUSICAL  WORLD. 


n3 


In  regard  to  Signor  Frascbini  we  roust  speak  more  at 
length.  First,  it  may  not  be  out  of  place  to  give  a  sketch  of 
his  tersonal  history,  for  which  we  are  indebted  to  the  Morn- 
ing Ppsi: — 

**  Signor  Fnscbini  was  bom  at  Padua,  and  was  destined  to  become  a 
member  of  the  medical  faculty.  He  bad  already  undergone  aeTeral  yean' 
gtody  at  the  celebrated  university  of  ttiis  dty,  when  a  maeilro  of  the  name 
of  Moretti,  haviiiit  heard  him  hum  tunes  as  he  wallced  with  him  on  the 
promenade,  was  so  struclc  by  his  tastp,  that  he  induced  him  to  adopt 
the  musicaJ  profession.  He  began  his  career  as  a  singer,  in  the  cathedral 
of  Psdua,  and  in  18219,  made  his  debut  at  Beigamo,  iu  the  small  part  of 
Soderigo.  AX  that  time  the  fttiwa  dotmOt  who  performed  the  part  of 
Detdemima,  was  Mademoiselle  Castellan.  In  1840  he  appeared  for  the 
first  time  at  La  Scala,  in  Marino  Foliero,  He  has  sung  since,  at  various 
th^tres  in  Italy.  Pacini  composed  for  him  Sappho,  La  Fidanxata  Corta, 
Oraxi  S  Curiaci ;  Verdi  Alzira,  and  Mercadante  U  Protcritto,  The  San 
Carkm  has  been  his  chief  head>quarters  lately.  He  has  also  performed 
with  success  at  Vienna." 

One  thing  is  certain,  that  Signor  Frascbini,  at  the  present 
moment,  enjoys  the  highest  reputation  of  all  the  Italian 
aingera,  and  before  discussing  his  merits  it  is  but  just  to 
acknowledge  the  liberality  and  enterprize  of  Mr.  Lumley  in 
engagirg  him.  It  was  incumbent  on  the  director  of  «Her 
Majesty's  Theatre  to  give  his  patrons  and  subscribers  the  op- 
portunity of  hearing  this  great  Italian  artist;  but  managers  are 
not  always  ready  to  do  what  is  incumbent  on  them,  and  in  the 
present  case  Mr.  Lumley  might  decently  have  excused  himself 
from  entering  into  the  present  engagement  since  he  had 
already  secured  the  serricea  of  ^  celebrated  tenor,  whose 
abilities  the  public  had  acknowledged  and  applauded  as  first- 
rate.  We  allude,  of  course,  to  Signor  Qardoni.  Mr.  Lumley 
has,  therefore,  accomplished  more  than  was  requwed  of  him  ; 
and  in  treating  with  Signor  Frascbini  for  the  present  season, 
has  voluntarily  incurred  an  addition  to  the  current  expenses 
of  his  establishment  to  the  tune  of  something  like  £4000. 
The  Morning  Chronicle  itself  woujd  hardly,  we  imagine, 
refuse  this  acknowledgment  to  Mr.  Lumley's  spirit  and  deter- 
mination to  suport  the  dignity  of  his  theatre  "  under  circum- 
stances of  peculiar  difficcdty."  Signor  Fiaschini  is  a  singer  of 
the  Duprez  school.  His  voice  is  a  tenore  robusto  of  immense 
power  in  the  'higher  range,  of  great  flexibility,  and  of  good 
quality  throughout.  He  -sings  entirely  from  the  chest,  and 
can  produce  the  higher  notes,  up  even  to  B  flat,  with  pro- 
digious facility.  His  voice  is  evidently  under  his  entire 
oontiol.  There  is  never  the  least  appearance  of  effort  in 
what  he  does,  and  his  passages  of  energy  are  delivered  with 
aatonishing  effect.  He  has  a  straightforward  manly  style, 
occasionally  disfigured  by  exaggeration,  but  generally  nn- 
afiected  and  pure.  His  intonation  is  seldom  at  fault.  He 
phrases  well,  enunciates  his  words. with  great  distinctness, 
and  never  slackens  his  energies  in  the  concerted  pieces,  a 
quality  in  which  yoiur  great  tenors  are  too  often  wanting. 
These  aire  his  beauties.  His  defects  may  be  recorded  in  fewer 
words.  His  execution  is  unfinished ;  a  group  of  notes  seems 
to  trouble  him  sadly,  and  his  endeavours  at  ornament,  rare 
we  admity'are  nearly  always  abortive.  His  lower  and  middle 
notes  are  less  powerful  than  the  higher ;  indeed,  the  tone 
seems  to  increase  as  the  scale  ascends,  no  notes  in  his  voice 
being  more  effective  than  the  F,  G,  A,  and  B,  flat.  Of  his 
command  of  these  he  gives  a  remarkable  exemplification  in 
ihe  finale  to  the  second  act,  at  the  instant  of  the  malediction. 
As  an  actor,  Signor  Fra;»cbini  has  many  good  points;  a  kind 
of  rough  manliness  that  serves  his  turn  admirably  in  passages 
where  passion  and  energy  are  acquired  is  the  predominant 
characteristic  of  his  talent.  He  acts  (as  he  sings)  much 
better  in  violent  than  in  tender  situations.  His  gestures  are 
somewhat  angular*  and  his  fwees  partake  largely  of  the  melo- 


dramatic  extravagance  which  seems  to  be  inseparable  from 
the  Italian  dramatic  school.  Nothing,  for  example,  could  be 
more  grotesque  than  his  manner  of  saluting  the  audience,  in 
answer  to  the  demonstrations  of  approval  with  which  he  was 
so  prodigally  honoured.  His  attitudes  were  for  all  the  world 
like  those  of  Crispin,  in  the  old  French  comedies.  It  would 
serve  no  purpose  to  follow  Signor  Frascbini  through  the  opera. 
Sufi&ce  it,  though  the  first  duet  (vrith  Castellan)  produced  very 
little  impression,  the  audience  seemed  to  grow  into  a  liking  of 
the  singer,  as  the  opera  proceeded  and  the  greetings,  at  first 
cold  and  chary,  gradually  swelled  into  enthusiasm,  and  ulti- 
mately burst  forth  like  the  lava  from  Mount  Etna,  at  tlie 
famous  passage  of  "  the  curse,"  which  induced  the  Swan  of 
Pesaro,  in  one  of  his  waggish  moods,  to  christen  him  the 
**  tenore  delta  maledizzione,'*  He  was  encored  in  this,  which 
he  delivered  with  amazing  force,  and  repeated  it  with  redoubled 
vigbur.  We  must  avow,  en  passant,  that  we  prefer  the  mode 
in  which  the  incomparable  Rachel  breathes  the  curse,  in  Les 
Horaces ;  a  withering  malediction  which  would  astound 
Niagara  into  silence.  The  natural  effect  of  such  a  dramatic 
passage  gains  little  or  nothing  from  vociferation.  Never- 
theless, Signor  Fraschini's  curse  has  its  peculiar  effect 
upon  the  audience  ;  and  this  is  likely  to  endure,  in 
despite  of  the  scoffs  and  jests  so  liberally  administered 
by  the  Morning  Chronicle  Boreas,  who  would  fain  blow 
the  whole  establishment,  vocal  and  instrumental,  of  Her 
Majesty's  Theatre  off  its  legs.  In  the  dying  scene,  Signor 
Fraschini  fell  far  short  of  the  vocal  excellence  of  Rubini,  and 
of  the  truthful  pathos  of  Mario;  but  his  simple  unaffected 
reading  was  superior  to  the  rapid  hysterics  of  Moriani.  On  the 
whole,  we  are  bound  to  say  that  the  new  tenor  in  no  degree 
belies  his  reputation.  Let  Italian  enthusiasm*  be  taken  at 
its  proper  value,  and  Signor  Fraschini  may  be  said  to  have 
fulfilled  the  expectations  entertained  of  him.  His  reception 
was  highly  flatterirg,  and  the  applause  was  genuine.  He  was 
once  or  twice  encored »  and  recalled  more  than  once  or  twice 
upon  the  stage. 

That  fewer  rehearsals  had  been  accorded  to  Lucia  than  to 
La  Fitvoriia  was  evident  from  the  exertions  of  the  band  and 
chorus,  which  albeit,  often  effective  and  in  many  places 
admirable,  were  now  and  then  so  much  at  fault,  that  but  for 
the  readiness  and  experience  of  their  accomplished  conductor, 
Mr.  Balfe,  they  must  have  been  at  a  stand  still.  On  this  point 
we  would,  with  submission,  remonstrate  with  Mr.  Lumley  and 
his  excellent  chef  dorchestre.  After  such  a  display  of  power 
and  accuracy  as  was  evinced  on  the  first  performance  of  La 
Favoriiaf  amateurs  and  judges  will  be  content  with  nothing 
less  than  that  gradual  and  unfailing  progress  towards  per- 
fection  which  the  means  of  the  establishment,  carefully 
fostered,  cannot  fail  of  attaining.  We  will  give  Balfe 
another  season,  after  the  present,  to  become  as  good  as  Mr. 
Costa,  or  anybody  else  you  please.  It  must  not  be  forgotten 
that  there  is  a  mighty  difference  of  position  between  two 
conductors,  one  of  whom  has  had  a  band  many  years  under 
his  control,  while  the  other  is  saddled  with  a  heterogeneous 
army  of  instrumentalists,  gathered  from  east,  west,  north, 
and  south,  unused  to  each  other,  unused  to  the  method 
of  the  director,  and  unused  to  orchestral  playing  alto- 
gether.  This  represents  precisely  the  relative  positions  of 
Mr.  Balfe,  and  Mr.  Costa.  How  much  then  does  it  redound 
to  the  credit  of  the  former,  that,  with  scarcely  a  month's 
experience,  he  has  already  advanced  so  far  on  the  road  to  per- 
fection. There  are  points  in  Mr.  Balfe's  orchestra  that  cannot 
be  too  much  commended  ;  and  none  of  them  is  more  worthy 
of  note  than  the  precision  and  unanimity  with  which  the  reci- 


:^ 


1?4 


THfi  MUSICAL  WORLD. 


tatives  (the  modt  ffdgetty  part  of  a  mod&rfi  Italiah  opetia)  are 
ftccompahied.  Much  of  this  no  doubt  is  to  be  traced  to  Mr. 
Balfe'd  bdng  himself  ati  admirable  musician,  and  otle 
thoroughly  acquainted  with  all  the  exigencies  of  recitative  ; 
but  great  credit,  nevertheless,  is  due  to  his  men  for  the  care 
and  attention  with  which  they  follow  his  directions.  We  Shall 
wait  for  ^ome  improvements  that  are  hinted  at  in  one  or  two 
departments  of  the  orchestra,  and  we  shall  then  see  wliat  the 
spirited  director  can  effect,  backed  by  his  new  reinforcements. 
The  wood  and  brass  instruments  want  mending  in  several 
particulars ;  the  viulinswant  weeding  ahd  strengthening  ;  the 
i^'nofs.  Violoncellos,  and  b  isses  want  (strong  as  are  the  two 
latter  departments)  still  further  strength ;  and,  to  conclude, 
the  "  kitchen  flirniture,"  as  musicians  expressively  term  the 
lioisiei'  instruments  of  brass,  eteel,  and  sheepftkin,  wants  sub- 
duing. But  all  this,  we  are  sUre,  will  in  due  tjme  be  effected. 
Aftef  the  opera,  the  picturesque  ballet  of  Cora/m' was 
repeated,  the  gracetul  and  finished  Hosati  dividing  the  enthu- 
siasm of  the  audience  with  the  naive  and  fascinating  Marie 
Taglloni.  A  word  ih  praise  of  Madlle.  Petit  Stephan's 
charming  pantomime  and  artistic  dancing,  in  the  part  of 
Bertha,  hitherto  unthinkingly  overlooked,  must  stand  here 
as  an  acknowledgment  of  her  excellence,  and  a  reparation 
for  a  slight  by  no  means  intended.  The  house  was  exceedingly 
full. 

On  Thursday  we  had  a  variety  of  performances,  in  the 
usual  manner  of  the  off- subscription  nights.     Though  we  do 
not  sympathise  with  the  form  of  these  Thursday-entertain- 
ments, we  cannot  deny  that  they  offer  an  immense  attraction 
to  casual  visitors  of  tlie  theatre,  especially  those  who  come 
from  the  provinces,  and  who  can  only  set  aside  a  day  of  two 
to  see  aud  hear  the  "  licms"  of  the  metropolis.     On  this  occa- 
sion the   performances   commenced   with  Lucia,  which  was 
given  entire,  Castellan  and  Fraschini  singing  much  better  than 
before,   and   the  band   and   chortis  evincing  a  much  closer 
acquaintance   with   the   score.       The  opera   went  off   with 
acclamations,   and    the    principal  vocalists   werb  repeatedly 
applauded,  encored,  and  recalled  before  the  curtain.     After 
the  opera,  a  diverti$$tmeut,  composed  by  M.  Paul  Taglioni, 
undt'r  the  title  La  Slavonienne,  was  very  cleverly  executed  by 
Mdlle.  Rosati  and  the  author.     This  is  a  pas  de  caracthe, 
but  there  is  very  little  remarkable  in  it,  or  in  the  music  to 
which  Signor  Pugni  has  set  it,  and  an  attempt  to  encore  it 
was  successfully  opposed.    We  have  seen  a  much  better  dance 
of  the  kind  (and  better  executed  too)  by  Mdlle.  Cerito  and  M. 
St.  Leon.     A  selection  from  La  Favorita  came  next  in  order. 
In  this  was  included  the  two  tenor  airs  from  the  first  and  third 
acts,  which  Signot  Gardoni  sai.g  in  such  a  finished  and  elegant 
manner  as  to  elicit  an  encore  for  both.     As  yet  it  must  not 
be  concealed  that  thi«  admirable  tenor  is  the  great  card  o\ 
Mr.  Lumley's  new  exportutions      His  voiCe  is  beautifUl  and 
powerful  enough  in  all  conscience,  and  his  talent  is  of  that 
artistio  and  attractive  kind  that  appeals  with  equal  eloquence 
to  musicians  and  to  the  laity.     Signor  Bouch6  also  took  part 
In  these  fragments  from  Donizetti's  great  work.     He  sang  the 
fine  duet  from  the  first  act  with  Signor  Gardoni,  and  acquitted 
himself  well,  although   here  and  there   his  intonation  Was 
uncertain,  the  result,  we  are  induced  to  believe,  of  a  nervous- 
ness which  the  clever  and  pains-taking  artist  has  failed  hitherto 
to  overcome.    At  the  fall  of  the  curtain  Signor  Gardoni  wasre- 
calledand  rewarded  with  fresh  manifestations  of  public  approval. 
The  performances  concluded  with  Cor  alia,  in  which  Rosati  and 
Marie  Taglioni  were  once  more  applauded,  encored  and  other- 
wise complimented.   The  talent  of  these  charming  dans^ses  is 
of  that  varied  and  refined  order  thdt  their  efforts  never  titd, 


and  the  oftener  they  ard  se^n,  the  more  they  art  admired. 
The  house  was  crowded  in  every  part. 

Ere  concluding,  we  may  mention  that  the  SoftiUMi6irib» 
will  be  performed  on  Thursday,  with  Gardoni  in  Elf Inif,  illd 
Castellan  in  Amina.  Carlotta  Grifli*  the  peerlessi  the  In- 
comparable enchantress  of  the  dance,  has  returned  to  Paris 
laden  Avith  new  laurels  won  in  the  city  of  the  C&sart.  Aflet 
appearing  for  a  few  nights  in  a  new  ballet  that  is  preparing 
for  her  (La  Taitienne,  the  music  by  Adolphe  Adam,)  she  wili| 
we  expect^  come  to  Engknd  and  once  again  oar  eyes  will  be 
intoxicated  with  a  sight  of  the  ethereal  Giselle,  the  innoeailt 
and  lovely  Esmeralda.  Among  the  opera  on  dUs  we  tAhf 
mention  a  rumour  that  Balfe's  opera  of  FaUtaff  will  bf 
revived  when  Lablache  arrives.  The  management  eoald 
scarcely  adopt  a  step  more  likely  to  turn  out  profitable* 
Falstaff  is  one  of  the  most  attractive  works  of  its  pfolifi6 
composer,  whose  popularity  is  increasing  every  day^  and  whose 
talents  and  zeal  have  at  length  succeeded  in  vanquishing  all 
the  prejudices  and  sophistry  that  were  clamorous  at  the  firtt 
announcement  of  his  engagement  as  director  of  the  band  et 
Her  Majesty's  Theatre,  We  are  mistaken  in  Mr.  Lumley  if, 
t)y  this  time,  he  is  not  thoroughly  convinr*ed  of  the  valoe  eAd 
ability  of  his  new  conductor,  successor  to  the  admirable  Cesu, 
though  he  be. 
I    ■      .         I  ■       '  ■  II  ifj 


FOREIGN  INTELLIQENCC. 

Frankfort.— (From    the    Frankfori    Obtetver^    SuHddjf 
Feb.  21.) — ^The  concert  of  Mr.  Aguildr  always  presents  arieK 
assortment  of  interesting  things,  and  this  artist  knows  well 
how  to  unite  the  varieties  of  which  a  concert  should  eonsist^ 
to   form  a  tasteful  and  harmonious  whole.     Mendel ssohfl'l 
quartette  for  piano,  violin,  viola,  and  violoncello,  a  composi^ 
tion  of  which  we  cannot  write  too  highly  (in  the  German 
papei*  are  twelve  lines  on  this  exquisite  qtiartette,  containing 
the  highest  praise),  led  the  way,  and  its  fierv  and  predM 
performance  by  Messrs.   Aguilar,    Eliason,    Bockmuhl,  and 
Dunnenberg,  lefl  nothing  to  be  desired.     A  fantasia  for  the 
piano,  of  his   own  composition,  f^ave  Mr.  Aguilar  H  gpdod 
opportunity  to  distinguish  himself  as  a  pianist,  not  only  boM 
and   finished,   but  powerful  and  brilliants      Without   doin^ 
honlage  to  fashion,  this  still  youthful  artist  has  treated  hfs 
instrument  in  a  manner  peculiar  to  himself,  and  thorgh  nfeve^ 
losing  his  individuality,  leaves  the  same  charming  impression 
on  his  audience  as  the  performance  of  a  Hummel,   or  k 
Thalberg  might  have  done.     A  concertante  for  plattb  aftft 
violoncello,  b)  himself  and  Lyepenowski,  contains  txtteiiiUlf 
pleasing  and  uncommon  parts ;  among  which,  we  must  metitloH 
the  andante,  in  which  the  loW  strings  of  the  violoncello  arensM 
with  excellent  effect,  and  which  was  admirably  given  by  M; 
Bockmuhl. — [The  young  English  artist,  cf  whom  the  tof^^ 
going  speaks  so  highly,  is  mentioned  in  terms  of  equal  fldtnt« 
ration,  both  as  pianist  and  composer,  by   the  Didaskatia,  Of 
24lh  Feb.,  the  Hanam  Zerlung,  of  20th,  and  the  FraHkJari 
Conversations  Blats,  of  the  26th  Feb.     This  Con^rt  Wil 
attended  by  all  the  English,  of  any  distinction,  in  Frankfortj 
numerous  Germans,  Russians,  &c. 


DRAMATIC  INTELUQBNGBi 

Drurt  Lane. — Mr.  Bunn  has  announced  hi«  benefit  fof 
Monday  next,  and  has  issued  a  bill  of  such  great  and  teriedl 
attraction  as  must  necessarily  command  a  bumper. 

Adelphi.  —  A  new  melodramatic  piece,  (torn  the  pen  of 
Mr.  Buckstone,  entitled  The  Flowers  of  th$  Pitrestt  wai  pro* 
duced  here  on  Thursday  evening,  and  ni«t  with  the  moei 
unequivoeal  siiccess.     Thi  Fibers  tf  ih%  Fwut  to  <m4  ef  ^l6(fC 


THE  MUSICAL  WOKLD. 


176 


feMt  dnmai  Vtt  hhv^  leen  W  this  thfeatr^  for  a  Very  \ohg  t!tfte» 
It  liM  plot,  bcidetil,  situation,  character,  and  humoUf  irt 
ftbutidknce.  It  affords  Madame  Celeste  excellent  scope  fof 
her^  excellent  acting;  it  gives  room  to  Paul  Bedford  and 
yS  riffht  for  all  sorts  of  drolleries  and  gags  ;  it  offers  a  vehicle 
to  ^  Mrs*  Fitawilliam  for  some  fine,  broad,  hearty,  domestic 
paiuUiig)  and  pfovide§  Misd  Woolgat  an  bpporluftity  for 
distinguishing  herself  by  her  Very  pretty  and  naive  acting  as 
fc  Gipsy  boy.  Nbr  must  we  forget  the  chaiacter  awarded  to 
thai  dramatic  ogrfe,  0.  Smith,  who  appears  as  a  hybred  Vir* 
ginius,  and  draws  cadent  tears  from  t»e  pathetics  of  the  guU 
lery.  We  have  forborne  to  give  an  analysis  of  the  plot,  firstly* 
OB  ftccouDt  of  the  manifest  absurdity  of  giving  an  analysis  of 
arty  plot  !o  general ;  and.  secondly,  on  account  of  the  mani- 
fest abfiordiky  of  giving  the  plot  of  the  Phtvers  of  the  ibf-esi 
Itt  pattitMlar,  k^  it  would  be  doing  no  justice  to  Mr.  Suck* 
«OAe  ft  adlftfhlblfe  and  simple  story.  The  characters  were  all 
supported  with  great  effect.  Madame  Celeste,  as  Cynthia,  a 
romantic  and  passionate  Italian  Gipsy>  was  exceedingly 
happy^  and  received  great  applause  throughout.  Miss  WooU 
gar  as  Lcmuelj  the  Gip.*y  bdy^  looked  most  winning,  and 
played  most  charmingly.  Mrs.  Fitiwilllam,  as  ft  home  bred 
Ofbsy,  was  drairatically  t-eal.  Wright,  as  a  Cheap  Jack,  was 
droller  thfeii  ever,  and  Paul  Bedford  followed  close  on  ilie 
heels  of  Mr.  Wright  in  comic  excellence.  The  Flvwete  of 
the  Forest  was  uproariously  applauded*  and  all  the  performers 
were  called  for  at  the  end ;  after  which  Mr.  Bttckstone  was 
snminoned  a]to»  and  made  his  bow. 


COMCEhtS. 
Ahcient  CoNctats.— the  seventy.first  season  of  these  fashion* 
iA!f'v  *  ®°"  antiquated  musical  assemblies  (originated  irt 

1776)  eoBUHenced  on  Wednesday  cveniiiar.  in  the  Hanover-iduiire 
Roows,  wilder  ihe  direction  of  bis  Royal  Hii;ha«ss  the  Dale  of 
UaitibntJge.  We  have  to  record  nothing  novel  in  the  aspect  ol 
affaiff,  present  or  prospective,  us  regards  the  directionf  th* 
orchestral  and  choral  department  are  similar  to  those  of  precedirtf 
seasotis  j  the  same  vocalists  smile  upon  us  i  the  same  proeramml 
starci  apOli  ns  i  the  same  aristocratic  frigidity  prevails ;  and  the 

I?*?!  ..T;1T^1'  p'*"'**!^'  ''^^.•"  «"•.  ^^^y  ^''  ^^^^y  t^«*Hop  ^a^ 

Wore  poht«  in  hifiposuion  to  the  orchestra  than  he  was  last  year. 
fcr  inrteatl  of  t)reFentin^  the  skirts  of  his  coat  to  the  gaze  of  the 
instrumentalists,  he  now  poses  himself  sic^eways.  thus  makin? 
betwech  the  audientfe  and  the  orchestra,  a  cotnpromiso  of  his  fron^ 
J!5'?'*-J?*?  was  effected  at  the  suggestion  of  Prince  Albert, 
attd  is  ceHalnly  In  better  taste  than  the  position  ufually  occnnird 
bV  the  conducrof.  Mr.  Lodcr's  death  has  deprived  the  orchestra 
Of  a  ffiost  efficient  leader,  and  it  seems  that  the  managing  committee 
of  the  Ancient  Concerts  have  concluded  upon  having  no  leader 

fL"**"!.*^*.*^®"^*:^^"'"^®^  ^"*^®  '  for  though  Mr.  t.  Cooke  holds 
tfte  notttitiBl  position  of  first  %iolin,  the  sole  couductorshin  and 
leadership  have  virtually  merged  Into  one.  thus  lolloping  out  the 
plans  adopted  m  all  continental  orchestras.  Mr.  Lucas  continues 
to  preside  at  the  organ.  The  eight  directors  of  the  Ancient  Con- 
eeru  arc  the  King  of  Hanover,  Prince  AlbeH,  the  Duke  of 
Cambridge,  the  Archbishop  of  York,  the  Duke  of  Wellington. 
Eafi  Howe,  and  the  Earl  of  Candor.  Sir  W.  Curtis  is  treasurer, 
W.  A.  Oreaterex,Eiq..  secretary  and  librarian,  and  Mr.  Lonsdale 
lttb.lresstiter.     The  lolloping  is  the  programme  of   Wednesday 

I  litf!_A-7Si#'*'"f-m"  A"tlem,  Zadokihc  ^rief^t,  NanM  Recit,  Alas! 
I  iltld.-^Al^  If  guiltless  blood.  (Susannah,)  Jiafldet.  Chorus.  Sanclus- 
Quartet,  Beaeditrus -Solo,  Agnus  Del.  MtznrL    Reels  Chi  ier  iX  Sml 

Piat  U.^Overiure.  (Occasional,)  ffandei.     Air,  Throunh  tlife  land  so 
I-ively  blooming,  jAthaliah,)  UaiM.     Giee.  Oh,  birJ  of  eve    jL^ttof 

tfajr^  GlMfas,  Qkiria  In  exceisls,  PttgoktU  Aria,  La  vfodetta,  (Le  Kossi 


dl  Figaro,)  Mwart.  Roclt,  Lovinski.  hai  eoR-^Dufttdi  Porto  I  ti  liicio  * 
(LwjoVUka,)  Mey9r,  Chorus,  The  Lord  shBlI  rtigti,  (Israel  m  Bg^pt,) Handel', 

The  entire  absence  of  noveltjr  in  the  aoove  programme  renders 
coinment  entirely  superfluous.  The  choruses  were  executed  with 
a  kind  of  coarse  energy  that  passes  here  for  eicelleoce,  but  does 
not  please  connoisfeurs.  The  band  was  more  zealous  than  efficient, 
and  the  general  tendency  of  the  whole  performance  was  slovenly 
and  slow.  The  only  remarkable  feature  in  the  vocal  music  was 
Mr.  Lockey^s  very  artist-like  interpretation  of  the  air,  *'  In  native 
worth.'*  from  the  Creation,  Tho  other  vocalists  were  Made. 
Caradori  Allan,  Misses  Bassano,  the  two  Misses  Williams,  and  Mr. 
F.  Labiacho.  The  letter's  rendering  of  "  La  Vendetta,**  from 
Piguro,^  the  way,  was  deserving  of  all  praise.  Mr.  Blagtove 
played  Handers  concerto  admirably.  Applause  is  not  permitted 
at  these  entertainments,  which  induces  a  frigidity  that  Is  enhanced 
by  the  general  chaiacter  of  the  selection,  which  is  oidinaclly  of  the 
dullest  kind.  A  number  of  personages,  •♦  illustrious  by  birth,* 
were  ]>rcsent— the  most  illustrious  of  whom  was  the  Duke  of 
Welltegton.  The  room  was  but  thinl/  attended  ;  however,  these 
concerts  must  have  some  frefh  blood  infused  into  them,  cr  they 
will  die  some  day  of  their  own  torpidity.  They  are  vastly  ex- 
clusive and  very  expensive,  considering  their  merits.  Something 
better  might  surely  be  got  of  them. 

Mr.  Dando's  QuAaraT  Concbbts.— Mr.  Dando's fourth  Quartet 
Concert  took  place  on  Monday  evening  in  the  Throne-room,  Crosby* 
Hall.  W«  were  glad  to  find  that  the  programme  announced  bad 
the  effect  of  bringing  together  all  the  subscribers,  for  the  room  was 
quite  full  before  the  concert  commenced.  The  bill  of  iare  was  aa 
follows : — 


PAtT  I.-Quartet  in  E  major*  No.  2,  Op.  m^  for  two  vioUns.  violo,  and  vlplon- 

'''ffl5f&"?*'^..*^*^*«.^°"^:y->    ^£»*-  ~  Aria,  MM  Dolby.  **atliimlofflifS 
-n-i  K-i  ^^u^  „  Motart.    Qu4rt«t  in  t),  Vn  7,  Op  16,  tor  t«o  violins,  vtota,  aad 


w^'     I'^ft  s^r^  amiii  SAVV 

qnel  bel  tig^lio,'*  Motart.    vutrtei  in  u,  wo.  ,,  ^^  .^. .-«  ,.«.„.., 

violooreUiiL  Mewn  Dando,  G«ttle,  W.  ThomM.  and  Lucas,  Moxart. 
^.^^""L  ll.-Quinlet  in  G  minor, (Dcdicatedto  0.  Perkins, Esq  ' 
tlolih,  Vi(»'ft,  VioIbUcdlo,  aaU  contra  baiao,  Meters.  Dorrellt  Dai  _  « 

Luca*,  and  G.  Si  vern,  G.  A.  Alni^a*ren     Hobj^a,  Miss  Doibvi  "  Moi««i7mut'l 
fi*J?  ;  I- Q"3?^K™**""*'''»»"  i/«irfe/W»and  //a«^^MffjiM.~ Quartet  in  Kitmior. 


^«'.r"'^  ...- -.Hjiwiick  in  \f  minor, (1/eaicaiea  lo  0.  Perklnii,  Esq. J  fOrplSn6/bHfe. 

tlolih.  Htf'ft,  VioIbUcdlq^aaU  contra  baiao,  MeisTs.  Dorrell,  Dando,  W.  TtioaiS 

.  A.AInitfa»ren     Hotixa,  Miss  Dolby)  "  Moijienrnui'* 

B?l:i2:  ^."*!SP**^J?  **.  ^"*  lUsomouski)  tor  two  violins,  viola,  and  violoneeHo! 
Mtsi'rs.  Dandd,  Gattie.  W.  lhoma...ai.d  Lucas.  Betthuvtn,  The  Vocal  Masic 
accon.panied  on  the  PianOfbl^e.  by  Mr.  W*  Durrell. 

The  quartet,  by  Muhling.  Is  a  pretty  Composiildtt,  the  fiftt  move- 
ment and  echtrzo  being  the  best  p<irtiou.  The  Andante  is  tho 
learned  but  uninspired  exercise  of  a  deter  itiusieal  student,  and  the 
Finale  is  a  *  fugue**  without  dlgnity4  It  was  exceedingly  well 
plaved,  and  fVom  ita  belnr  quite  netr  etched  some  interest.  Miss 
Dl Iby  sang  Mtiart's  *•  Quando  uilro'  delightfully,  particularly 
a  recitative  which  preceded  It,  beginning  "  A  qu^sto  senoJ' 
Mozart's  quaitet,  No.  7,  was  a  most  charming  performancei  leaving 
really  noihing  to  be  desired.  Next  came  a  most  interesting  work 
—a  qultitet  br  the  jBa^/zsAma«,  Macfarren-*so  clever,  so  beatllilul, 
as  to  render  It  worthy  of  a  place  In  any  programme,  and  by  the 
side  of  any  author.  The  players  seemed  to  think  so,  for  they  all 
seemed  to  exert  themselves  to  the  utmost  to  give  it  effect.  The 
result  was  most  satislactorv,  and  the  audience  gave  most  unequivo- 
cal proof  ol  the  pleasure  they  cxpcticnced  in  ilsteniog  to  St  by  the 
burets  of  applause  which  fillowed  each  movement.  Mr.  Dorrell, 
perhaps,  never  placed  Dioro  finely,  and  no  praise  could  bo  too  high 
lor  Mr.  C.  Severn's  reading  and  cxecuiion  of  the  double  bas^  part. 
I  he  ••  Barcarole"  very  narrowly  escaped  an  encore.  Of  the  two 
songs  which  Miss  Dolby  sang  lu  the  second  part,  the  last  is  the 
most  elective,  fehe  sang  it  with  a  grace  and  elegance  that  won 
an  encore  from  all  paru  of  the  room.  Mr.  Dorrell  accompanied 
the  tocal  music  with  the  (rare  and  attention  of  a  true  artist.  We 
now  come  to  the  grand  effdrt  of  the  evening—  Becthoveti*s  seventh 
quartet.  The  party  had  evidently  made  up  their  minds  to  do 
justice  to  the  composition,  and  it  was  dear  that  great  care  had 
been  taken  In  rehearsifig  it.  The  first  and  second  movemeote 
were  very  finely  pla\ed.  In  the  adaj?lo,  Mr.  Dando  had  again 
the  mistortune  to  break  bis  first  String ;  aud  alihouvh  another  instru 
nient  mas  handed  to  him  withrut  stop  or  noise,  the  absence  of 
equally  fine  quality  in  iU  tone  was  clearly  perreptlblc.  In  the 
Fii.alc  Mr.  Dando  resumed  his  own  violin,  but  it  VIras  evident  that 
the  instrument  \«as  a  Utile  unsettled  i  and  althou&fh  it  would  be  di^ 
ficult  to  point  out  any  particular  passage  that  suffered  from  the  ac- 
cident, we  should  have  been  vlad  if  it  had  not  happ^paiit  tlAiiieQaikt 
of  the  muiic  aa  well  as  the  piayerDigitized  by  VntJOy^lL 


1T6 


THE  MUSICAL  WORLD. 


Tbz  Sixth  Comcbrt  of  Sacbbd  Music  was  held  on  Friday 
eyenini?  last  at  Crosby  Hall,  Miss  Mounsey  as  heretofore,  directing 
and  presiding  at  the  organ.  The  Misses  Steele,  Cubitt,  Bassano,  and 
the  Messrs.  Lockey  and  J.  A.  Novello  were  the  vocalists.  The 
selections  were  made  from  the  works  of  Travers,  Keller,  Cherubini, 
Handel,  Arne,  Mozart,  Weis,  Graun,  Weber,  Nenkomm,  Kucken, 
and  some  lesser  lights.  The  Hall  was  respectably  attended,  and 
the  performance  gave  every  satisfaction.  Miss  Mounsey  deserves 
thi)  greatest  credit  for  the  unexceptionable  manner  in  which  the 
concerts  of  sacred  music  are  produced.  They  are  like  to  improve 
the  taste  of  the  city  amateurs. 

ExvTEB  Hall. — The  third  Concert,  illustrative  of  the  history 
of  English  music,  in  aid  of  the  Hullah  Testimonial  Fund,  was  held 
on  Monday  evening  last.  The  concert  as  before  was  divided  into 
two  sections,  the  one  of  sacred,  and  the  other  of  secular  music. 
The  first  portion  consisted  of  some  compositions  of  J.  Bishop,  Wel- 
don,  Croft,  Greene,  Boyre,  and  Nares :  tne  secular  part  was  made  up 
of  Melections  from  the  works  of  Aldrich,  Travers,  Arne,  Jackson, 
Cooke,  and  Batishill.  The  principal  vocal  performed  wei€  Mrs. 
Weiss  and  Miss  Doval,  and  the  Messrs.  Manvers,  W.  H.  Seguin, 
and  Mr.  Machin.  Mr.  Willjr's  concert  band  attended,  and  proved 
highly  efficient  in  the  orchestral  department.  The  members  of 
Mr.  Hullah's  upper  singing  school  formed  the  choral  force.  Mr. 
May  conducteo,  in*an  admirable  manner,  and  Mr.  Oliver  May  pre- 
sided at  the  organ  v  ith  musician-like  skill.  With  these  statistics  we 
must  needs  close  our  notice,  having  noticed  the  previous  perform, 
ances  at  length,  merely  adding  that  it  appeared  to  us  that  the  choir 
was  hardly  so  effective  as  on  former  occasions.  The  next  concert 
will  take  place  on  Monday,  April  12th. 

Amateur  Musical  Society. — On  Friday  evening,  the  5th  inst. 
— ^10  other  words,  if  they  be  correct,  yesternight  week,  the  Amateurs 
gave  their  third  concert  at  the  Store  Street  Rooms.  The  pro- 
gramme was  mcst  excellent,  and  comprised  specimens  of  mo«t  or  the 
great  schools,  ancient  and  modern,  as  the  reader  may  judge  if  he 
only  take  the  trouhle  to  read  it. 

Part  I.  -  Overture  "  Barbiere,"  i2<w«ni  Symphony  No.  I,  Spohr.  Ada- 
'  I,  Allegro,  Larghetto  CoA  Moto,  Scherzo,  'Finale  Allegretto.  March, 
Midsummer  Nighfs  Dream,'*    Mendelssohn  Bariholdy. 

Part  II.— Overture  *'  Zauberflote,,"  Mozart.  Operatic  Selection,  by  Negri, 
from  *'  Robert  le  Diable,"  Meyerbeer.    Symphony,  No.  2.  Beethoven,    Ada- 

S'o,  Allegro  Con  Brio,  Larghetto,  Scherzo  Allegro,  Finale  Allegro  Molto. 
verture  "  Lacdes  Fees,"  Auher. 
No  selection  could  be  happier  made  with  an  idea  of  suiting  all 
tastes  than  the  above,  and  whether  he  were  classieits  or  romancist,  he 
must  have  been  equally  well  satisfied  with  the  bill  of  faro.  The 
band  was  in  capital  trim,  and  performed  the  various  morceaux  with 
an  evident  relish  lor  their  beauties,  and  a  vigourous  determination 
to  do  or  die. 

Mr.— —-We  beg  pardon  and  omit  the  overture  to  his  name 
Balfe,  or  Maestro  Balfe,  if  it  like  you  better,  or  cA^A  or  what  you 
will,  was  the  head  and  front  of  all  this  excelling,  and  kept  the 
determinate,  though  haply  somewhat  juvenile  band, — as  nathless, 
all  things  must  Grrow— in  such  Napoleonic  regulation  as  equally 
proved  his  watchfulness  and  his  care.  Balfe  is  in  reality  the  Arie, 
of  the  orchestra,  he  does  his  spiriting  gently,  hovering  about  un 
perceived  among  the  instruments,  now  perched  on  the  violin,  o* 
concealed  in  the  bell  of  the  horn,  listening  for  some  anti-Jarret^ 
note,  and  anon  he  wings  his  way  to  the  double  bass  to  detect  some 
flaw,  or  he  visits  the  flute,  and  oboe,  and  roams  about — 

"  From  wood  to  brats,  from  brats  to  string, 
To  do  his  gentle  spiriting.'' 

being  almost  possessed  of  ubiquity,  like  the  birds,  as  Sir  Boyle 
Koach  said,  and  briefly  performing  the  office  of  manifold  con- 
ductors, though  these  had  all  been  good  men  and  useful.  To  speak  a 
little  less  in  *'  Ercles'  vein,**  the  performance  on  Friday  evening 
was  more  than  creditable,  it  was  highly  meritorious,  and  the 
executants  already  exhibit  manifest  signs  of  improvement,  which  we 
are  delighted  to  record,  as  our  feelings  strongly  lean  towards  the 
success  of  the  Amateurs.  The  rehearsal  for  the  fourth  concert  took 
place  last  night. 

Ma.  Hbnry  Russell's  Vocal  Entbrtainmknts  arc  given  every 
evening  at  the  Strand  Theatre,  and  afford  delight  and  amusement 
to  crowded  audiences.  Mr.  Honry  Russell  is  one  of  the  most 
popular  of  all  the  monologue  concert  givers.  His  voice  is  power- 
ful, snd  not  devoid  of  sweetness,  possessing  great  capacity  to  adapt 
Itself  to  serious  and  comic  singing,  of  which  he  makes  admirable 


glo, 
»Mi< 


use  ;  and  as  a  dramatic  vocalist  off  the  stage  he  certainl  v  is  not  sur- 
passed. With  such  recommendations  it  is  no  wonder  that  Mr.  H. 
Russell  should  have  established  himself  so  firmly  in  tho  estimation 
of  native  and  transatlantic  audiences.  We  attended  on  Monday 
evening  at  the  Strand  Theatre,  and  left  at  the  end  of  the  perform* 
ances,  quite  satisfied  that  Mr.  H.  Russell  is  a  genius  gui  generis. 
Every  song  was  encored,  and  a  new  one  introduced  in  the  repeat, 
so  that  tho  visitor  to  the  Strand  Theatre  had  two  entertainments 
in  place  of  one.  The  principal  songs  given  were,  '*  The  Slave 
Ship,"  "  The  Pauper's  Drive,^  "  The  Song  of  the  Shirt,"  •«  The 
Maniac,**  and  <<  The  Gamblers  Wife.**  Besides  these  Mr.  Russell 
gave  several  nigger  songs,  and  related  several  nigger  anecdotes. 
Some  of  his  black  jokes  were  inimitable.  The  Entertainments  of 
Mr.  H.  Russell  are  repeated  every  evening. 

Ma.  E.  CouLON  gave  a  very  pleasing  entertainment  on  Satur- 
day week,  at  his  residence,  Great  Marl  borough-street,  on  which 
occasion  Miss  Coulon  made  her  second  appearance  in  public  as  a 
pianist.  Our  readers  may  remember  in  woat  high  terms  we  spoke 
on  a  previous  occasion  of  the  performances  of  this  charming  young 
arthie.  Our  admiration  is  further  increased  by  hearing  Miss  Cou- 
lon a  second  time.  She  is,  in  evory  respect,  a  most  accomplished 
pianoforte  player  ;  possessing  fire,  energy,  earnestness  and  feeling, 
with  a  delicacy  of  touch,  and  a  brilliancy  of  finger,  and  a  precision 
withal,  that  might  haply  cause  a  smile  of  rivalry — prospectively— 
on  the  cheek  of  the  divina  pianista,  even  Play  el.  We  felt  quite 
delighted  with  the  young  debutante* s  great  success  ;  for  everybody 
in  the  room  felt  that  it  was  a  veritable  success,  and  nothing  beside  ; 
and  congratulations  poiired  on  her  from  all  sides,  which  she  received 
with  becoming  modesty.  We  augur  great  things  of  Miss  Coulon*s 
future.  Messrs.  Sainton,  Rousselot,  Brizzi,  and  Mr.  Marshall,  with 
the  ladies.  Miss  C.  Hallen,  Mrs.  Toulmin,  and  Madame  Con- 
Ion,  lent  their  instrumental  and  vocal  assistance  to  the  concert. 
Mons.  Sainton  was  greatly  applauded  in  de  Beriot's,  Tremolo^  and 
encored  in  the  Carnaval  de  Venise,  To  give  an  idea  of  the  ster- 
ling character  of  the  programe  wo  cite  it  in  full. 

Part  I. — Sonata  in  C  minor,  piano  and  violin,  Mdlle.  Coulon  and  Mrs. 
Sainton,  Beethoven,  Duo,  "  Les  Diamans  de  la  Coumnne,"  Mme.  Coulon 
and  Miss  C.  Hallen,  Auher,  Air,  *<  I  saw  thee  weep,"  Mr.  Marshall  If.  C. 
Macfarren.  Solo, ,«  Le  tremolo,"  violin,  M.  Sainton,  De  BerioU  Air,  *'  De 
la  Muetie"  Miss  C.  Hallen,  Auher,  "Duo,  I  Puritani,"  Mrs. Toulmin and 
Mr.  Brizzi,  Bellini,  * 

Part  II.— Tiio  (allegro,  andante,  scherzo),  piano,  violin,  and  violoncello 
Mile.  Coulon,  Mr.  Sainton,  and  Mr.  Rousselot,  Mandelssohn-  Aria,  *<  Prendi 
per  me,"  Mrs.  Toulmin,  Benedict  et  de  Beriot.  Solo,  "  Le  Carnaval  de 
Venise,"  Mr.  Sainton.  Romance  Francaise,  Mme.  Coulon,  MoMtinU  Fan- 
taidie  (from  Lucie),  Mile.  Coulon,  Prudent* 

Mdlle.  Coulon  was  compelled  to  repeat  the  fantaisie  of  Prudent, 
a  composition,  by  the  way,  more  remarkable  for  its  difficulty  than 
for  its  musical  merits 

Bbaumont  Insixtution,  Milb-end  Road. — The  concert,  on 
Monday  evening,  consisted  of  a  selection  of  popular  music  Part 
I.  commenced  with  Rossini*s  duet  "Amor  possente  nome,*'8ung 
by  Miss  Messent  and  Mr.  Rafler.  "  Non  piu  andrai  **  was  sung 
in  F.  Lablache*s  best  style,  which  produced  a  loud  encore.  Mr. 
Cohan,  the  well-known  pianist,  performed  his  own  variations  upon 
**  Sec,  the  conquering  hero  comes,**  with  great  ability  ;  his  execution 
excited  much  astonishment.  Madame  F.  Lablache,  a  great  favorite 
here,  was  deservedly  encored  in  Linlcy*s  air  **  Come  when  the 
moon  is  breaking.**  The  Scotch  ballad  "  Jock  o'  Hazeldean,** 
by  Miss  Messent,  "  Mary  Jamicson,**  and  "  Logic  o*  Buchan,** 
by  Madame  Lablache,  were  all  received  with  favour.  A  Miss 
Eliza  Nelson,  who  sang  twice,  is  evidently  a  novice.  Mr. 
Abbot,  from  the  Royal  Academy,  performed  a  solo,  by  do  Beriot, 
on  the  violin.  John  Parry,  as  usual,  terminated  the  concert,  with 
the  **  London  Season,**  which  sent  the  company  home  in  happy 
humour.  Mr.  Maurice  Davies  presided  at  the  piano,  with  bis 
accustomed  care.  It  is  only  to  be  regretted  that,  at  the  Beaumont, 
as  veil  as  at  the  other  Literary  Institutions,  the  progress  of  art»  and 
(he  refinement  of  taste,  are  not  treated  with  consideration. 

Mr.  Stbrndale  Bennett.  —  The  second  of  Mr.  Sterndale 
Bennett*s  performances  of  classical  pianoforte  musictook  place  on 
Tuesday  evening,  in  the  Hanover  Square  Rooms,  before  a  highly 
distinguished  audience.  'I'he  order  of  the  programme  was  a 
follows  : — 

Part  I. — Duet  in  B  flat,  pianoforte  and  violin,  Messrs.  Blagrove 
and  W.  S.  Bennett,  Mozart,  Preludes  and  Fugues,  pianoforu,  Mr. 
W.  S.  Bennett,  /.  8.  Bach  and  Mendelssohn,    Two  Songs»  Madame  G.  A. 


THE  MUSICAL  WORLD. 


177 


Hacfurren,  "To  Chloe  in  Bickness/'  fV.  S.  Bennett.  "The  first  Spring 
day,"  (MS.)  G.  A.  Mac/arren.  Chamber  Trio,  A  major.  Op.  26,  pianoforte, 
violin^  and  violoncello,  Messrs.  W.  S.  Bennett,  Blagrove,;!and  Lucas, 
JV.  S.  Bennett. 

Part  IL— Duet  D  major.  Op.  58,  pianoforte  and  violoncello,  Messrs. 
W.  S.  Bennett  and  Lucas,  Mendelssohn.  Suite  Cinquieme,  from  the 
Sitites  de  Pieces  pour  le  Clavecin,  Mr.  W.  S.  Bennett,  Handel.  Song, 
Mr.  Hobbf  y  Webbe.  Grand  Sonata,  C  sharp  minor.  Op.  ^7,  pianoforte, 
Mr.  W.  S.  Bennett,  Beethoven.    Accompanyist,  Mr.W.  Uorrell. 

On  the  whole  this  programme  was  superior  to  that  of  the  first 
evening.  It  included  one  of  Mr.  Bennett's  large  works,  a  feature 
in  which  its  predecessor  was  wanting ;  and  this  fact  alone  lent  it 
a  higher  interest.  Mozart's  sonata  was  a  great  treat.  Mr.  Blagrove 
played  with  purity  of  style,  faultless  in  tonation,  and  finished  me- 
chanism ;  and  Mr.  Bennett  was  all  that  a  thorough  Mozartist 
could  desire.  The  sonata  was  composed  (according  to  the  pro- 
gramme) in  April,  1784 — a  fact  derived,  no  doubt,  from  Messrs. 
Coventiy  and  Homer's  beautiful  edition  of  Mozart's  pianoforte 
works,  so  carefully  edited  by  M.  Cipriani  Potter.  The  prelude 
and  fugue  in  E  major,  from  Bach's  Clavier  bien  tempere  (the 
master-piece  of  the  author),  is  among  the  finest  things  in  that 
immense  work.  The  prelude  and  fugue  of  Mendelssohn,  in  E 
minor,  belong  to  a  tei  of  six  preludes  and  fugues  (published  by 
Addison  and  Co.),  with  which  even  musicians  are  not  nearly 
enough  familiar.  Mr.  Lindsay  Sloper  introduced  one  of  the 
preludes  (in  A  flat)  at  his  first  soiree,  but  omitted  the  fugue,  which 
b  certainly  introduced  bv  the  composer  as  a  necessary  pendent ;  a 
proceeding  very  unusual  with  tnis  accomplished  and  classical 
musician.  It  is  a  very  interesting  specimen  of  the  composer's 
8t}Ie,  and  eiemplifics  a  particular  stage  in  his  pursuit  of  the  more 
recondite  branches  of  the  art,  which  ought  to  be  a  subject  of 
inqairy  to  every  admirer  of  the  wonderful  genius  of  the  man.  To 
hear  Mr.  Bennett  plav  these — the  Bach  and  the  Mendelssohn— was 
a  rare  treat.  The  legato^  which  is  so  eminent  a  feature  in  his 
style,  was  employed  to  advantage  in  the  Bach— and  the^rc,  which 
makes  hina  as  unlike  John  Cramer  (the  model  to  whom  critics  will 
insist  upon  comparing  him)  as  one  pianist  can  be  unlike  another, 
was  marvellously  well  bestowed  upon  the  Mendelssohn.  The 
prelude  of  the  latter  was  encored  with  enthusiasm.  The  two 
charming  gongs  of  Mr.  Bennett  and  Mr.  Macfarren,  old  fellow- 
itadents  in  the  Academy,  and  friendly  rivals  in  their  love  of  art, 
could  not  have  been  entrusted  to  a  more  conscientious  interpreter 
than  Madame  Macfarren,  who  in  the  tender  passion  of  the  first, 
and  the  '•Bprightly.  springy  joyfulness"  (to  quote  a  happy  expres- 
sion of  the  Post)  of  the  last,  proved  herself  equally  able  to  embody 
two  sentiments  entirely  opposite.  The  beautiful  and  earnest  style 
of  this  young  vocalist  is  the  seed  of  future  eminence,  which  it 
depends  upon  herself  to  attain,  and  that  she  will  attain  it  we  have 
little  donbt.  Of  these  lovely  songs,  one,  "Chloe  in  sickness."  is 
well  known  through  Miss.  Dolby's  singing,  and  Messrs.  Coventry 
and  Holliei's  edition  of  Mr.  Bennett's  '*6ix  songs"  (to  which  a 
Boite  of  six  more  iiave  been  so  long  at.d  so  vainly  expected)  ;  but 
the  other,  •«  The  first  spring  day,"  is  one  of  those  many  vocal  gems 
which  the  composer,  Mr.  Macfarren,  seems  determined  to  keep  to 
himself,  much  to  the  loss  of  the  publishers,  and  the  disappointment 
of  such  of  the  public  as  have  heard  mention  made  of  them.  We 
differ  strongly  from  the  Morning  Post  2Lnd  others,  who  place  the 
trw  in  A  major  of  Mr.  Bennett  among  his  least  happy  iuspi- 
rationa.  ^  If  the  utmost  perfection  of  grace  and  freshness  be 
attained  in  the  Moderate  Assai,  and  tne  essence  of  sperkling 
playfulness  bo  consummated  in  the  serenade,  and  to  conclude 
a  high  amount  of  energv  and  vigorous  passion  be  accomplished 
VI  the  AUegroFef  mo  {**¥cTmo*'  is  an  original  expletive,  by  the  way ,^ 
and  we  entirely  think  that  each  and  all  of  these  has  been  achieved, 
we  cannot  for  the  life  of  us,  perceive  wherein  lies  the  weakness  of 
this  trio.  We,  no  less  than  the  Post,  **  are  determined  to  do  can- 
did joBtice  to  everything  that  proceeds  from  the  accomplished  mind 
of  thiselegent  musician,"  (»lie  elegant  mind  of  this  accomplished 
musician  would  have  been  better)  and  vve,  unlike  the  Post,  are 
bound  to  say  of  the  trio  in  A — not  that  it  *'is  the  weakest  compo- 
w<ion  of  its  author,"  which  is  preposterous,  but  that  it  is. 
while  one  of  the  lightest  and  least  elaborate,  one  of  the  most 
charming,  melodious,  and  captivating.  A  new  theory  of  tune  has 
lately  arisen  which  jkoM  ^m  the  Moderato  Assai  oi\h\9  trio  out  of 
^e  plea  of  melody.  We  do  not  understand  this  new  theory  of  tune ; 


but  we  hurl  defiance  at  it  by  retorting  that  the  Moderato  Assai  is, 
from  the  first  bar  to  the  last,  one  continuous  stream  of  melody  *Mn 
many  voices."  Of  course  the  execution  of  the  trio  was  perfection. 
What  less  could  be  expected  at  the  fingers  of  the  eomposor  him- 
self, and  of  hii  ancient  fellow-students  of  the  Academy,  Messrs. 
Blagrove  and  Lucas  ?  It  was  listened  to  with  attention,  and 
liberally  applauded.  The  serenade  created  the  most  lively  sen- 
sation. 

.  The  second  part  must  be  shortly  dismissed.  The  AUegreUo 
scherzando,  in  B  minor,  of  Mendelssohn's  fine  duet  was  delidously 
played,  and  encored.  Nothing  to  our  ears  can  be  more  thoroughly 
captivating  and  beautiful  than  the  Atlemande  and  Courante  of 
Handel's  fifth  suite.  This  was  positively  enchanting.  We  think 
less  of  the  air  vari^,  *'  The  Harmonious  Blacksmith  ;"  but  Mr. 
Bennett's  delightful  playing  won  rapturous  applause  in  this 
well-known  composition.  We  liked  Mr.  Hobbs's  singing  very 
much,  but  Webbe's  song  not  a  bit.  The  C  sharp  minor,  one  of  the 
most  perfect  of  Beethoven's  sonatas,  in  the  fantasia  style,  was 
marvellously  executed  by  Mr.  Bennett.  The  slow  movement 
at  the  commencement  touched  every  heart.  The  minuet  and  trio, 
in  D  flat,  were  rendered  with  a  world  of  graceful  playfulness ;  and 
the  magnificent^na/f,  taken  with  prodigious  speed,  made  a  splendid 
climax  to  an  exceeding  thoroughly  intellectual  enjoyment. 

MISCELLANEOUS. 

Burning  of  the  Theatre  at  Carlsruhe. — The  extent 
of  dreadful  calamity,  which  has  lately  filled  the  papers  in  every 
quarter,  has  now  been  ascertained.  Nearly  two  hundred  per- 
sons have  been  burned,  or  suffocated,  the  greater  number  of 
them  being  women,  apprentices  and  children.  In  the  dead- 
house  in  the  churchyard  the  scene  is  described  as  awful  and 
horrible.  Half  bodies,  broken  limbs,  heads  mutilated,  trunks 
roasted,  all  incapable  of  identification  present  a  spectacle  too 
shocking  for  humanity  to  contemplate.  The  wbole  city  is  in 
the  greatest  consternation.  So  great  and  terrible  an  affliction 
has  not  visited  Carlsruhe  within  the  memory  of  living  man. 

Ancient  Concerts. — The  concerts  for  the  remainder  of 
the  season  are  fixed  for  their  date. — April  21  ;  May  6  and  19 ; 
June  2,  16  and  30.  The  Messiah  will  be  performed  for  the 
Royal  Society  of  Musicians'  Fund  on  the  14th  of  July.  The 
dates  have  been  changed  in  consequence  of  the  General  Fast 
having  been  fixed  for  March  the  24th. 

Wilson  in  Paris. — Mr  Wilson  gave  his  first  entertainment 
on  the  Songs  of  Scotland  in  Paris  on  Monday  last,  when  his 
Songs  were  received  with  much  enthusiasm.  Some  of  the 
Jacobite  ones  raised  his  audience  quite  to  a  fureur,  and  the 
dialogue  songs,  w^hieh  he  makes  so  graphic,  such  as  "  Saw  ye 
my  wee  thing  ?" — "  Hame  cam  our  gudeman  at  e*en,"  &c., 
seemed  to  afford  great  delight  as  well  as  amusement.  Mr. 
Wilson  has  been  engaged  for  several  of  the  Nobility  &nd 
Gentry's  Soir^s.  He  will,  we  understand,  resume  his  enter- 
tainments in  the  Music  Hall.  London,  on  Easter  Monday. 
Mr.  Edward  Land  accompanies  Mr.  Wilson  as  usual. 

Joseph  Joachim. — This  little  violinist  who  gave  proofs  of 
such  extraordinary  ability  and  accomplishment  two  years  ago 
when  in  London,  is  likely  to  return  this  season.  He  has  been 
lately  playing  at  Dresden  Mendelssohn's  Violin  Concerts  with 
the  greatest  success,  and  is  now  engaged  in  writing  two  con- 
certs himself,  which  he  will  play  in  public  if  he  comes  here. 
(Morning  Herald.) 

The  Pirst  Philharmonic  Concert  takes  place  on  Mon- 
day evening.  The  programme  contains  some  interesting  fea- 
tures, but  the  form  is  novel  in  respect  to  the  order  of  the 
pieces,  and  there  is  only  one  overture.  We  are  not  sure  that 
we  shall  be  able  to  approve  of  tlie  encroachment  on  former 
models. 

Mr.  W.  V.  Wallace.— We 


i 


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i».a:i-aig.-7=s: 


fra 


THE  MUSICAL  WORLD. 


ascompiished  compoMr  of  Maritana  is  better,  and  fair  hopes 
are  entertained  of  his  speedy  convalesoenoe.  Mr.  Wallace  is 
still,  however,  seriously  afflicted  with  inflammation  of  the 
eyes. 

Staupiql.— This  great  has^o  will  be  here  in  April  to  sing 
i^  Mendelssohn'^  El\jaht  and  to  fulfil  his  engag^nnent  with 
Mr.  Lumley.  With  him  will  come  the  brothers  HelmesbQ|rg§F| 
two  Tery  young  and  talented  violiniatB,  from  Vienna. 

A  Deep  Critic. — A  writer  in  the  Morning  Chronioh^  in 
rendering  account  of  a  performance  at  the  French  Plays,  sets 
opt  with  a  series  of  assertions  which  are  evidently  intended 
as  a  philosophic  *'  sfcow  off," — '*  The  life  of  a  Frenchman" 
says  he  is  a  vaudeville.  He  lives  in  three  acts — walks  about 
in  an  actor's  dress  more  or  less  soiled.  To  hio),  in  its  mo^t 
literal  sens^,  *  all  (he  world's  a  stage'  but  it  is  a  vaudeville 
stage,  modelled  after  the  fashion  of  the  Theatre  des  Varietds." 
Just  as  well  might  he  begin  his  article  thus: — **  The  life  of  a 
Frenchmafi  is  not  a  vaudeville.  He  does  not  live  in  tbree 
apts — nor  walks  about  in  ah  actor's  dress,  more  or  less  soiled. 
To  him,  in  bis  most  literal  ^ense  *^all  the  world  is  not  a  stage," 
and  much  less  a  vaudeville  stage,  modelled  after  the  fashion  of 
the  Theatre  des  Variet^s."  There  would  be  just  as  much 
truth  in  the  one  as  in  the  other  and  just  as  much  nonsense. 
The  thing  as  it  stands  is  a  fine  specimen  of  penny — a  lining 
without  any  news  in  it,  a  sort  of  literary  vomit,  brought  up  by 
the  emetic  of  pelf  or  the  itch  seribendi.  And  of  such  stuff, 
alas  I  is  too  much  of  our  <*  criticism"  manufactured.  The 
aame  writer  concludes  his  notice  by  informing  us  that  M. 
Alcide  Tousez  *•  was  called  before  the  curtain  after  it  fell,"  as 
though  he  could  possibly  be  called  before  the  curtain  before  it 
fell  I  But  the  sentence  makes  two  lines  more,  and  is  set  off 
by  a  new  par : — the  criticism  altogether  occupied  some  fourth 
of  a  colum. 

Mi(s.  Butler  (formerly  Fanny  Kemble)  has  been  engaged 
by  Mr.  M addox,  for  the  Princess's  Theatre,  and  she  will  appear 
there  toon  after  Ea«ter.  The  Mrs.  Butler  who  gave  dramatic 
readings  at  the  Hanover  Rooms,  last  week,  is  the  widow  of 
the  late  Mr.  Samuel  Butler,  the  actor. 

Mrlodists. — Mr.  W.  Sterndale  Bennett  and  Signer  £mi- 
liani  the  voilinist  have  been  invited  to  dine  with  the  Melodists* 
Club,  on  the  SOth  inst. 

Mr.  Kearnes.— We  are  glad  to  hear  that  the  concert  which 
is  to  take  place  on  Wednesday  next,  for  the  benefit  of  the  late 
Mr.  Keames's  family,  promises  to  be  well  attended. 

Cambripoe. — Should  a  general  election  not  take  place,  the 
installation  of  H.  R.  H.  the  Prince  Consort  will  take  place 
early  in  July,  at  Cambridge,  followed  by  a  musical  festival ; 
but  nothing  as  yet  has  been  decided  upon. 

Mendelssohn  is  expected  to  arrive  in  London  about  the 
13th  of  April,  for  the  purpose  of  superintending  the  per- 
fprmance  of  his  oratorio,  Elijah^  at  Exeter  Hall,  by  the 
Sacred  Harmonic  Society ;  on  which  occasion  the  orchestra 
will  be  much  enlarged,  especially  in  the  instrumental  depart- 
ment. The  composer  has  made  many  important  alterations 
in  the  oratorio  since  it  was  performed  at  Birmingham  last 
August. 

The  Catch  Club  held  its  first  meeting  at  the  Thatched 
House  Tavern  on  the  5th  inst.,  and  the  Round  Catch  and 
Canon  Club  has  resumed  its  re-unions  at  the  Freemason's 
Tavern.  The  Glee  Club  will  dine  this  day  at  the  Crown  and 
Anchor  Tavern,  Sir  Felix  Booth,  Bart,  President. 

Salvi. — This  tenor  has  taken  his  farewell  benefit  at  the 
Italian  Opera  in  St.  Petersburgh,  and  will  soon  be  on  his  way 
to  £ngland.  He  is  engaged  by  the  Russian  pcianageinent  at 
a  s^ry  of  £1,000  for  four  months. 


Tamrurini  has  arrived  in  Paris  from  St.  Pftersburgh  {q 
excellent  health.     He  will  be  in  London  forthwith, 

Alboni. — This  contralto^  who  is  engaged  by  the  Oovtnt 
Garden  Company,  is  daily  expected  in  Lopdon.  Critic^  ar« 
equally  wars  about  her  personal  and  pnental  accoiQplishmepts. 

Ma.  Henrt  Phillips  performed  on  Monday  and  TufMdf^ 
evenings  at  the  theatre,  Canterbury,  taking  his  favourite  parta 
Tom  Tug,  in  The  Waterman,  and  Steady,  in  Tks  Quaker.  The 
houses  have  been  excellent,  considering  the  time  of  year  and 
season.  Mr.  Phillips's  reception  was  highly  flattering,  and  bis 
performances  were  much  applauded.  On  Wednesday  evening 
Ml.  Phillips  sungat  the  Literary  Institution,  Gravesend ,  ^nd en 
Thursday,  at  the  Rosemary  Branch,  Peckham.  The  Aivouriltf 
barytone  seems  in  gp-eat  request  at  present. 

TO   CORRESPONDENTS. 

Thb  QffNTi.BMAN  iT^  oppiies  to  US  fof  the  Hon,  ATrj.  NortanU  tMre$s, 
mu$t  appln  to  BeniUif  or  Oolburn,  Mrs,  Norton,  ipe  are  iorr^  fa  My, 
is  not  at  present,  a  contiibtUor  to  ike  **  Musicid  World." 

ADVERTISEMENTS. 


Ifl^ayren^s    QO   Chdnea   Cottage   Planp-Fortes 


ARK  NOW  SELUNG  AT  THB 

liaiiTifAOtQry,  71,  Leadenhall  0tre«t 

(Removed from  1  and  2,  Liverpool  Street,  Biskopsgaie  Street) 
Tbete  InttmmenU  are  well  manufiMitiired  of  the  b^  seMoned  wood,  VINB 
iH.f.  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  friven  wi^  each  inctni. 
ESTABLISHED  TWENTY-ONE  YEARS.    The  only  honie  19 
where  a  rood  aonnd  mstrament  can  \^  obtained  at  the  above  low  prk^  { 
only).    SMALL  PROFFT  AND  QUICK  RETURNS  I 
JOHN  WARRBiJf,  71,  I*eadenhaU  St.,  opposite  A]d«««« 


CMl* 


HANOVER   SQUARE   ROOMS. 


MR,    STERNDALE    BENNCTT 

Begs  to  announce  that  his 

'Wbi^  performance  of  OTlasftital  pianoforte  ittwic 

Win  be  held  in  the  above  Rooms, 

On   TUBSDAY   BVBNING,    «he    a8rd   Instaiit, 

On  which  occasion  he  will  be  assi8t(>d  by  several  eminent  Vocal  and  In^tn^nieBtal 
artists.  Farther  particalars  will  be  duly  announced.  TickeU,  hatf-a-Gnlnea  ei|io, 
may  be  bad  at  Mr.  BENNKITS'  residence,  15,  Russell  flace,  Fitntqf  a^oifi,  |^ 
at  all  the  Music  Shops. 

Messrs.  BRAHAM'S  BENEFIT   CONCBRT, 

ST.    JAMESES     THEATRE. 

Wr.  H.  BBAHAM  and  Iftr.    Q  GRAHAM'S 

iaenefit  ODontert) 

On  TUESDAY  EVENING,  March  23rd, 

On  which  occasion  the  followinjc  eii.lncnt  ulent  will  appnr:— Mist  Doltar. 
Mrs.  Ncw'on,  Miss  Rnnsford,  Mr.  Brabsm,  Mr.  H.  Brabam,  Mr.  C.  Brahao,  atfi 
the  celebrated  Ethiopian  Serenad^ri-PeU,  Harrington,  White,  StanwoQtL  wA 
OermpQ.  Conductor,  M'-  Briuley  Richards.  Doors  on«  IL^^  n^JfflgSt 
Concert  to  commence  aTElKfat  o*c(ock.  Tickets  may  b^  ob^b^aniH^m 
fi^  library,  8S,  Old  Bond  Straet  s  and  at  tka  Box-oito. 


THE  MUSICAL  WORLD. 


119 


sssss 


ROYAL   ITALIAN    OPERA,    COVENT  GARDEN, 

Sitablishcd  for  tlie  purpose  of  rendering  a  more  perfect  perfornumce  of  the 

XiYBfO    DB41IA 

Thui  bai  hitherto  heen  atttimed  in  this  cowHry. 

I7NDK)(  T0S  piJiBOnON  AND  MANAGEMENT  OF  MR<  BEALB. 

Hie  NobOltf  ,  Gentry,  and  Patrons  of  Mnsic,  are  respectftilly  inlEMnied,  that  the 

ROYAL  ITALIAN  OPERA 

Will  Opett  tke  First  "Week  in  April.  ' 

Prospectuses  to  be  had  at  the  Boz-oiBce,  Bow  Street;  at  Cramer,  Beale,  and 
00.%  901,  Il^itBt  Street ;  and  at  all  the  libraries. 


GOOD  PIANOFORTES  CHEAP 

Hie  larfo  and  valaable  STOCK  of  PIANOFORTES  uannllictarsd  by 

ZBITTBR   6g    00.9 

IS    NOW     SELLING    OFF, 

At  4,  Mew  CaTeudlfh  Street,  Portland  Place,  London, 

!■  cMseqatace  of  a  IHstoliition  of  Partnership.  The  Instrnmeats,  consistinff  of 
naheraay  and  rosewood  Grands,  Semi-Grands,  Cabinet,  Ccttaae,  and  Piccolos. 
si«  mads  with  the  patent  aiundimr  Board,  Metallic  Plat&  ChnA  Action,  and  all 
^  latest  improvements.  The  nanofortes  msde  by  ZBITTBR  and  Co.  have 
slways  eiyoyM  a  preference  among  the  nobility  and  rentry,  having  been  honornl 
trtth  the  natrooaflre  of  Her  Majesty  the  Queen,  the  Dnchess  of  Sutherland,  ius. 
The  peculiar  constmction  of  the  ^oundinff.  Board  insures  their  greater  durability 
fad  Che  inn  tone  Is  well  known.  Parties  desirous  of  possesnng  one  of  these 
ispefior  Instriiaients,  may  now  purchase  the  same  on  very  adrautiigeous  terms. 
Grinds,  heretofore  firom  120  to  145  Guineas,  are  now  selling  at  4^50  to  ^10,  ana 
Hhsn  hi  proportion.    The  premises  No.  5  have  been  recently  closed. 

LINDSAY   SLOPER'S 

"iS^ii^  anD  last  Jboim 
CLASSICAL   PIANO-FORTE   MtSIO, 

WILL  TAKE  PLACB  AT  THE 

IfttlMrrfil  ^9Pm»,  76,  Harley-atreetj  OaTendlah-aqnare, 

On  THURSDAY  EVENING,  Mabch  18. 

Mr.  SLoriR  wBl  be  assisted  at  this  Soir^  by  Miss  Dolby,  Messrs.  SriaNDALS 
Bennett,  Roussblot,  Dblofpre,  and  Filet. 

fnoDj  tickets,  ^o  admit  three  to  one  Soiree,  One  Guinea  each ;  and  single 
tickets  b«lf.«.Gui|ifa  t9cn ;  may  be  had  of  Messrs.  Cramer,  Bbale,  and  Co. ; 
Wbssbl,  and  Jn.|.iBN ;  and  of  Mr.  Linosat  Slopbr,  7,  Soutbwick  Place, 
Hyde  Park  Sqilgl. 

PAIR      COMPUEXION. 
Un^  H§  Patronage  of  tke  Nobility  an^  Gentry. 

TO  THa  jq^pfW'-^Wonderftq  w^  Ii|i|pov$aat  XHseorerj. 

09CKSVBBV 

ORIENTAU    BOTANICAL    PREPARATION, 

iniMH^taneously cutaneous  eruptions,  Inkles,  pimples,  spots, 

»ns  Of  the  skin.  A^er  one  appAcation  of  the  Botanic  Extract, 

twice  a  day,  a  wonderfiil  change  will  be  perceived,  and  in  the 

i^ys  the  complexion  will  assume  a  beautiful  transparent  roseate 

The  extraa  *o  applv  is  of  the  most  sgreeable  nature,  and  ihe 

wm  prove  its  wondernil  efficacy.    Prepared  only,  and  sold  whole- 

^  ^  sole  proprietor, 

GBOBGE  H.  J.  OOOKBURN,  9,  Ald|:ate,  London; 

And  Barclay  and  Sons,  Farringdon-street,  London ;  iu  bottlf^s  at  2s.  9d.  and  4s.  6d. 
«eh{  alao  by  Sanger.  IM,  Okford.%treet;  Keating,  St.  Paul's  Church  Yards 
Mesoa,  IB,  Conihillj  Hannay  and  Co.,  M,  Oxford  street ;  Butler  and  Co..«, 
Chcapside  s  tbtwards,  St.  Paul's  Churchysrd ;  Prout,  220,  Strand }  and  of  all  other 
Chemisu  ttd  Bertamers  in  the  kingdom. 

DR.    STOLBERG'F  VOICE   X.OZENOB 

Is  acknowledged  as  the  best  specific  aAer  three  years'  trial,  lor  improving 
the  V  ice  and  removing  all  aflfeciions  of  the  throat,  strongly  recommended  to 
dergrncn,  4n§trf,  ^c&rs,  public  speakers,  and  all  persons  subject  to  relaxed 

tilt  Piroprietors  have  just  received  the  following  Testimonial,  amongst 
many  ethers,  from  Madame  Anna  Bishop: — 

'^Deab  tliR,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  Dr.  Stolbero^b  celebrated  Lozenge  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
Mveial  of  the  Loscngrs,  and  my  voice  was  very  clear,  and  my  throat  quiti* 
%re  from  lelaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BliiUOP." 

"  Uth  November  ]8««.~Jermyn  Street." 

Barclay  fnd  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard 
w^daerds  and  Nei%bery  and  Sons,  St  i«>m's  Chuichyard:  Sanger,  md 
warlchKa   and   Hannay,  Oxford-street;  and  retail    by  all  respectable 
ChysBiiU  in  the  Kingdom. 


SACRED   HARv/IONIQ   SOCIETY, 
EXETER  HALL. 

On  FRIQAY  BVBNINO,    Varch  |9, 

WiU  be  performed,  for  the  tint  time  by  the  Society,  HandePs  Oratorio 

BELSHAZ7AR. 

Principsl  Vocal  Perfoimers:- Miss  Birch,  Miw  M.  B.  Hawes,  Mr.Manvws, 
Mr.  Bodda,  and  Mr.  H,  Kiillips.  Ihe  Band  and  Chorus  will  consist  of  nbove  600 
performers,  tickets,  Ss.  eacH,  Beserved  Seats  5s.,  may  be  bad  of  t|if  principal 
Music  Sellers:  of  Mr.  Bowley,  58;  Mr.  Mitchell,  W,  Charing  Cross)  and  9i  Mr. 
Rics,  WW,  Strand,  opposite  Kxeter  Hall.         -"f™-."  "  - 


THOMAS  BkhWaR,  Hon.  StC, 


BIr«  N    J.  SPORIsS:  8 

AT  THE  LO.NDON  TAVERN.  BlSHOPSqATC  SIREET, 
TUESDAY,  Maroli  l«tli,  1847. 
Vocal— Mesdames  Dolby.  Thornton,  M.  O'Connob,  A.  Nbwton,  M.  RosBt 
Messrs.  N.  J.  Spoble,  p.  Gbnob.  SuouBaiboa,  Hamsvobd,  TuaNaa, 
Robinson,  F.  Smith,  and  John  Parsy.  Instrumental— Frbobricr  Chat- 
trrton.  Carte,  U.  Case,  Ssopwica,  Ward,  and  Miss  B.  Williams. 
Conductor— W-  Luuis  Lbu.  'licketi,  Ss.  6d.  each :  to  be  had  et  Mr.  SpuRlb, 
18,  Mabledon  PUce,  Burton  Cnsceut }  the  Musical  Warel^ouses,  and  ihe  Louden 
Tavern. 


PIANOFORTES   FOR   SALE. 

A  very  superior  and  powerful  toned  62  Octave  Rosewood  COTTAGB,  by  Seitter 
and  Co.,  with  rortallic  «tring  plate,  check  action.  &c.,  cost  <  0  guineas  a  short  time 
since,  and  will  now  be  told  for  half  that  sum ;  an  elegant  Rosewood  SemiCABI  NET, 
6|  octaves,  with  ail  the  latest  in^pn>vement>.  only  35  guineas ;  a  COTTAGE, 
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only  j^lS.,  cost  52  guineas ;  a  54  DITTO.  ^4.  Also,  a  vsriety  of  new  and 
improvwi  CABINET,  COTTAGE, and  PICCOLO  PIANOFORTES,from  S5  guineas 
eacn.    Packed  free  of  expense. 

C.  SCOTCHER, 

(from  CoUavd  and  Collard*s),  60,  Morthnerstraet  Caveadish-square. 

PtAKOFOBTRS  TARRN  IN  ERCUARGR. 


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THOMAS  BAKER'S 

MODERN  PIANOFORTE  TUTOR. 

Has  the  honor  to  announce,  that  he  has  just  published  the  above  work,  which 
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pi-eaent  day.    For  this  reason  the 

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nixistrated  with  numerous  Examples  &  Exercises, 

On  all  (he  various  Fingerings  adopted  by  the  most  eminent  Pianistes  of  the 
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Where  all  the  Compositions  of  the  above  Author  may  be  had. 

JUtLlEN  S  ALBUM  for  1847. 

M.  JuLLiEN  has  the  honor  to  announce  that  the*sixth  edition  of  his 

MXTSrCAL     AJ^HXTAL    FOR    184T 

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ROYAL    CONSERVATORY   OF    MUSiC, 
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ILffe  gdfiurame  Compang, 

No.  5,   St.  JAMES'S    STREET, 

LONDON. 


Sir  A.  Brydges  Henniker.  Bart. 
B.  Bond  Cat»beU,  Esq.,  M.P. 


Tnut€09» 


Director*. 


Henry  Pownal 
Claude 


Eiq. 


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Arthur  Lennox.  ^ 

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John  Asbbumer,  Esq.,  M.D. 

T.  M.  B.  Batard,  Esq. 


Henry  Broadwood,  Esq.,  M.P. 
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Assurances  on  the  lives  of  persona  in  every  sUtion  of  Ufe  and  everypwi  of  th« 
worid.  granted  on  a  plan  which  combines  the  utmost  amount  of  benefit  to  ttm 
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PoUcy.  on  riving  approved  available  security  for  a  certain  number  ot  annual 
paymenU,  as  explained  by  the  Prospectus.  .*««.„h-» 

Every  faciatyls  afforded  to  persons  assuring  the  lives  of  others,  so  aa  t»  rendflv 
such  Policies  effectual  securities.  _..    ,    ,      j    *^  # 

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ANNUiTiBS,  Enoowmbnts,  Advancbs,  and,  Loans,  <>»  ^S"*! JJJ™***  „ ,^ 

Detailed  Prospectuses,  with  forms  of  Proposal,  and  even  information,  may  tM 
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The  usual  commisaion  to  solicitors  and  Agents.  ^  ^^^^^^^^^  soertimf. 


THX  PATENT  HARMOKIUMa 


This  beauUful  Instrument  possetses  the  softness  j' the  voicewith  the  vari^  rf 
ton-  of  every  wind  Instrument,  as  also  the  pow^  of  « '"»«  ^nr.i?„i  ^32S? 
suitable  fbr  Sacred  M^sic,  or  the  Dance,  and  adapted  for  ihej)rajing  Roonu 
SJncert  Room.  Church  or  Chapel.  Printed  particuUrs  can  be  bad  oJ^L«7»  ™ 
sSSfwle  agents,  where  the  PAtENT  HARMONIUM  can  be  heard  from  10  toU  4 
daily ;  and  where  can  be  inspected 

lOFF  *  SOX'S 
Elegant  Assortment  of  PIANOFORTES, 

Made  by  experienced  workmen,  and  thorotighlv  stoned  w<»^ 
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5«S«d  f^  ex^eSol  cUmates :  pf ice.  onMhird  less  than  ufS^l^  charge?. 
Instruments  taken  in  exchanjge,  and  a  liberal  allowance  to  dealers. 
IiUFF  and  SON,  1C3,  Great  RnsseU  Street,  Bloomslmry. 


r<inted  and  Publishca,  for  the  Proprietors,  at  the  "Nassau  Steam  Prm. 
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-Saturday,  karch  13th.  1847.  U\mze6  by  ^^UU^ ItT 


(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

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No.  12.— Vol.  XXII. 


SATURDAY,  MARCH  20,  1847. 


5  PRICE    THREEPKNCE 
1  STAMPED,  FOURPENC 


THE   PHILHARMONIC   CONCERTS. 

Thb  seoond  great  event  of  the  Beason  has  "  come  ofl*"  since 
our  last.  The  first  was  the  opening  of  Her  Majesty's  Theatre ; 
the  one  we  have  now  to  record  is  the  first  concert  of  the  fifth 
season  of  the  Philharmonic  Society,  established,  in  181 3,  by  a 
body  of  the  most  eminent  musical  professors  then  resident  in 
Loudon.  The  interest  which  the  leading  organs  of  the  press 
have  begun  to  take  in  the  concerts  of  this  institution  may  be 
traced  to  two  sources — the  importance  and  magnitude  of  the 
performances  themselves,  and  the  qualifications  of  Signor 
Costa  for  the  post  of  conductor.  About  the  former,  opinions 
are  unanimous,  criticism  only  being  exercised  upon  the  errors 
and  miscalculations  of  the  directors.  But  the  latter  is  a 
casus  bilUt  in  which  the  supporters  of  eitlter  side  take  the 
positions  of  decided  partisans.  It  will  not  be  diiHcult  to 
foresee  that  tlie  questiou  of  the  two  Italian  Operas  has  some- 
thing to  do  with  this  controversy,  inasmuch  as  regards  the 
•athorised  organs  of  either  party — the  Morning  Post  for  Her 
Majesty's  Theatre,  and  the  Morning  Chronicle  for  the  Royal 
Italian  Opera.  The  former  unmercifully  dissects  the  capa- 
bilities of  Signor  Costa  ;  the  latter  exalts  him  to  the  skies, 
and  places  him  among  the  archangels,  between  Michael  and 
Gabriel.  The  Morning  Herald  regrets,  with  the  Post»  that 
the  office  of  conductor  had  not  devolved  upon  an  English 
artist.  The  Times  declares  unceremoniously  that  Signor 
Costa  is  not  at  all  fitted  to  accomplish  its  duties  satisfactorily, 
and  more  plain-speaking  than  its  contemporaries,  names 
Stemdale  Bennett  as  the  proper  man.  The  Daily  News 
takes  no  part  in  the  question. ,  We  at  once  own  our  coin- 
cidence with  the  sentiments  advanced  by  the  Times,  Mean- 
while this  war  of  opinion  has  been  the  medium  of  introducing 
much  interesting  detail,  both  critical  and  historical,  of  which 
we  propose,  in  another  article,  to  present  our  readers  with 
some  specimens.  Our  business  now  is  to  recount  the  pro- 
ceedings of  the  first  concert. 

The  crowded  and  brilliant  appearance  of  the  Hanover 
Square  Rooms,  on  Monday  night,  placed  Signor  Costa's 
beneficial  influence  on  the  subscription  list  beyond  the  reach 
of  doubt.  But  the  critic's  duty  is  not  to  praise  a  thing 
because  it  brings  money,  but  because  it  is  good*^  in  art.  Mr. 
Henry  Russell's  "  I'm  Afloat  "  sells  much  more  than 
Beethoven's  **  Circle  of  Songs,"  addressed  by  a  lover  to  his 
mistress;  but  though  the  former  contains  the  elements  for 
ensuring  mobocratic  favour  on  a  large  scale,  the  popular 
composer,  we  are  persuaded,  would  blush  to  read  a  criticism 
in  which  he  should  be  preferred  or  compared  to  Beethoven, 
or  his  pleasant  lyric  to  one  of  the  loveliest  and  deepest  of 
Beetlioyen's  inspirations.  Cela  va  sans  dire.  Therefore,  in 
recording  the  fiscal  results  of  Signor  Costa's  engagement  as 
conductor,  we  reseive  to  ourselves  the  entire  right  of  demon- 


strating its  ]mpr;>pricty.  One  concert  directed  by  the  Auto- 
crat of  all  the  Russias,  or  the  Emperor  of  China,  *'  brother 
of  the  moon,"  would  attract  more  customers  than  would  fill 
the  Hanover  Square  Rooms  ten  times  over ;  but  no  one  will 
insi^it  therefrom  that  either  of  these  august  personages  is  in 
any  way  fitted  for  the  task.  Signor  Costa  attracts  the 
multitude  as  a  lion  or  an  elephant  of  unusual  proportions 
would,  in  a  still  greater  degree,  attract  the  multitude  to 
Exeter  Change  or  the  Zoological  Gardens.  Signor  Costa  is 
a  lion  now,  and  a  lion  with  a  castle  on  hi$  back,  in  the  shape 
of  the  Royal  Italian  Opera.  The  people  flock  to  see  him  wag 
his  tail,  to  hear  him  roar,  and  behold  how  well  he  bears  his 
burden.  Signor  Costa  is  also  a  man  of  fashion,  or  rather  a 
man  in  fashion,  and  so  the  fashion  congregates  at  his  signal, 
and  worships  at  his  shrine.  But  we  are  not  of  the  fashion, 
or  in  the  fashion,  and  our  lion- seeing  days  are  over.  We 
shall,  thereiure,  criticise  3ignor  Costa  simply  as  Signor  Costa, 
the  conductor  at  the  Philharmonic,  with  a  steel  pen,  an  iron 
conscience,  and  no  quarter.  We  are  in  the  position  of  the 
uasopped  Cerberus,  the  directors  having  thrown  us  neither 
tickets  of  admission,  nor  advertisements,  to  appease  us; 
and  we  shall  not  let  their  conductor  cross  the  Styx,  even 
though  Charon,  in  the  shape  of  the  Chonicle,  be  ready  to  row 
him  over.     Fiat  justiiia^  we  are  inexorable. 

The  programme  of  the  first  concert  was  constructed  on  new 
principles,  and  we  cannot  admire  either  the  principles  or  the 
programme.     Our  readers  shall  judge  : — 

Pabt   I. 
Overture  (Leonora)  .         -         - 

Song,  "  On  Lena's  gloomy  heath/'  Mr.  H 

Phillips  (MS.) 
Siafonia,  "  La  Reine  de  France"  - 
Romance,  "Va;  dit  elle,"  Madame  Carai>ori 

Allen  (Robert  !e  l!)iable)    - 
Concert o,  Piano-forte,  Mist  K,  Lodcr 

Part  ii. 
Scena,  •'  Ah!  what  deligbt,»*  Mr.  H  Phillips 

(DerVampyr)  -        -        - 

Concerto  Violin,  M.  Sainton   (MS.J  - 
Recit.  "I  "  Ah  I  quanti  affetti,"  } 

Aria,  j  "  Sento  roancarml  ranima,"    J 

Madame  Caradorx  Allen, 
Sinfonia  in  C  (No.  1)  -        -        -        - 

Conducto^  M,  Costa. 

Let  us  state  our  reasons  for  disapproving  of  the  programme 
ere  we  proceed  to  criticise  the  performance.  The  overture  to 
Leonora  was  the  most  brilliant  and  magnificent  piece  in  the 
selection,  and  its  position,  while  depriving  it  of  the  serious 
attention  it  must  absolutely  receive  to  be  appreciated,  helped 
to  destroy  the  effect  of  whatever  came  after  it.  Haydn's 
symphony,  for  example,  one  of  his  earliest  and  most  modest, 
was  entirely  crushed  under  the:  WieLzbt._ofiit_i  Ihesitjiffivccal 


Beethoven, 

Mendelssohn  BarthoUy, 
Hatfdn, 

Meyerbeer. 
Weber, 


Marschner, 
Mendelstohn  Barihekly. 

Cresceniini, 

Beethoven, 


^\^s^bf^<3^l^' 


182 


THE  MUSICAL  WORLD. 


musi^  except  oae  nong  {the  MS«  of  Mendelssohn),  wae  vfhMy  [ 
unintirefltiiig.  Meyerbeer  avi  Marseliser  cannot  be  xemored 
h0m  Hit  thiiCre  wkhowl  pre|ud]oe»  and  the  scene  from  D^  ' 
Vampyr  is  a  very  unfortunate  specimen  of  the  latter  com- 
poser. Then  we  had  only  one  overture,  an  innovation  that 
admits  no  argument  in  its  favour.  Then  the  two  most  important 
features  in  the  programme  were  from  the  pen  of  Beethoven — an 
injastice  to  other  composers  of  merit,  -whose  works  should  be 
played  as  often  as  practicable.  Lastly,  the  symphonies  were 
both  selected  from  the  early  efforts  of  the  authors,  which  was 
a  miscalculation  altogether,  since  nothing  is  more  essential  to 
the  interest  of  a  classical  programme  than  variety.  Post- 
eripium : — ^the  second  part  began  with  a  vocal  solo,  usurping 
the  place  of  honour  belonging,  by  right  of  custom  and  of 
reason,  to  the  grand  symphony  of  the  evening,  which,  oil  the 
present  occasion,  performed  the  agreeable  duty  of  playing  the 
audience  out,  the  few  that  remained  to  hear  being  unwarrant- 
ably discommoded.  To  sum  up — the  selection  was  in  itself 
weak,  and  the  alteration  from  the  ancient  form  a  complete 
ikilure.     And  now  to  speak  of  the  execution. 

The  overture  to  Leonora  was  vigorously  rendered,  and  the 
power  of  the  orchestra  demonstrated  with  crashing  reality ; 
but  to  those  who  do  not  regard  noise  as  the  principle  of  har- 
mony, that  delicate  appreciation  of  the  varied  poetical  beauties 
in  which  the  work  abounds,  so  necessary  to  its  proper  in- 
terpretation, was  iMSfiing.  The  general  movement  of  the 
allegro  was  decidedly  too  slow,  which  made  it  drag  rather 
heavily  until  the  piu  mosso,  when  the  proper  time  was  ac- 
complished. The  immense  force  of  the  stringed  band  was 
brought  into  play  with  singular  effect  in  the  unison  crescendo 
passage  which  leads  to  this  part  of  the  overture.  Mr.  Ribas 
must  be  especially  noticed  for  the  manner  id  which  he  ren- 
dered the  difficult  part  allotted  to  the  fauio  primo.  During 
the  first  performance  H.  R.  H.  the  Duke  of  Cambridge  sat 
near  the  orchestra.  Not  quite  satisfied,  as  it  would  seem, 
with  the  effect,  His  Royal  Highness  signified  his  intention  of 
removing  to  the  gallery  at  the  extremity  of  the  room,  and 
requested  that  the  overture  might  be  repeated,  in  order  to 
enable  him  to  come  to  a  decision  as  to  which  was  the  most 
convenient  spot  for  hearing.  In  obedience  to  His  Royal 
Highness's  request  the  overture  was  forthwith  repeated.  The 
applause  of  the  audience  however  was,  it  must  be  admitted, 
by  no  means  enthusiastic.  Nevertheless  some  of  our  contem- 
poraries signalize  the  event  as  a  "rapturous  encore,"  which 
is  clearly  a  misnomer.  A  correct  estimate  of  the  quality  of 
the  orchestra  was  easy  to  make  af^er  the  execution  of  this 
overture.  Its  beauties  and  defects  are  pretty  nigh  balanced. 
Take  away  some  of  the  stringed  instruments,  and  that  im- 
portant department  would  be  unquestionably  strengthened; 
for  as  invalids  encumber  the  march  of  an  army,  so  do  certain 
of  the  Philharmonic  violins,  violas,  and  violoncellos  weaken 
rather  than  assist  the  general  effect  of  the  body.  It  is  better 
not  to  play  at  all  than  to  play  ill  and  damage  the  resources  of 
the  strong  players.  In  the  wind  department  another  kind  of 
reform  Is  necessary.  Some  of  the  principals,  whose  deficiency 
has  for  years  been  a  crying  sin,  should  be  deposed  and  more 
competent  men  put  in  their  place.  The  cant  of  allowing  a 
great  national  institution  (which  the  Philharmonic  professes 
to  be)  to  suffer,  on  the  plea  of  not  interfering  with  private  in- 
terests, would  not  be  tolerated  in  any  country  but  this.  We 
have  too  often  signalized  the  departments  of  the  orchestra 
tbat  are  defective  (at  the  risk  of  our  own  personal  popu- 
larity) to  make  it  necessary  for  us  to  point  them  out  again. 
The  Directors  know  well  enough  where  their  weakness  lies ; 
and  it  ia  the  province  of  Signer  Costa,  in  whom  they  have 


Tested  so  sncli  diecretionajry  power,  to  se«  it  nMnded — ^Amr 
vise  his  oflbe  might  just  m  well  be  filled  by  any  one  eke ; 
§m  beat  he  nevev  so  iatel^bly,  mark  he  irevtr  ao  jftSk  &e 
accent,  he  cannot  make  a  silk  purse  out  of  a  sow's  ear,  be 
cannot  make  an  inefficient  orchestra  discourse  in  perfect  mea- 
sure. We  should  be  among  the  first  to  cry  out  for  Signor 
Costa  did  he  achieve  such  reforms  as  these ;  but  if  his  excel- 
lence be  confined  to  the  peculiarity  of  his  gyrations  with  the 
baton,  or  stick,  we  profess  to  hold  it  in  very  small  acoouat* 

Mendelssohn's  soi^  is  not  one  of  his  most  happy  inspira- 
tions. Its  general  effect  is  decidedly  heavy,  and  the  moao- 
tonous  adherence  to  one  key  (G  minor  and  major)  tires  the 
ear  in  a  composition  of  such  length.  Still  there  are  beauties 
in  it  that  could  belong  to  none  but  Mendelssohn  among  liviag 
composers ;  and  these  are  especially  to  be  noted  iu  the 
orchestration.  The  words  are  selected  from  Ossian,  and 
Mendelssohn  may  be  congratulated  on  having  escaped  the 
infection  of  rhodomontade  which  was  to  be  dreaded  from  the 
contact  of  his  music  with  such  turgid  verbosity.  Mr.  Phillips, 
for  whom  the  song  was  expressly  composed,  and  to  whom 
Mendelssohn  presented  the  manuscript  as  a  mark  of  profes- 
sional esteem,  interpreted  it  to  admiration.  Nothing  could 
surpass  the  distinctness  of  his  articulation,  except  the  purity 
with  which  he  vocalized  every  passage.  That  the  song  was 
not  immediately  appreciated  by  the  audience  must  be  laid  to 
its  depth,  which  could  not  be  sounded  at  once  without  letting 
out  more  line  than  belongs  to  ordinary  mixed  audiences — and 
not  to  the  efforts  of  Mr.  Phillips,  which  were  never  more 
successfully  exerted. 

Haydn's  sinfonia,  **  La  Reine  de  France,"  in  B  flatt'is  one 
of  his  earliest  and  least  musteally  interesting  works.  This 
pleased,  liowever,  a  certain  portion  of  the  audience,  to  whom  it 
brought  associations  of  other  and  perhaps  happier  times — be- 
fore '*  the  splendor  had  gone  from  the  grass,"  and  a  tree  be- 
came nothing  but  a  tree— and  these  naturally  made  comparisona 
in  its  favour  by  no  means  complimentary  to  modem  music, 
like  the  old  woman  in  the  French  comedy,  who,  looking  at 
herself  in  a  newly-fashioned  mirror,  ejaculated — '*  On  fatsait 
beaucoup  mieux  les  miroirs  en  mon  temps  qu'a  present.**  But 
the  real  Haydnite  looks  to  the  master's  greater  works  for  the 
imperishability  of  his  fame,  and  the  Philharmonic  directors 
showed  little  "  gratitude  to  Haydn,"  in  choosing  a  symphony 
from  his  repertoire  that  could  not  stand  the  shadow  of  a 
chance  of  distinction  by  the  side  of  the  earliest  of  Beethoven. 
The  Romance  recalled  those  pleasant  times  when  Nicolafs 
Sonata,  PleyeVs  Conceriante,  the  Battle  of  Prague,  and 
Griffin's  Concerto,  were  tlje  ne  plus  ultra  of  musical  per- 
formance and  composition.  Tlie  Directors  must  have  felt  a 
wish  to  revive  the  simplicity  of  pastoral  limes,  when  they 
treated  their  subscribers  with  such  Bucolic  repast.  The 
symphony  was  well  executed  ;  how  could  it  have  been  other- 
wise ?  It  is  80  very  easy !  But  even  here  the  Italian  con- 
ductor made  a  mistake  in  the  vivace  movement,  which  jogged 
along  for  all  the  world  like  an  andantino. 

Meyerbeer's  Romance  is  not  suited  to  Madame  Caradori 
Allan,  and  Madame  Caradori  Allan's  fioriture  were  not  suited 
to  Meyerbeer,  from  which  it  may  naturally  be  concluded  that 
no  very  lively  sensation  was  produced  by  this  item  of  the 
vocal  programme. 

Little  Kate  Loder  made  a  thorough  hit.  In  selecting 
Weber's  Concerto  in  E  flat,  she  consulted  brilliancy  rather 
than  beauty ;  but  as  her  object  in  her  debut  was  naturally 
rather  to  exhibit  her  powers  of  execution  to  advantage  than  to 
make  display  of  her  musical  taste,  she  was  perhaps  not  to  be 
blamed  for  her  decision.    There  is  hardly  a  more  difficult 

Digitized  by^^OOy  It: 


THE  MUSICAL  WORLD. 


1,83 


concerto  among  the  compositions  of  modem  masters  than 
this;  and  moreover,  which  is  another  defence  for  Kate 
Loder,  it  is  more  rarely  heard  than  the  majority  of  Weher's 
pianoforte  works.  By  slow  and  sure  steps  this  clever  young 
artist  has  been  climbing  up  the  ladder  of  excellence.  Both 
in  composition  and  in  performance  she  has  already  distinguished 
herself  greatly.  She  is  full  of  energy  and  talent,  and  has 
every  chance  of  becoming  one  of  the  ornaments  of  her  pro« 
fession.  It  was  surprising  to  mark  the  decision  and  fireah- 
ness  with  which,  before  so  large  and  critical  an  auditory,  and 
in  the  midst  of  a  vast  orchestra,  she  dashed  off  the  bravura 
passages  abounding  in  the  concerto  ;  and  it  was  refreshing  to 
listen  to  the  quiet  and  unaffected  sentiment  that  characterised 
her  reading  of  the  cankibile  phrases.  Altogether  her  per- 
formance was  unexceptionable,  and  the  unanimous  applause 
she  received  was  nothing  less  than  her  due.  Miss  Kate 
Loder  was  a  pupil  of  the  Royal  Academy,  where  she-  studied 
under  the  experienced  surv^illanee  of  Mrs.  Anderson.  She  is 
now  a  professor  of  harmony  and  the  piano  in  the  same  insti- 
tution, to  which,  and  to  her  instructress,  she  does  the  highest 
credit.  We  believe  that  Mr.  Macfarren  and  Mr.  Potter 
can  claim  the  honour  of  having  taught  her  the  principles  of 
composition. 

Of  Marschner's  song  we  would  rather  say  nothing.  We 
have  seldom  Hstened  to  a  more  empty  display  of  that  unmean- 
ing bombast  which  too  many  of  the  modem  Germans,  who 
pxirody  Weber,  mistake  for  fine  writing.  We  only  felt  a 
regret  that  Mr.  Phillips'  vocal  talent  should  have  been  thrown 
away  upon  it. 

We  pronounced  our  opinion  of  Mendelssohn's  violin  con- 
certo last  year,  when  it  was  played  by  Sivori  at  the  eighth 
Philharmonic  Concert ;  and  a  second  hearing  has  confirmed  us 
in  the  belief  that  \t  Is  one  of  the  roost  perfect  and  beautiful 
compositions  of  that  great  master.  It  is  full  of  genius.  The 
three  movements  are  finely  contrasted — the  allegro  in  £ 
minor,  gloomy  and  passionate — the  andante,  in  C  major, 
tender  and  expressive — the  finale,  in  E  major  (preceded  by 
an  intermezzo  of  a  few  bars  in  the  minor,  as  in  the  C  minor 
sonata  of  Dassek,  Op.  35,  from  the  three  dedicated  to 
Clementi)  sparkling  and  vivacious.  It  abounds  in  melody 
throughout,  as  new  as  it  is  exquisite,* and  this  is  setoff  and 
enriched  by  harmonic  and  orchestral  treatment  in  which  con- 
summate learning  and  prodigal  fancy  go  hand  in  hand.  M. 
Sainton's  reading  of  this  concerto  differed  in  many  respects 
from  that  of  the  accomplished  Sivori.  It  was  less  elegant,  but 
more  bold-^less  finished,  but  more  energetic.  The  kst 
movement  M.  Sainton  took  considerably  faster  than  his 
predeeessor.  But  as  we  were  charmed  by  the  passionate 
reading  of  the  Italian,  so  we  were  stmck  by  the  impetuous 
manliness  of  the  Frenchman*  Certainly  M.  Sainton  is  a 
careful  violinist,  and  a  thorough  artist  in  every  respect.  He 
has  played  three  dmes  at  the  Philharmonic,  and  on  each  oc- 
casion has  selected  a  great  classical  work  (two  concertos  of 
Spohr,  and  one  by  Mendelssohn),  and  it  would  be  well  if 
o&er  violintsta  were  to  follow  his  example.  M.  Sainton  never 
played  more  finely  than  on  this  occasion.  He  seemed  to  feel 
instinctively  that  a  comparison  would  be  made  between  him- 
self and  Sivori,  whose  execution  of  the  concerto  last  year 
could  not  but  have  deeply  impressed  itself  upon  the  memory 
of  the  Philharmonic  subscribers.  They  will  not  less  re- 
member, we  are  assured,  the  performance  of  M.  Sainton, 
which  was  marked  by  as  many  excellencies,  though  of  another 
kind.  But  the  best  compliment  to  the  violinist  was 
offered  ia  the  unanimous  applause  that  greeted  his  per- 
formaBce  from  beghming  to  end,  ^showing  dearly  the  opinion 


of  the  audience,  that  Sainton  had  a  perfect  right  to  tread 
where  Sivori  had  trodden  before. 

The  scena  of  Crescentini  is  such  mbbish  that  even  Madame 
Caradori  Allan  could  not  make  it  acceptable  to  a  Philharmonic 
audience.  If  these  old  Italian  masters  are  perforce  to  be 
disturbed  ftom  their  long  sleep,  surely  the  distiu-bers  might 
rake  up  something  more  honourable  to  their  reputation. 

As  a  mere  matter  of  execution,  nothing,  on  the  whole,  could 
have  been  more  excellent  than  the  symphony  of  Beethoven, 
which  was  received  with  the  honors  and  **  ovations  "  due  to  its 
great  merits.  But  we  entirely  concur  with  some  of  our  contem- 
poraries, who  complain  that  the  allegro  and  the  andante  were 
both  taken  too  slow  by  Signer  Costa.  The  scherzo  and  finale 
were  capitally  played,  and  left  nothing  to  desire  but  a  little 
more  decision  in  the  homs.  We  were  glad  to  remark/ however, 
that,  in  this  instance,  Signor  Costa  dispensed  with  the  absurd 
custom  that  has  so  long  prevailed  cf  doubling  the  parts  for 
those  instruments.  Nothing  can  possibly  warrant  such  a 
liberty. 

Our  impressions  of  this  concert,  as  a  whole,  may  be 
gathered  from  the  remarks  that  commence  this  article.  Both 
as  a  selection  and  as  a  performance  we  must  pronounce  it  un- 
satisfactory ;  and  herein  we  do  but  echo  the  opinion  already 
advanced,  on  the  morning  following  the  concert,  by  some  of 
the  most  important  and  influential  of  our  daily  contemporaries. 
We  deeply  regret — while  acknowledging  die  Philharmonic 
Society  to  be  the  only  refuge  in  this  country  for  those  ex- 
amples of  the  highest  art  which  have  been  developed  in  the 
instrumental  works  of  the  great  masters — we  deeply  regret, 
we  repeat,  to  be  obliged  to  record  so  indifferent  a  beginning 
to  the  thirty-fifth  season.  Let  us  hope  that  the  next  seven 
concerts  wUl  make  amends.  We  shall  be  too  glad  to  find 
cause  for  praise  instead  of  censure ;  but  we  owe  it  to  our  readers, 
on  this  as  on  all  occasions,  to  speak  the  unsophisticated  tmth. 

JENNY  LIND. 

Since  our  last,  a  correspondence  has  appeared  in  the  morn- 
ing papers,  consisting  of  a  series  of  letters  which  we  have  read 
over  several  times  without  being  able  to  come  to  any  conclu- 
sion as  to  what  they  mean.  As  some  of  our  readers  are  bar- 
risters, and  divers  of  them  no  doubt  briefless,  we  are  induced 
to  print  the  said  correspondence,  inviting  their  professional 
opinion,  which  we  shall  be  happy  to  print  for  the  edification 
of  our  readers  and  the  advantage  of  ourselves.  The  first 
letter  is  from  Mr.  Jennings,  of  Chancery  Lane,  to  Mr.  Bunn, 
of  Drury  Lane.     It  thus  discourseth  : — 

"  Sir, — ^I  am  instructed  by  MademoiBelle  Jenny  Lind  to  hand  yoa  the 
cndoted  copy  of  a  letter  from  that  lady  at  Vienna,  the  original  of  which 
remains  in  my  handa  for  your  inspection.  Mademoiselle  Lind  has  volun- 
tarily made  this  proposal,  without  assistance  or  advice  from  English 
lawyers,  to  purchase  peace  and  escape  litigation  in  a  foreign  land ;  and  I 
am  authorised  immediately  to  carry  it  out.  The  proposal  is  final,  and  if 
you  accept  it,  I  will  attend  any  appointment  you  make,  and  close  the 
affair ;  and,  on  the  other  hand,  if  you  object  to  it,  or  do  not  accept  it  on 
or  before  Tuesday  next,  I  am  instructed  to  appear  and  defend  any  suit 
you  nay  think  proper  to  institute  against  Mademoiselle  Lind,  and  request 
you  to  direct  your  solicitor  to  send  any  process  against  that  lady  to  me 
for  appearance  and  defence.  I  have  the  honour  to  be,  Sir,  your  obedient 
servant,  Edward  Jkhnimos. 

"  A.  Bunm,  Eiq,,  Theatre  Rop<U,  Drury  Lane." 

Mr.  Jennings  would  seem  to  belong  to  a  new  Post  Ofllce 
Company,  established  for  the  safe  non-delivery  of  letters.  He 
transmits  to  Mr.  Bunn  a  copy  of  a  letter  addressed  to  Mr. 
Bunn,  and  tells  Mr.  Bunn  that  if  he,  Mr.  Bunn,  will  call  upon 
him,  Mr.  Jennings,  he,  Mr.  Bunn  may  see  the  original.  Sup* 
pose  the  Post  Office  authorities  were  to  try  the  same  experi- 
ment with  Her  Majesty's  subjects,  what  capital  fun  it  would 

Digitized  by  \^OOy  It: 


164 


THE  MUSICAL  WOKLD. 


be  to  see  the  whole  population  of  London  rashing  to  the 
stately  edifice  in  Aldersgate  for  a  sight  of  the  "  originals"  of 
letters,  of  which  "  copies"  had  been  already  handed  them  by 
the  men  of  bags  and  double-knocks.  It  has  been  the  opinion 
of  counsel  that  a  man's  own  letter,  like  a  man's  own  carpet 
bag,  belongs  to  a  man's  own  self;  but  the  proceeding  of  Mr. 
Edward  Jennings,  Chancery  Lane,  9,  has  upset  the  notions  on 
this  head  which  have  hitherto  obtained.  We  live  and  learn  ! 
But  our  readers  must  be  anxious  for  the  contents  of  the  letter 
of  Jenny  Lind  to  Mr.  Bunn,  mentioned  in  that  of  Mr, 
Jennings. 

*•  Vienna,  Fevrier9fi',  1847. 
"  Monsieur, — J'ai|  eurhoniteur  de  recevoSr  votre  lettre  da  Dec.  19eme, 
1846,  dans  Uqoelle  vous  pr^ndez  «voir  k  me  demander  des  dommages 
iiiter^ts  po&r  ma  non -venue  en  1815.  Vous  connaissez  parfaitement  les 
raisons  qui  m'ont  empech^,  qui  ont  rendu  impossible  inon  apparition 
sur  Yotre  th^tre.  D'ailleurs  moo  arriv^e  n'aurait  servi  k  rien,  puisque 
vous  n'aviez  ni  la  traduction  de  Topera  le  FeUiager  en  Anglais,  ni  )a 
musiqne  que  je  devais  chanter.  11  est  plus  que  probable  que  I'affaire 
devant  la  loi  ne  voas  rapporterait  rien ;  mats  je  ne  veux  pas  que  vous 
pdissiez  me  taier  de  mauvaise  foi»  quelque  peu  que  je  meritasse  oe 
reproche,  et  je  vous  offre  en  remettant  le  papier  siirn^  par  moi,  k  la  per- 
soune  que  je  nommeraikcet  effet,  la  somme  de  £:},000  (deux  raille  livres 
sterling.).  Comme  je  daU  venir  d  Londret  en  tout  cos,  je  preferrais  y 
venir  avec  la  conscience  d'avoir  fait  tout  ce  qui  d^peiidait  de  moi,  et  je 
laiste  k  votre  jugement,  si  vous  preferares  cet  arrangement  i  Taimable 
k  un  proces  qui  yous  ne  rapportera  peut  ^tre  rien  du  tout.  J'ai  charg^ 
M.  £dward  Jennings,  9,  Chancery-lane,  de  mes  inslructions  ulterieurs. 

"  jBNIfT   LiMD. 

*'  a  M.  Bunn,  Direcleur  da  Tkedtre  de  Dmry-kme,  LMidresJ* 

To'  wl^iSh  we  heartily  respond,  Amen  !  We  strongly 
recommend  Mr.  Bunn  to  accede  to  this  "  arrangement  k  Vaim- 
able,"  hinted' at  by  the  delicious  nightingale  of  nightingales. 
No  attempt  has  been  made  (whidi  might  have  been  antici- 
pated) by  "  him  of  the  ChrosMe^"  1»  ria^w  n  doubt  upon 
the  authenticity  of  this  letter,  the  Frenck  being  of  that 
peculiar  character  that  none  but  a  Swede  couM  possibly  have 
written.  We  only  complain  that  Mr.  Buim  sliould  be  com- 
pelled to  walk  all  the  way  to  Chancery  Lao«  for  the  purpose 
of  "  taking  a  sight "  of  a  letter  upon  whieh  his  own  name 
was  endorsed,  and  which  consequently,  **  according  to  the 
statutes,"  would  appear  (on  the  surface)  to  be  his  own  goods 
and  chattels.  But  Mr.  Jennings,  Chancery  Lane,  9,  is  evi- 
dently of  an(ither  opinion.  For  the  use  of  onr  readers,  who 
do  not  comprehend  la  langue  Franeaise  tautee  a  la  Suedrnm, 
we  present  a  translation  into  plain  vemaeahr,  which  it  a9t 
our  own  : — 

[Translation.] 

"  r%«nna,  Peh.  de,  1847. 

"  Sir, — I  had  the  honour  of  receiving  your  letter  of  the  19th  of 
December,  1846,  in  which  you  pretend  to  have  to  claim  from  me  damages 
for  my  non-arrival  in  184ft.  You  are  perfectly  conversant  with  my 
reasons  for  not  coming,  and  which  rendered  Impossible  my  appetranot 
at  your  theatre.  Besides,  my  arrival  would  have  been  fruitless,  since 
you  had  not  at  the  time  the  opera  of  the  Feldlager  translated  into  English 
nor  the  music  which  I  was  engaged  to  sing.  It  is  more  than  probable 
that  this  affair,  brought  before  a  court  of  justice,  would  yield  yo«  nothing!; 
but  I  am  determined  you  shall  not  tax  me  again  with  bad  failb,  however 
little  I  merit  such  a  reproach,  and  I  offer  to  pay  you  the  sum  of  £2,000 
(two thousand  pounds)  on  your  returning  the  paper  signed  by  toe  to  the 
person  I  shall  appoint  for  the  purpose.  Ai  I  shall  in  any  event  come  to 
London,  I  should  prefer  coming  with  the  consdousne»s  of  having  done  all 
that  depended  upon  me,  and  I  leave  it  to  your  choice  and  Judgment 
whether  you  will  prefer  this  arrangement  te  a  lawsuit,  from  which  you 
would  probably  derive  nothing.  I  have  given  to  Mr.  Edwaid  Jennings, 
of  9,  Chancery-lane,  all  necessary  and  further  instructions  on  the  present 
subject.  JcNNY  Lino. 

"7*0  Alfred  Bunn,  Etq.,  Director  of  the  Theatre  Royal,  Drury  Lane, 
London," 

One  more  letter  and  we  have  done.  It  is  from  Mr.  Bonn  to 
the  morning  papers,  apropos  of  the  above,  and  has  been  pub- 
lished in  all  of  them,  with  the  exception  of  the  Morning  Post. — 


"  Sir,— I  request  your  permission  to  insert  my  reply  to  the  letter 
which  appeared  in  the  Times  of  yesterday,  signed  '  Edwd.  Jennings ' 

"'11,  FUxroyequare,  Mafeh  lb,  1847. 

"  '  Sir,— I  beg  to  acknowledge  the  receipt  of  your  letter  dated  the  I3th 
instant,  and  have  only  to  observe,  that  on  receiving  the  original  letter 
from  Madlle.  Lind  (addressed  to  me),  which  you  state  to  be  in  your 
hands,  and  of  which  you  have  enclosed  me  a  copv,  I  will  instantly  reply 
to  it.    I  am,  sir,  your  obedient  servant,  "  *  A.  BunM. 

"  '  B.  Jemings,  Btq.,  Bfc.  ^c'  " 

"  Mr.  Jennings  waited  upon  me,  and  showed  me  a  letttr  not  written 
by,  but  signed '  Jenny  Lind.'  which  be  refused  to  leave  uHth  me,  although 
addressed  to  me.  To  that  letter  I  have  sent  an  answer,  giving  a  negative 
to  the  professional  points  therein  sought  to  be  maintainMl ;  but  making 
a  proposition  which,  if  Mdlle.  Lind  has  that  sense  of  '  disinterestedness 
and  good  faith'  claimed  for  her,  she  will  not  hesiute  to  accq^t.  As  to 
the  non-existence  of  any  legal  claim,  from  opinions  alleged  to  have  been 
delivered  by  the  law-officers  of  the  Crown,  1  beg  to  say,  I  have  acted 
upon  the  judgment  of  the  first  lawyers  in  England  and  Prussia,  and  feel 
assured  that-  no  such  offer  as  £2000  would  be  made,  if  the'r  opinion  on 
the  contract  signed  at  Berlin,  in  the  presence  of  the  Bri^h  Minister, 
were  questionable.  1  have  the  honour  to  be,  shr,  yoor  mocb  obliged 
wrvant,  "  a.  Boiiir. 

"  Londtm,  March  17,  1847." 

We  do  not  presume  to  know  Mr.  Bunu's  business  better 
than  he  knows  it  himself;  but,  as  his  warm  well*wisherS|  we 
urge  him  to  aocept  the  £2000,  and  he  will  entitle  himself 
to  the  gratitude  of  the  fair  songstress,  iihom  all  the  world 
here  is  so  anxious  to  behold,  and  who  has  behaved  so  nobly, 
and  so  unaffectedly  in  the  matter. 

LOLA  li#NTEZ. 

Poor  little,  stupid,  pretty,  povting,  chattering,  good-tem- 
pered, warmhearted,  reeklets,  exiravsgant,  nauf^hty  Lola! 
Who  wopid  have  dreamed,  two  years  gone  by,  when  we  saw 
tliee  at  Bonii«^the  cynosure  of  ii  tyvmi  #f  idlers,  talking  so 
charmingly  at  random,  laughing  so  merrily  at  everything  and 
nothing,  eating,  and  drinking^  and  amoking  (dried  herring,  tea, 
and  cigarettes),  doing  everything,  in  short,  except  listen  to 
Beethoven's  mu^ic^albeit  it  was  Beethoven's  festival,  and 
thou  hadst  come  from  afar,  with  some  lately  acquired  thousands 
otUvres  <not  sterling)  in  thy  pouch — who  would  have  dreamed, 
that  within  the  short  space  of  four  and  twenty  months,  thou 
shouldst  have  arrived  at  the  distinction  of  upsetting  a  whole 
government,  of  dispersing  a  powerful  party,  of  captivating 
the  whole  heart  of  a  king  of  a  large  and  prosperous  kingdom — 
the  *third  eatate  in  Germany !— who  would  have  dreamed  it  ? 
Not  we,  certcs — ^nor  Jules  de  dimes,  who  inttodneed  us  to 
thee,  capricious  Lola !  and  took  us  '*  to  tea"  at  thy  lodg- 
ings'—nor Jules  Janin,  who  was  angry  because  thou  didst 
"fa-tot"  him— nor  Fiorentino,  who  was  thy  shadow — nor 
Schott,  who  philosophised  upon  thy  follies!— not  one  of  us, 
Lola,  would  have  dreamed  of  it.  But  here  are  facta.  Behold 
thee  the  subject  of  political  discussion !  Behold  thee,  the 
theme  of  three  "  leaders''  in  the  Times ! !  Behold  thee,  the 
mistress  of  the  King  who  loves  the  arts ! ! !  Behold  thee,  the 
enemy  and  the  vanquisher  of  the  dark  and  subtle  Jesuits ! !  I ! 
Professors  of  Jesuitism  are  dismissed  for  thee — Jesuitical 
ministers  resign  for  thee — the  King's  heart  is  open  to  thee ! 
And  why,  forsooth,  shouldst  thou  not,  little  Lola,  be  made  a 
citizen  of  Munich  ?  Is  there  in  Munich  such  an  atmosphere  of 
rigidity  (purity— so  termed)  that  thy  breath,  silly  wanton, 
should  infect  it  as  with  an  epidemic  ?  No,  no,  it  is  not  so.  Thou 
art  the  blind  instrument  of  Fate,  who  hath  chosen  thee  as  his 
minister,  to  free  Bavaria  and  its  King  from  a  detestable  ty- 
ranny and  a  grasping  faction.  Unwittingly  thou  hast  achieved, 
thy  mission,  and  Fate  has  recompensed  thee  wiUi  the  gratitude 
<^  the  King,  who  will  shower  honoun  upon  thee,  and  set  thee 
ap  in  high  places  to  be  adored  by  his  subjects.    And  better*  i 

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THE  MUSICAL  WORLD. 


185 


much  better  for  the  King,  to  be  enslaved  by  thy  attractions, 
than  by  the  secret  influence  of  those  fanatic  moles,  who  live 
in  dark  places  and  nndermine  empires. 

Such  was  the  cnnent  of  our  reflections  on  reading  the 
articles  in  the  Times,  on  the  now  engrossing  theme  of  Bava- 
rian politics,  and  more  especially  in  perusing  Lola*s  own  letter, 
which  proves,  beyond  further  question,  the  correctness  of  the 
views  set  forth  in  the  leaders  of  **  the  Thunderer."  We 
translate  it  into  our  own  pages  with  pleasure,  where  it  will 
remain,  to  be  re-read  hereaflei,  as  a  sign  of  the  times  in  which 
we  now  live. 

**  To  the  EdUor  of  the  Times. 

"  Sir,— Having  had  a  copy  of  your  paper  of  the  2d  Inst,  sent  to  me,  ' 
tiuat  you  wUl,  in  justice  to  myself,  insert  the  following  short  account  o^ 
the  real  state  of  aflairs  here,  and  which  at  the  same  time  will  be  a  con- 
tradiction to  the  numerous  articles  which  have  lately  appeared  in  the 
French  papers :— '  I  left  Paris  in  June  la^t  oh  a  professional  trip,  and, 
amongst  other  arrangements,  decided  upon  visiting  Munich,  where,  for 
the  first  time  I  had  the  honour  of  appearing  before  His  Migesty,  and 
receiving  from  him  marks  of  approbatioin,  which  you  are  aware  is  not  a 
very  unusual  thing  for  a  professional  person  to  receive  at  a  foreign  Court. 
I  bad  not  been  here  a  weeic  before  I  discovered  that  there  was  a  plot 
existing  in  the  town  to  get  me  out  of  it,  and  that  the  party  was  the 
Je<uit  party,  Of  course  you  are  aware  that  Bavaria  has  long  been  their 
stronghold,  and  Munich  their  head-quarters.  This  naturally  to  a  person 
brought  up  and  instructed  from  her  earliest  youth  to  detest  this  party  (I 
think  you  will  say  Justly),  Irritated  me  not  a  little.  When  they  saw 
that  I  was  not  likely  to  leave  them,  they -commenced  on  another  tack, 
and  tried  what  brib«7  would  do,  and  actually  offered  me  50,000f.  yearly 
if  1  would  quit  Bavaria  and  promise  never  to  retora.  This*  as  you  may 
imagine,  opened  my  eyes ;  and,  as  I  indignantly  refused  their  offer,  they 
have  since  then  not  left  a  stone  unturned  to  get  rid  of  me,  and  have 
nevsr  for  aa  instant  ceased  persecuting  me.,  I  may  mention  as  one  in- 
staaoe,  that  within  tliis  last  week  a  Jesuit  professor  of  philosophy  in  the 
University  here,  of  the  name  of  Lassault,  was  removed  from  his  profes- 
sorship, upon  which  the  party  paid  and  hired  a  mob  to  insult  me  and 
break  tlia  windows  of  my  house,  and  also  to  attack  the  Palace ;  but, 
thanks  to  the  better  feeling  of  the  other  party,  and  the  devutedncss  of 
the  soldiers  to  His  Majesty  and  his  authority,  this  plot  likewise  failed. 
The  late  change  in  the  Ministry  that  you  allude  to  was  a  spontaneous  act 
of  His  Majesty's,  and  you  pay  me  too  great  a  compliment  in  supposing 
that  I  was  a  party  to  such  a  measure;  but  from  what  I  have  seen  and 
beard  of  His  Majesty,  I  shouki  think  he  had  very  just  grounds  for  taking 
tlie  step  which  he  did.  Since  my  residence  here  I  can  safely  say  that  I 
hare  in  no  way  interfered  in  any  affairs  not  concerning  myself,  and  as  1 
intend  making  it  my  future  abode,  it  is  paiticularly  annoying  to  me,  hear- 
ing so  man^r  scandalous  and  unfounded  reports  which  are  daily  propa- 
gated ;  and  in  justice  to  myself  and  my  future  prospects  in  life,  1  trust 
that  you  will  not  hesitate  to  insert  this  letter  in  your  widely-circulated 
Joomal.  and  show  my  friends  and  the  public  how  ui^justly  and  cruelly  I 
have  been  treated  by  the  Jesuit  party  in  Munich.  Knowing  that  your 
columns  are  always  open  to  protect  any  one  unjustly  accused,  and  more 
especially  when  that  one  is  an  unprotected  female,  makes  me  rely  upon 
you  for  the  insertion  of  this,  and 

I  have  the  honour  to  subscribe  myself, 
Your  obliged  servant,   • 

Mmieh,  March  U,  1847.  LOLA  MONTEZ." 

Lola,  you  are  a  casuist !  You  are  one  too  much  for  the 
Jesuits!  You  have  not  reed  the  works  of  St.  Thomas 
Aquinas,  but  you  have  read  the  human  heart,  and  can  give 
tfaem  six  any  day  in  the  week,  with  the  fdthers  and  schoolmen 
to  boot : — ''  Truth  is  strange,  stranger  than  fiction," — you  have 
proved  it. 

MUSIC  AT  CAMBRIDGE. 

(Fnm  a  Correspondent, J 
A  Concert  was  given  on  Tuesday  evening,  March  9,  in  the 
Town-hall,  which  drew  together  a  very  fashionable  assembly. 
The  entertainment  commenced  with  a  quatuor,  from  Costa's 
Malek  Adel^  which  was  sung  excellently  by  the  Misses 
Williams  and  Dolby,  and  the  Messrs.  Wrighton  and  H.  Von 
Hoff.  The  last  named  gentleman  next  gave  a  song  from 
Mariiana^  which  was  applauded,  though  by  no  means  ex- 


cellently sung.  The  Misses  Williams  were  heard  to  great 
advantage,  in  a  duet  o£^  Rossini's.  Mr.  C.  Sippel,  played  a 
solo  on  the  cornet,  which  was  encored.  Miss  Dolby  was 
encored  in  the  grand  aria,  *'  Ah !  Quel  quivro,"  from 
Semiramide,  A  pianoforte  solo,  the  composition  of  Ddhler 
was  admirably  executed  by  Mr.  Wilkinson.  The  Misses 
Williams  and  Mr.  Wrightouf  were  next  called  on  to  repeat 
CuTschman's  pretty  trio,  '*  Te  prego."  Clinton's  duet,  for 
clarionet  and  flute,  performed  by  the  Messrs.  F.  and  C.  Sippel, 
was  encored,  as  were  likewise  Linley's  two  ballads,  "  Con- 
stance," and  *'  Primroses  deck  the  bank,"  most  deliciously  sung 
by  Miss  Dolby.  Miss  A.  Williams  also  received  a.similar  com- 
pliment in  a  song  of  Auber's;  and  the  concert  concluded  with 
Hatton's  duet,  •'Two  merry  gay  laughing  faries,"  given  by 
the  Misses  Williams.  The  entertainment  gave  the  greatest 
satisfaction,  Mr.  Wilkinson,  accompanied  all  the  vocal 
morceauxi  and  acquitted  himself  like  ^  musician. 

TsaB    Amaivias, 

Jrem  t|e  (Srtrman  of  0r]lt^. 

Continued  from  page  171. 
PART    II. CHAPTER    VI. 

Thb  great  disouiet  occasioned  to  Charlotte  by  this  visit  was 
compensated  by  the  fact,  that  she  learned  fully  to  understand  her 
daughter,  in  which  she  derived  great  assistance  from  her  knowledge 
of  the  world.  It  was  not  the  first  time  that  she  had  met  a  singular 
character  of  the  kind,  though  she  had  never  seen  one  carried  to 
such  excess.  And  yet  she  bad  been  taught  by  experience  that 
such  persons  when  formed  by  life,  by  a  variety  of  events,  and  by 
domestic  relations,  can  attain  a  very  pleasant  and  amiable  maturity, 
since  their  self-will  becomes  soflened,  and  their  wandering  activity 
takes  a  decided  direction.  Hence  Charlotte,  as  a  mother,  was 
more  disposed  to  put  up  with  a  phenomenon  whieh  to  others  might 
have  been  dispteasmg,  as  it  well  becomes  parents  to  hope,  while 
strangers  only  wish  to  enjoy,  or  at  least  do  not  want  to  be  encum- 
bered. 

However,  after  the  departure  of  her  daughter,  Charlotte  was 
struck  in  a  very  peculiar  and  unexpected  manner  at  finding  that 
Luciana  had  left  behind  her  a  bad  name,  not  only  through  the 
blameable  part  of  her  conduct,  but  also  through  that  which  might 
have  been  considered  laudable.  Luciana  seemed  to  have  made  it 
her  law  not  only  to  be  joyous  with  those  who  rejoiced,  but  also  to 
be  mournful  with  those  who  mourned  {  nav,  that  she  might  put  iu 
full  practice  the  spirit  of  contradiction,  often,  to  make  the  joyous 
cross,  and  the  mournful  hilarious.  In  every  family  into  which  she 
came  she  enquired  for  the  sick  and  weakly  who  could  not  come 
into  society.  She  visited  them  in  their  rooms,  performed  the  part 
of  a  physician,  and  urged  every  one  to  take  some  strong  remedy 
from  the  medicine-chest,  which  she  always  took  with  her  in  her 
carriage.  The  cures,  as  may  be  imagined,  succeeded  or  fipiled, 
just  as  chance  directed. 

In  this  sort  of  kindness  she  was  really  cruel,  and  would  listen  to 
no  olyjections,  because  she  was  perfectly  convinced  that  her  conduct 
was  excellent.  But  she  also  failed  in  an  experiment  made  on  the 
moral  side,  and  this  it  was  that  gave  Chariotte  a  great  deal  of 
trouble,  for  it  was  not  without  its  consequences,  and  was  a  topic  of 
general  remark.  It  was  not  till  after  Luciana's  departure  that  she 
heard  of  it ;  and  Ottilia,  as  sho  had  been  present  during  the  afikir, 
was  obliged  to  give  her  a  circumstantial  account. 

One  of  the  danghter<(  of  a  distinguished  family  had  been  unfor- 
tunate enough  to  cause  the  death  of  a  younger  sister,  end  could  not 
banish  her  uneasiness  on  this  account.  She  quietly  employed 
herself  in  her  own  chamber,  and  could  only  endure  the  sight  of 
her  friends,  when  they  came  one  at  a  time  :  lor  she  suspected  that 
if  several  came  together,  they  might  reflect  among  themselves 
upon  her  and  her  situation.  To  each  one  singly  she  expressed 
herself  rationally,  and  would  converse  with  them  for  the  hour 
together. 

Luciana  had  heard  of  this,  and  had  at  once  silently  resolved  that 
if  she  entered  the  house  she  would,  as  it  were,  work  a  miracle,  and 
restore  the  lady  to  society.    She  conducted  herself  with  more  than 


Digitized  by\^OOy  It: 


186 


THE  MUSICAL  WORLD. 


ordinary  prudencoi  and  managed  to  introduce  herself  alone  into 
the  invalid's  presence,  and,  as  far  as  could  be  observed,  to  gain 
her  confidence  through  the  aid  of  music.  At  last,  however,  slie 
made  a  mistalce ;  for  wishing  to  produce  an  excitement,  she  one 
evening  toolc  into  a  gay,  miscellaneous  society  the  pale  beautiful  girl, 
whom  she  thought  sufficiently  prepared.  Perhaps  she  would  have 
succeeded,  had  not  the  company,  from  curiosity  and  apprehension, 
behaved  in  a  very  unsuitable  manner,  first  crowding  round  the 
invalid,  then  shunning  her,  and  then  perplexing  and  ezdting  her 
by  all  sorts  of  whispering  and  shalcing  of  the  head.  This  the 
delicately  aensitive  girl  could  not  endure.  She  left  the  room  with 
frightfiil  screams,  which  seemed  to  express  horror  at  some  ap- 
proaching inonater.  The  companv,  terrified,  dispersed  in  all 
directions,  and  Ottilia  was  one  of  those  who  took  the  girl,  now 
quite  insensible,  to  her  chamber. 

In  the  meanwhile,  Luciana  had,  in  her  own  fashion,  addressed  a 
severe  rebuke  to  the  company,  without  in  the  least  degree  thinking 
that  she  alone  wu  to  blame,  or  allowing  herself  to  be  checked  by 
this  and  other  failures  tern  her  usual  course  of  activity. 

From  that  time  the  situation  of  the  invalid  had  become  more 
critical,  and  eventually  the  malady  so  much  increased,  that  the 
parents  were  not  able  to  keep  the  poor  child  at  home,  but  were 
forced  to  send  her  to  a  public  asylum.  Charlotte  could  do  nothing 
more  than  show  a  kind  regard  for  the  family,  and  thus  in  some 
degree  alleviate  the  pain  her  daughter  had  occasioned.  The  affair 
had  made  a  deep  impression  upon  Ottillia,  and  she  pitied  the  poor 

i;irl  so  much  the  more,  because,  as  she  did  not  deny  even  to  Char- 
otte,  she  thought  that  with  a  consistent  method  of  treatment,  the 
invalid  would  certainly  have  recovered. 

As  people  generally  talk  about  disagreeable  rather  than  agreeable 
sulgects,  there  came  also  under  discussion  a  little  misunderstanding 
which  had  arisen  between  Ottilia'  and  the  architect,  when  on  the 
evening  before-described,  he  would  not  show  his  collection,  in 
spite  of  her  kind  entreaties.  This  refusals-she  did  not  know  why 
—had  always  remained  in  her  thoughts.  Her  feelings  were  quite 
correct ;  for  anything  that  b  requested  by  a  girl  like  Ottilia  should 
not  be  refused  by  a  young  man  like  the  ardiitect.  However,  he 
answered  her  soft  reproaches  with  some  tolerably  valid  excuses. 

«*  If  you  knew,"  said  he,  "  how  roughly  even  persons  of  education 
treat  the  most  valuable  works  of  art  you  would  pardon  me  for  not 
liking  to  bring  my  own  among  a  great  number  of  persons.  No 
one  can  manage  to  take  up  a  medal  by  its  edge,  but  people  touch 
the  finest  impression,  and  the  purest  ground,  and  pass  from  one  to 
another  the  most  valuable  pieces  between  their  finger  and  thumb, 
as  if  this  was  the  wav  of  testing  works  of  art.  Without  thinking 
that  a  broad  sheet  of  paper  ought  to  be  taken  up  with  two  hands, 
they  snatch  with  one  band  only  at  an  invaluable  copperplate,  or  a 
drawing  not  to  be  replaced,  just  as  a  presuming  politician  catches 
up  a  newspaper,  and  by  the  crackling  of  the  paper  already  pro- 
nounces his  opinion  upon  the  evento  of  the  worldU  No  one  thinks 
that  if  twenty  persons  in  succession  proceeded  in  this  manner  with 
a  work  of  art,  the  one-and-twentieth  would  have  very  little  left  to 
look  at." 

Have  not  I  often  given  you  this  kind  of  uneasiness?*'  asked 
Ottilia ;  **  have  not  I  sometimes  unsuspectingly  injured  your 
treasures?**  x-    — «  .r 

•«  Never,"  replied  the  architect,  "  never  I  With  you  it  would 
be  impossible,  for  with  you  propriety  is  innate," 

"  At  all  events,"  remarked  Ottilia,  "  it  would  be  no  bad  plan  if 
in  the  book  of  good  manners,  after  the  chapters  which  describe 
how  we  should  eat  and  drink  in  company,  a  circumstantial  one 
were  added  as  to  how  one  should  behave  in  museums  and  among 
collections  of  art." 

"  In  such  a  case,  no  doubt,"  returned  the  architect,  *«  the  ama- 
teurs and  guardians  of  museums  would  more  readily  exhibit  their 
curiosities." 

Ott^ia  had  already  long  foi^given  him  ;  but  when  he  seemed  to 
take  her  reproaches  very  much  to  heart,  and  affirmed  over  and 
over  affain  that  he  would  exhibit  whatever  he  possessed,  and  readily 
exert  his  activity  to  oblige  his  friends,  she  felt  that  she  had  hurt 
his  feelings,  and  was  in  some  measure  his  debtor.  Therefore,  she 
could  not  bluntly  refuse  the  request  which  he^nade  to  her  in  the 
coarse  of  tins  couveisation,  although,  on  consulting  her  feelings, 
which  she  did  at  once,  she  did  not  see  how  she  could  grant  his  wishes. 


The  afFair  stood  thus.  The  architect  had  been  much  hart 
at  perceiving  that  Ottilia  was  excluded  by  Luciana's  jealousy 
from  the  representations  of  pictures  ;  he  also  deeply  regretted 
that  Charlotte,  on  account  of  ill  health,  had  only  been  able  to 
attend  at  intervals  this  brilliant  part  of  the  social  entertainments. 
He  was  now  unwilling  to  depart  without  showing  his  gratitude  by 
an  exhibition  for  the  amusement  of  the  one,  and  in  honour  of  the 
other,  far  more  beautiful  than  any  which  had  preceded.  Perhaps, 
without  his  knowing  it,  another  and  a  secret  impulse  had  acted  upon 
him.  It  was  to  him  so  very  difficult  to  leave  this  family,  nay,  it 
appeared  to  him  impossible  to  part  from  Ottilias'  eyes,  upon  the 
calm,  kindly  glances  of  which  he  had  lived  almost  entirely  during 
the  last  period. 

The  Christmas  holidays  were  approaching,  and  it  at  once  struck 
him  that  the  representation  of  pictures  by  figures  in  relief  is  pro- 
perly derived  from  what  is  called  the  "  presepe,"  that  is  to  say, 
form  that  pious  exhibition  which  at  this  holy  time  took  place  m 
honour  of  the  divine  mother  and  child,  when,  in  their  apparent 
poverty,  they  were  adored  first  by  shepherds,  and  soon  afterwards 
by  kings. 

He  bad  completely  conceived  the  possibility  of  soeh  a  picture. 
A  fine  fresh-looking  boy  was  found,  there  could  be  no  lack  of  shep- 
herds and  shepherdesses,  but  without  Ottilia  the  thing  could  not  be 
accomplished.  The  young  man  had  in  his  mind  exalted  Ottilia 
into  the  **  Mother  of  God,"  and  if  she  refused  this  position  he 
plsuniy  saw  that  the  whole  project  must  fail.  Ottilia,  somewhat 
perplexed,  referred  him  with  his  request  to  Charlotte.  She  readily 
accorded  her  permission,  and  even  kindly  overcame  the  scruples 
of  Ottilia  in  assuming  so  lovely  a  form.  The  architect  labored 
night  and  day,  that  nothing  might  be  wanting  on  Christmas-eve. 

Yes— literally  night  and  day.  His  necessities  were  few,  and  the 
presence  of  Ottilia  seemed  to  serve  him  in  place  of  all  nonrishment. 
while  ho  worked  for  her  sake  it  seemed  as  though  he  needed  no 
sleep  ;  while  busied  on  her  account  it  seomed  that  he  required  no 
food.  Hence  all  was  finished  and  ready  in  time  for  the  solemn 
evening.  He  had  succeeded  in  procuring  some  euphonous  wind- 
instruments,  which  played  an  introduction,  and  served  to  attune 
the  mind  for  what  was  coming.  When  the  curtain  rose,  Charlotte 
was  really  astounded.  The  picture  represented  before  her  had 
been  so  often  repeated  in  the  world,  that  a  new  impression  from  it 
was  hardly  to  be  expected.  But  here  the  reality  in  the  shape  of 
the  picture  had  its  especial  advantages.  The  whole  space  had 
rather  the  appearance  of  night  than  of  twilight,  and  yet  none  of  the 
details  were  indistinct.  The  exquisite  thought  that  all  the  light 
should  proceed  from  the  child,  the  artist  had  managed  to  realise  by 
a  judicious  mechanical  contrivance  iu  the  lighting,  concealed  by 
the  figures  in  the  foreground,  which  were  in  the  shade,  and  only 
illumined  by  oblique  rays.  Joyous  giris  and  boys  stood  around, 
whose  fresh  countenances  were  sharply  lit  up  from  below.  Nor 
was  there  any  lack  of  angels,  whose  peculiar  radiance  seemed 
to  be  obscured  by  that  of  Divinity,  and  whose  etherial  bodies 
seemed  to  grow  dense  and  obscure  compared  to  that  of  the  God- 
man. 

Fori  una tely  the  child  had  fallen  asleep  in  the  most  graceful 
attitude,  so  that  there  was  nothing  to  disturb  the  contemplation,  if 
the  eye  fell  upon  the  supposed  mother,  who  with  infinite  grace  had 
raised  a  veil  to  exhibit  the  hidden  treasure.  At  this  moment  the 
picture  sremed  to  be  fixed.  Physically  dazzled,  mentally  sur- 
prised, the  inferior  personages  of  the  tableau  seemed  to  have 
moved,  and  to  have  turned  away  their  astonished  eyes  for  the  sake 
of  turning  them  back  again  with  delighted  curiosity,  showing  more 
wonder  and  pleasure  than  admiration  and  reverence,  although  even 
these  qualities  were  not  forgotten,  and  the  expression  of  them  had 
been  entrusted  to  some  of  the  more  aged  figxues. 

Ottilia's  form,  attitude,  mien,  look,  exceeded  all  that  had  ever 
been  represented  by  a  painter.  A  connoisseur  of  fine  feeling,  on 
witnessing  this  phenomenon,  would  have  dreaded  lest  anything 
should  move— would  have  felt  afraid  that  nothing  would  ever  again 
please  him  so  much.  Unfortunately  no  one  was  there  capable  of 
comprehending  the  entire  effect.  The  architect  alone,  who,  as  a 
tall  slim  shepherd,  looked  from  the  side  over  the  kneeling  figures, 
had  the  greatest  enjoyment,  though  he  did  not  stand  at  the  best 
point  of  view.  And  who  aball  describe  the  air  of  the  newly-made 
Queen  of  Heaven  ?    The  purest  humility,  the  most  ainiaWe^feelf  ^ 

Digitized  by  V^UOQ  IC 


THE  MUSICAL  WOELD. 


187 


log  of  modesty,  in  spite  of  a  great  honour  received  but  unmerited, 
was  represented  in  her  features,  which  expressed  both  her  own 
feelings,  and  also  the  notion  she  formed  of  the  character  she 
represented. 

Charlotte  was  delighted  at  the  beautiful  j)icture,  but  the  greatest 
efiect  upon  her  was  produced  by  the  child.  Tears  streamed  from 
her  eyes,  and  she  pictured  to  herself  in  the  Uyelicst  manner,  that 
die  hoped  soon  to  have  a  similar  beloved  creature  upon  her  bosom. 

The  curtain  had  been  let  down  partly  to  afford  some  rest  to  the 
perfomers,  and  partly  to  introduoe  a  change  in  the  scene.  The 
artist  had  designed  to  change  the  first  picture  of  night  and  lowli* 
••as  iato  ese  of  day  aad  glory»  and  on  this  account  had  got  ready 
an  iainMMe  amy  of  lights,  which  were  to  be  kindled  during  the 
interrai. 

While  placed  in  this  half  theatrical  position,  it  had  been  the 
greateat  comfort  to  Ottilia  that  no  one  had  witnessed  this  pious 
perforaance  excepting  Charlotte  and  a  few  residents  in  the  house, 
dhe  was,  therefore,  somewhat  astonished  when  she  learned  in  the 
interval  that  a  stranger  had  come,  who  had  been  kindly  greeted  by 
Charlotte.  Who  he  was  they  could  not  tell  her.  She,  therefore, 
resigned  heiaelf  to  the  circumstance,  that  she  might  not  occasion 
any  intenaption*  Candles  and  lamps  were  burning,  and  she  was 
esrrowided  by  an  infinite  brilliancy.  Tlie  cartaia  arose,  and  a 
<amiisiageigl)^  was  revealed  to  the  spectators.  The  picture  was 
•M  light,  and  iu  the  place  of  the  shade,  which  had  been  entirely 
veinov«d,  the  oolome  only  were  left,  which  t>eing  jndicionslv 
adeded,  produced  a  beautiful  softening  efiect.  Looking  through 
her  long  eye-lashes,  Ottilia  observed  a  male  figure  sitting  by 
Charlotte.  She  did  not  recognise  him,  but  fancied  that  she  heard 
tiie  voice  of  the  teacher  from  the  school.  A  strange  feeling  came 
over  her.  How  much  had  happened  since  she  had  beard  the  voice 
of  this  laithful  preceptor !  Like  forked  lightning  the  series  of  her 
joya  and  sorroars  darted  before  her  soul,  and  excited  the  question, 
**  bare  you  confess  everything  to  him  ?  Bow  litUe  worthy  are  yon 
to  appear  before  him  in  this  holv  form,  and  how  strange  must  it 
appear  to  him  to  see  in  a  mask  yeu  whom  he  has  hitherto  seeu 
m&tunJArl"  With  inooaiparafole  rapiditv,  feeling  and  reflection 
opposed  themselves  to  each  other  within  her«  Her  heart  was 
oppressed,  her  eyes  filled  with  tears,  as  she  forced  herself  to  con. 
tinoe  the  appearance  of  an  immovable  pictnre,  and  she  was  highly 
pleased  when  the  boy  began  to  stir,  and  the  artist  felt  obliged  to 
give  the  signal  for  letting  down  the  curtain. 

If  the  painful  feeling  at  not  being  able  to  hasten  towards  an  esti- 
ouble  friend  had  already,  during  the  last  moments,  associated  itself 
to  the  other  emotions  of  Ottilia,  she  was  now  even  in  still  greater 
perplexity.  Should  she  approach  in  these  strange  vestments  and 
omaments  ?  Should  she  change  her  dress  ?  She  did  not  delibe- 
rate in  the  choice,  but  changed  her  attire  at  once,  endeavouring  to 
oalai  and  collect  herself  m  the  meaawlule.  She  liad  not  quite 
reeevered  her  self-posseeaion,  nntil  at  last,  in  her  ordinary  dress, 
9km  greeted  the  new  visitor. 

( To  be  eontimtedU) 
V  Tte  prweat  nisandantaBdiiiir,  It  vMybssUtedtlisttliecopyrigMof  this 
trsnilsriiwi  bdoi^  solely  to  tbs  tnuulator. 

THE  TENdl   OF   THE  CURSC 

{Fftm  PnficA.) 

TuE  celebrated  Fraschini,  the  Tenure  delta  maiedisuone,  has 
appeared  at  Her  Majeaty's  Theatre.  His  imprecation  in 
Lmeia  di  Limmtrmoar  certainly  justified  all  that  we  had  heard 
said  of  it.  We  fully  expected  that  our  blood  would  run  cold, 
and  we  went  prepared  with  a  tbermometer,  which,  upon  ap« 
pUcatioa  to  our  pulse,  indicated,  during  the  tremendous 
wmfarfigtewe,  thiity-fiTe  of  Fahrenheit.  The  audience  would 
hare  kept  Fraschini  cursing  all  n:ght,  had  it  not  been  un- 
reasonable to  demand  more  than  a  pair  of  maledictions  in  one 
eFening.  Fortunately,  oar  veins  resumed  their  wonted  fluency 
at  Che  Fra  Poco,  which  warmed  us  up  after  our  recent  chill ; 
♦r  we  might  have  found  our  circulation  completely  stopped, 
and  that,  we  need  scarcely  say,  would  have  been  the  death  of 
na.  We  looked  in  vain  for  the  flinging  from  the  eyes,  with 
which  a  contemporary  has  given  ua  to  understand  Fraschini 


would  favour  us.  He  certainly  acted  with  his  eyea,  and  lashe4 
himself  up  into  enthusiasm,  while  the  audience  applauded 
"  like  winking."  Fraschini  has  one  of  those  voices,  di  peUOt 
which  arc  great  pets  with  us;  instead  of  that  voce  di  ieeia 
which  is  iu  some  cases  detestable.  Hiough  we  bare  made 
some  cursory  remarks  on  his  curse,  >^e  do  not  mean  to  say 
that  malediction  only  is  his  forte,  for  he  can  also  take  his 
place  as  a  tenore  di  tenerezza  among  the  very  first  of  that 
quality. 

SONNCT. 

no.  zxvx. 

AVOID  thee,  love )  so  little  canst  thou  know. 
How  my  whole  heart  to  thee  is  dedicate. 
How  thou  to  me  ait  a  resistless  fkte. 

And  csnst  alone  distribute  joy  or  woe  1 

Avoid  thee,  love  1  nay,  nay,  thou  think'st  not  so ; 
Thou  know'st  on  thee  I  ever  meditate. 
Thou  know'st  that  tow'rds  thee  all  my  fancies  straight. 

At  they  were  rushing  homeward,  ever  flow. 

Avoid  thee  1  1,  whom  thy  sweet  smiles  have  Uass'd, 
Who  live  upon  the  glances  of  thiiw  eye, 
Who  writhe  with  pain  to  bee  one  swelling  tear. 

Who  thy  dear  hand  with  rapture  wild  have  press'd. 
Who  from  thy  lip  have  snatch'd  eestattc  joy. 
Thou  think'st  that  I  avoid  thee^dost  thou,  denrf 

H.  P. 


FOREICN  HITELLIGCMCe. 

Paris.— -Mr.  Wilson,  who  has  long  been  distinifuished 
among  his  vocal  brethren  of  the  other  aide  of  the  channel*  for 
the  admirable  manner  in  wliich  he  gives  cgpression  to  Scottish 
song,  whether  aerioua,  pathetic,  or  oomie,  baa  ceasifaeed  m 
Paris  a  series  of  musical  soirees,  intended  to  illnalralie  the 
beauties  and  pecuiiarities  of  tlie  mualcal  eompoaitiotis  of  his 
native  country.  The  first  of  these  entertainments  was  given 
on  Monday  evening,  in  Sax*s  Rooms,  Rae  Neuve,  8t.George*8, 
when  the  vocalist  fully  supported  the  high  rqmtatioo  he  haa 
long  enjoyed  in  Great  Britain.  Mr*  Wilson  is  an  acpamplidied 
musician,  poaseaaing  a  tenor  voice  of  the  fineet  qviali^  aad 
great  range  ;  his  style,  wkidi  is  the  aim^eal  mad  kaat  onuite 
perhaps  of  any  public  tinger  of  tlie  day*  is  evidently  AMhioiied 
on  the  simple  ballads  of  Scotland,  and  confers  on  these  beau- 
teous gems  of  song  a  pathos  and  sweetness  which  would  in 
vain  be  sought  in  the  more  elaborate  kinds  of  vocallsalion  nov 
generally  indulged  in.  But  what  more  jMurticularly  distin- 
gttishee  Mr.  Wilson  fron  hia  brothers  in  ApoUe  ia,  thai  be  ia 
equally  at  home  in  the  aerioua  and  the  comiei  tiie  aad  and  te 
gay,  the  grand  and  the  ridiculous ;  eo  that  on  Monday  eventsg, 
after  melting  his  audience  to  tears  by  the  touchingfv  pathetic 
«« Land  o'  the  le^,"  and  •*  The  flowers  o*  the  forest/*  he  exhi- 
bited  such  a  fund  of  native  humour  in  his  *'  Hame  cam  our 
gudeman  at  e'en,*'  and  **  Get  up  and  bar  the  dooTy"  aa  abso- 
lutely to  keep  his  brethren  of  the  North,  of  whom  we  noticed 
a  tolerable  sprinkling  present,  in  a  roar  from  b€^;innii^  to  end. 
It  was  something  new  in  this  classic  land  of  song  to  witoeaa  an 
individual  do  the  honours  of  an  entire  soir^  unaided  and 
alone ;  and  what  was  not  the  least  novelty  on  the  ooeaaion, 
was  his  prefacmg  the  various  spectmens  of  hit  ''aattre  wbod- 
notes  wild  "  by  a  variety  of  anecdotes  and  ^[^laaatorf  obaer- 
vations,  which  largely  aided  in  rendering  the  aiitii|ae  apedflseoa 
of  Scottish  song  intelligible  to  modem  English  earn.  Tlie 
impression  createji  by  Mr.  Wilson's  diM  before  a  mised 
Parisian  and  British  audience  was  highly  flattering  for  that 
gentleman ;  and  it  is  scarcely  to  be  doubted  that  he  will  gain  in 
public  estimation,  die  more  generally  his  taste  aad  talent  aa  a 
vocalist  become  known.  Mr.  Wilson,  'we  perceive*  wiil  give 
his  second  soiree  on  Friday  eveningi  the.programme  of  which 

Digitized  by  \^\JUy  It: 


m 


THE  MUSICAL  WORLD. 


shows  an  equally  varied  and  attractive  bill  of  fare  as  its  prede- 
cessor of  Monday  last, — Galignant's  Messenger, 

The  last  week  of  the  lialiens  has  given  us  back  an  ancjent 
favourite,  //  Matrimonio  Secreio,  which  exhibits  Lablache  in 
what  we  have  always  considered  his  greatest  comic  character,  the 
deaf  old  uncle,  Geronimo. '  Never  did  the  fine  old  Neapolitan 
display  more  of  that  vivacity  and  spontaneous  humour,  which 
seems  the  peculiar  gifl  of  his  countrymen,  than  on  this  occasion. 
The  opera  was  well  performed  and  sung  throughout.  The 
ladies  were  respectively  enacted  by  Mdmes.  Persiani  and  the 
two  Brambilla's;  but  the  parts  contain  little  room  for  the 
display  of  the  talents  of  the  singers.  Mario  was  the  Paolini, 
and  was  encored  in  his  single  air  Pria  die  Spunta,  which  he 
gave  with  wonderful  taste  and  beauty  of  tone.  Taglisfico 
played  the  Count,  and  sang  the  music  more  than  respectably, 
especially  in  the  well-known  comic  duet  between  him  and 
Lablache.  We  ought  to  mention  that  it  was  the  benefit  of  the 
latter,  and  that  a  garland,  colossal  as  himself,  was  hurled  from 
one  of  the  /ogest  o,n^  ^^^^  ^t  his  feet  amid  the  laugliter  and 
applause  of  the  public. 

St.  Petersburoh. — M.  Vieuxtemps,  the  great  violinist,  has 
been  lately  giving  concerts  in  the  imperial  city*  and  performing 
at  private  hotels  with  immense  ^clal.  On  the  Idth  of  last 
month  he  gave  a:* concert  in  the  imperial  theatre,  which  realised 
him  61OOO  francs,  clear  of  all  expenses.  Mons.  Vieuxtemps  is 
about  leaving  Petersburg  for  Paris,  and  will  arrive  in  London 
aboutythe  middle  of  April,  to  fulfil  numerous  and  important 
engagements. 

REVIEWS    ON    MUSIC. 

"Hpiaeer  ieUo  Studio  ^*  characteristic  Studies  for  the  Flute.  Bg 

Aktonio  Minast.     Prows  a. 

Mr.  Minasi  is  a  good  Oute  player,  consequently  any  work  from 
his  pen  will  be  welcome  to  professors  of  that  iDstrument.  The 
work  before  us  commences  with  instructions  on  the  acquirement  of 
tone ;  the  rules  laid  down  as  indispemable  for  that  purpese  are  plain 
and  coucise,  and  contain  inch  information  on  the  subject  as  is 
requisite  to  the  student ;  these  instructions  are  followed  by  twenty- 
four  characteristic  studies  of  a  very  useful  kind,  one  or  two  of  which 
will  tax  the  executive  skill  of  the  best  flute  players.  The  system 
Mr.  Minasi  has  adopted  of  fingering  the  roost  difficult  passages 
merits  approbation,  and  will  be  found  of  service  to  the  student. 
The  studies  are  followed  bj  an  appendix,  containing  tables  of  the 
major,  minor,  and  chromatic  scales,  and  arpeggios  (fingered  where 
required),  and  scales  of  augmented  notes  and  quarter  tones ;  the 
latter  we  do  not  remember  to  have  seen  (formed  into  scales)  in  any 
work  on  the  flute.  Mr.  Minasi*s  experience  as  a  professor  of  the 
flute  is  a  guarantee  that  **  Jl  piacer  delio  Studio^  will  repay  flute 
players  for  an  attentive  perusal ;  and  we  have  no  doubt  the  studies 
will  prove  a  very  useful  adjunct  to  their  daily  practice.  Mr,  Minasi's 
work  is  intended  for  students  of  the  Nicholson  flute,  and  is  printed 
in  one  volume,  as  well  as  in  four  separate  books.  The  publisher 
has  spared  no  expense  in  the  getting  up,  and  we  cordially  recom- 
mend it  to  the  notice  of  the  profession. 

**  Haydn*s   Oratorio,    TAe   Creation,**  in  vocal  score,  with  a 

separate  accompaniment  for  the  organ  orpianofotte,  Nos*  4^5. 

Arranged  by  vincbht  Novsllo. 
*  Handets  Sacred  Oratorio,  The  Messiah,"  in  vocal  score,  with 

a  separate  accompanimeni  for  organ  or  pianoforte,  Nos,  7  §•  8. 

Arranged  hy  ViNcsNr  Novello.    S.  Alfred  Novbllo. 

We  have  noticed  in  a  former  number  of  the  Musical  World 
these  highly  meritorious  publications  of  the  works  of  the  great 
masters.  They  are,  indeed,  as  is  stated  on  the  cover  sheet,  the 
cheapest  musical  publications  ever  ofiered  to  the  public,  both  in 
respect  to  qualitv  and  quantity.  The  Messiah  will  be  completed 
in  twelve  monthly  parts :  The  Creation  in  nine.  Following  these 
master-pieces,  other  works  of  like  importance  will  be  issued  in 
numbers,  on  a  similar  plan.  Each  part  is  sold  for  the  small  sum  of 
sixpence,  and  eentains  sixteen  pages  of  music,  on  good  paper.  The 


size  is  imperial  octavo,  and  the  work  is  got  up  in  an  admirable 
manner,  reflecting  much  credit  on  the  proprietor,  Mr,  NovcllO. 
The  publication  must  have  a  large  sale. 


ORIGINAL   CORRESPONDENCE. 

OPERA  LIBRETTO. 
To  the  Editor  of  the  "  Musical  World:* 

Sir, — Every  one  who  moves  in  a  musical  circle  cannot  but  be  struck 
with.the  great  want  that  is  felt  for  a  publication  devoting  some  portion 
of  its  columns  to  furnishing  the  musician  and  the  composer  with  the 
libretto  for  his  opera.  The  publisher  seems  to  consider  the  subject  quite 
unworthy  of  his  attention,  and  yet  the  musician  is  every  where  com- 
plaining of  the  difficulty  of  procuring  suitable  words ;  while,  in  every 
other  branch  of  literature,  hundreds  are  striving  to  wind  the  path  to 
popularity,  it  is  greatly  to  be  lamented  that  this  alone  is  neglected.  It 
was  not  so  in  the  days  of  Sheridan,  and  I  feel  convinced  were  the 
attempt  made  there  would  be  found  an  abundance  of  talent  willing  and 
ready  to  employ  their  pens  in  the  lyrical  drama.  I  am  aware  that 
various  msgaaines  have  at  times  published  straggling  pieces  of  poetry  for 
music ;  but  unless  they  do  so  on  a  regular  plan,  little  benefit  can  result  to 
the  musicians,  and  my  motive  In  troubling  you,  is  to  call  attention 
more  directly  to  the  subject,  particularly  as  yoo  have  now  become  partly 
a  literary  magazine,  allow  me  to  offer  the  following  suggestions  : — Let  a 
portion  of  your  journal  be  devoted  every  week  to  original  librettos,  the 
author  receiving  (if  accepted)  so  much  per  column  when  published ;  the 
MS.  to  be  considered  your  property,  with  the  proviso,  that  when  it  is 
sold  to  either  composer,  publisher  of  music,  or  theatre,  the  author 
receive  a  certain  sum,  so  much  per  cent.,  but  the  principal  profit  to  go 
to  your  journal.  1.  also  think  a  similar  plan  might  be  adopted  wHh 
regard  to  verses — a  regular  list  being  kept  at  your  office.  It  Is  needless 
for  me  to  add  how  deserving  I  think  the  subject  is  of  particular  attention. 
As  a  musical  critic,  and  one  who  moves  among  musicians,  the  fact  that 
young  composers  are  sadly  in  want  of  something  of  the  kind  must  be 
apparent  to  you.  How  many  young  authors  would  be  willing  to  make 
the  attempt.  If  you  would  only  say  you  are  willing  to  second  them ;  and 
how  many  young  composers  would  strive  to  prove  their  ability  if  a 
libretto  could  be  procured  at  a  reasonable  rate,  and  they  had  the  privilege 
of  selecting  from  two  or  three.  They  are  both  desirous  of  proving 
whether  they  possess  talent,  and  yet  from  the  fact  of  having  no  organ  to 
proclaim  their  wants  they  both  remain  unoccupied.  If  in  any  way  yoa 
consider  these  suggtsttoos  plausible,  I  think  I  can  prove- that  they  are 
practicable,  and  shall  be  most  happy  to  communicmte  with  yon  further  oil 
the  subject.  With  every  wish  for  the  success  of  both  musidan  ailt  ^ 
author,  I  remain,  sir,  your  obedient  servant,  F— -. 

3,  Bed/ord  Street,  Bedford  Square. 


PROVINCIAL. 

WoRCBSTEB.-^M.  Jullien's  Concert  attreeted  a  fashionable  audience, 
numbering  nearly  900.  The  programme  presented  a  melange  of  classical 
and  instrumental  music,  cammencing  with  the  overture  to  PFiltiam  Tett^ 
in  the  opening  movement  of  which  the  parts  allotted  to  five  violoncellos 
were  played  by  two  tenors,  one  bassoon,  and  two  contra-bassi,  and  in  the 
Rang  des  vaehes  the  clarionet  was  substituted  for  the  Como  Inglese  ; 
notwithstanding  these  eichanges,  however,  the  overture  was  as  brilUsntly 
played  as  it  possibly  could  be,  due  allowance  being  made  for  the  limited 
strength  of  the  orchestra,  and  the  glaring  defects  of  the  building  for 
musical  purposes.  Miss  Birch  was  the  only  vocalist.  She  has  latterly 
infused  into  her  style  a  considerable  portion  of  animation  and  expression, 
of  which  she  formerly  had  a  "  plentiful  lack,"  and  as  her  voice  in  its 
natural  gifts  and  its  mechanical  management  is  as  near  an  approach  to 
perfection  as  may  be,  the  result  of  the  addition  to  which  we  have  alluded 
may  be  easily  surmised.  Miss  Birch  won  a  rapturous  and  well  merited 
encore  for  her  graceful  and  clever  interpretation  of  a  pretty  and  graceful 
serenade*-*' CoBie  o'er  the  aeaf^'^-by  Roch-AIbert,  in  which  the  rippling 
accompaniment  of  the  stringed  instruments  was  extremely  effe^ive. 
With  regard  to  the  solo  players,  we  need  only  mention  their  names  to 
prove  that  their  performance  was  unsurpassable ;  they  were  Richardson, 
flute;  Collinet,  flageolet ;  Lasarus,  clarionet;  Koenig, cornet-a-pistons ; 
Bauman,  bassoon  ;  Prospere,  serpent ;  snd  Cioffl,  trombone.  The  miscel- 
laneous selection  of  Polkas,  Quadrilles,  and  so  forth,  were  very  good  in 
their  way,  bet  we  should  infinitely  have  preferred  seeing  the  talents  of 
the  consummate  artistes  composing  the  band  employed  upon  materials  of 
a  more  sterling  and  substantial  character.  We  hear  that  if  the  needful 
arrangements  can  be  completed,  M.  Jullien  will  give  a  grand  Morning 
Concert  about  the  latter  end  of  April.  He  is  in  treaty  with  the  celebra* 
ted  Pischek  to  sing  at  a  series  of  concerts ;  and  should  the  engagement 
be  concluded  we  need  tcarcely  say  that  a  rich  treat  is  in  store  tor  the 
loven  of  accomplished  vooalism.— BumotM^  Worcester  Journal. 
LiVBBP0OL>-6ir  Henry  Bishop,  last  week,  dosed  his  lectures  at  the 


Digitized  by^^OOy  IC 


THE  MUSICAL  WORLD. 


1^9 


Collegiate  Tnstitation,  with  •  concert  of  vocal  music,  the  selection  beinfi;' 
wholly  from  his  own  compositions,  and  comprising  a  large  number  of 
choice  pieces  from  his  voluminous  repertory.  The  audience  was  fiill, 
fashionable,  and  most  enthusiastic,  and  Sir  Henry  was  highly  delighted 
with  his  reception,  as  well  as  with  the  manner  Jn  which  tlie  songs,  glees, 
ftc.,  were  eicecuted,  many  of  which  were  ei}^ed.  Each  part  of  the 
entertainment  commenced  with  an  overture  on  the  organ,  ably  performed 
by  Mr.  Rogers.  The  first  was  from  Winter's  opera  of  Tamerlane,  the 
second.  Bishop's,  the  Maniac.  The  principal  v<M:aIists  engaged  were 
Mn.  G.  Holden,  Miss  Thornton,  Miss  Parsona,  Signor  Sapio,  and  Mr. 
Ganttn.  To  enumerate  all  the  pieces  which  they  performed  would 
occupy  too  large  a  portion  of  our  space  ;  but  we  may  state  that  fhey 
were  taken  from  Maid  Marian,  Henri  Qmttre,  Midsummer  Nijrhft 
Dream,  Comedy  of  Errors,  HarotM  Alraechid,  Miller  and  hit  Men, 
Aladdin,  Tyroleae  Peasant,  Guy  Mannering,  Tiro  Gentlemen  af  Verona, 
Cortet,  Law  of.  Java,  Englithmen  in  India,  Slave,  Twei/lh  Night,  Don 
John,  Noble  Outlaw,  Clari,  Romance  of  the  Day,  and  Artaxerxes.  M  rss 
Thornton,  who,  as  well  as  Mr.  Garstin,  appeared  before  a  Liverpool 
audience  for  the  first  time  in  the  illustrations  to  these  lectures,  having 
been  specially  brought  from  the  metropolis,  displayed  much  taste  and 
skill,  and  is  an  excellent  singer.  Mrs.  G.  Holden  sustained  the  reputa- 
tion which  she  has  acqnited  as  one  of  our  principal  local  professionals, 
and  Mr.  Sapio,  acquitted  himself  very  creditably,  especially  in  the  duos. 
Miss  Parsons  bida  fair  to  rise  to  eminence.  Mr.  Garstin  is  but  a  very  poor 
and  inefficient  singer ;  some  ports  of  his  voice  are  certainly  not  disagree- 
able, but  it  lacka  equality.  It  is  with  the  greatest  difficulty  that  he  can 
ascend  as  far  as  F,  and  utterly  impossil»le  for  him  to  .reach  G  without 
bawling  and  distorting  his  features  most  unplesantly.  >Vhy  this  gen- 
tleman should  have  been  brought  from  London  to  perform  a  duty,  which 
many  of  our  resident  artists  are  much  better  qualified  to  discharge  with 
Bitisfaction  to  the  audience,  we  do  not  know,  but  we  are  assured  of  this 
that  the  judgement  and  liberalty  of  the  Directors  of  the  Collegiate 
Institution,  or  those  to  whom  they  entrust  the  management  of  these 
matters,  are  very  sharply  and  seriously  imputned  in  musical  circles,  and 
that  if  they  continue  to  pursue  the  system  that  has  now  for  some  time 
prevailed,  in  reCerenee  to  en^igements,  they  «iU  ere  long  become  un- 
pleasantly uDpopulart  and  may  some  day  or  other  be  unable  to  obtain 
the  servicea  of  the  professional  talent  of  the  town,  when  it  may  be  abso- 
lutely neceaiary  to  the  success  of  their  arrangements.  The  general 
impression  is,  that  rather  than  give  the  required  terms  to  any  resident 
vocaliat  or  instrumentaHst  they  seem  determined  to  send  to  Manchester, 
or  London  for  inferior  assistwnee,  even  though  they  may  absolutely  inieur 
a  grater  expense.  We  know  not  how  far  this  surroide  may  be  correct, 
bnt  we  have  occasionally  noted  some  circumstonces  which,  in  the 
absence  of  explanation,  apparently  justify  the  assumption.  If  the  fact, 
be  as  represented,  we  recommend  the  instant  adoption  of  a  more  sensible, 
consistent,  and  proper  line  of  eonducit ;  if  not,  we  shall  be  glad  to .  be 
made  instrumental  in  dispelling  a  delusion  that,  we  regret  to  say,  is  every 
day  becoming  more  confirmed  and  extended.  We  should  have  stated, 
in  connexion  with  our  notice  of  the  performance  at  this  concert,  that 
the  auditory,  and  especially  the  more  critical  portion  of  it,  were  much 
delighted  with  the  style  of  Sir  Henry  Bishop's  piano -forte  acompani- 
ments.  Mr.  Stott,  Mr.  Jackson,  and  Mr.  Andrews  also  aided  in  giving 
eifect  to  some  of  the  glees  and  choruses.  Sir  Henry  was  loudly  cheered 
at  the  dose  of  the  performance.— Liverpool  Mail. 

NoTTiMOHAM.— The  performance  of  an  Oratorio  in  Nottingham  is  so 
rare  an  occurrence  that  we  felt  no  surprise  at  the  anxiety  and  eagerness 
manifested  by  the  musical  public  to  hear  Handel*s  "  Messiah"  on  Mon- 
day evening,  the  8th  ult.  On  this  occasion  much  responsibility  rested 
Upon  the  conductor,  Mr.  Henry  Farn*  er,  who  had  to  govern  with  his 
baton  a  far  more  numerous  orchestra  and  chorus  than  ever  we  have 
known  to  have  been  in  Nottingham ;  and  it  is  only  doing  him  the  merest 
justice  to  say  that  the  ease,  precision,  learning,  leeling,  and  energy  of  a 
true  musician  were  evident  throughout.  Every  lover  of  sacred  music 
has,  of  course,  heard  the  "  Messiah"  either  at  Eseter  Hall  or  at  one  of 
the  three  great  festivals,  where  only  it  has  been  performed  on  a  scale 
commensurate  with  its  merits;  and  of  course  vast  is  the  difference 
between  the  500  trained  voices  and  instruments  and  the  250  amateurs 
(zealous  and  talented  though  they  be)  >Aho  meet  for  the  second  or  third 
time  in  their  lives.  We  have  made  these  remarks  merely  to  call  attctil  ion 
to  the  variety  of  disadvantages  under  which  an  oratorio  must  be  produced 
in  a  provincial  town,  and  for  which  even  the  addition  of  London  aitistes 
cannot  wholly  atone ;  as  well  as  to  enhance  the  ability  displayed  by  an 
Instrumental  and  vocal  oorpn  of  which  Nottingham  and  the  neighbouring 
towns  ought  indeed  to  be  proud.  We  deeply  regret  that  pressure  upon 
our  space  precludes  the  possibility  of  giving  more  than  an  outline  of  the 
performance.  The  Misses  Williams  sustained  the  soprano  and  contralto 
pai ts,  and  displayed  all  the  bnlliancy  of  execution,  purity  of  intonation, 
power  of  expression,  and  intensity  of  feelings  for  which  they  are  famed. 
Mr.  Marriott,  of  the  Collegiate  Church,  Southwell,  opened  the  oratorio : 


evidencing  the  improvement  resulting  from  his  present  ability  to  devote 
his  whole  time  tpthe  study  of  music.  Ourtownsman.  Mr.  Baker,  wastbe 
bass  singer,  and  delivered  the  music  allotted  to  him  with  his  usual  power 
and  skill.  The  choruses  were  executed  with  power,  and  certainty  ;  par- 
ticularly "  For  unto  us,"  "0  thou  that  tellest,"  and  "  All  we  like  sheep." 
"  But  thanks  be  to  God"  we  thought  scarcely  so  steady  and  brilliant  as 
the  rest.  The  spacious  Mechanics'  Hall,  where  the  performance  was 
given,  was  densely  crowded. — NoUingham  Journal, 

Woodford. — A  very  excellent  concert  was  given  at  the  above  place 
on  Thurs'Jay  evening,  the  25th  ult,  under  the  direction  of  Mr.  W.  F. 
Bates,  the  p*anist.  Among  the  vocalists  engaged  we  may  mrntion  Miss 
Sara  Flower,  Miss  Messent,  Mr.  M stivers,  and  Mr.  John  Parry.  The  in- 
strumentalists were  Mr.  F.Chatlerton  (harp),  and  Mr.  F.  W.  Bates 
(pianist.)  The  penormance  gave  g-reat  satisfaction,  and  was  most  respect- 
ably attended. 

Edinburgh.— Madame  Anna  Bishop  achieved  another  triumph  on 
Thursday  evening,  in  Balfe's  opera,  "  The  Maid  of  Artois,"  in  which  she 
personated  Isoline.  Madame  Bishop's  powers  of  cxecutiDn  are  sustained 
without  effort,  while  in  the  loftiest  flights  her  exquisite  taste  still  holds 
the  sway.  Nothing  can  exceed  the  richness  and  purity  of  her  tone, 
which,  in  legato  passages  has  a  most  delightful  eff^ect.  An  impassioned 
energy  characterises  her  performance.  The  ballad,  "  The  heart  that  once 
hath  fondly  teemed,"  was  enthusiaRtically  applauded.  In  the  second  act 
Madame  Bishop  introduces  a  ballad  from  Lavenu's  opera,  Loreita,  '*  On 
the  banks  of  the  Guadalquivir,"  in  the  course  of  which  occurs  a  long  and 
brilliant  shake,  which  she  executes  with  surprising  facility.  The  conclu- 
sion of  this  was  a  signal  for  a  storm  of  applause,  which  called  forth  a 
repetition.  Madame  Bishop's  dramatic  powers  were  ftilly  developed  in 
the  scene  in  the  desert;  her  looks  and  gestures  pourtrayed  the  horrors 
of  thirst  with  vivid  reality.  The  rondo  finale,  "  The  rapture  dwelling," 
was  the  consummation  of  the  artiste's  powers,  blending  sweetness  with 
brilliancy,  and  fire  with  expression.  An  encore  was  demanded  amid  the 
reiterated  hravi  of  the  audience,  and  when  the  curtain  fell  for  the  second 
time,  she  was  again  called  in  front*  amidst  the  acckmations  of  the  whole 
house.  We  were  well  pleased  with  Mr.  W.  H  Beeves,  who  performed 
Jules  de  Mootagnon.  Mr.  Patrick  Corri,  who  personated  the  Marquis 
de  Chateau  Vieux,  displayed  great  judgment  in  his  performance.  He 
sang  "  The  light  of  other  days"  very  tastefully,  and  merited  the  encore 
he  received.  The  subordinate  parts  were  played  very  well,  especially 
Synnelet,  by  Mr.  Henry  Corri,  and  Nlnl*a,  the  Indian  girl,  by  Miss  H. 
Coveney.  On  Saturday  evening,  we  had  an  opportunity  of  heRrm«r 
Ponisetti's  comic  opera,  "  L'Elisir  d' A  more,"  for  the  first  time  here  for 
many  years,  and  in  this  its  in  "  Sonnambula"  and  '^  The  Maid  of  Artois," 
the  vocal  (owers  of  Madame  Bishop  triumphed  over  every  difficulty. 
To  the  romance,  "  Oh,  Elixir,"  she  imparted  all  the  exquisite  taste  and 
execution  for  which  she  is  so  distinguished.  But  the  most  striking 
feature  in  the  opera  was  the  *'  Grand  Rondo,"  composed  expressly  for 
Madame  Bishop,  by  Donizetti,  at  Naples.  It  is  impossible  to  describe 
the  enthusiastic  encore  which  greeted  the  singing  of  this  composition. 
Several  of  the  concerted  pieces  were  given  with  great  effect,  and  loudly 
applauded.  The  character  of  Nemorino  was  ably  sustained  by  Mr. 
Reeves.  The  Messrs.  Corri  also  contributed  to  the  success  of  the  opera. 
— Caledonian  Mervury,  March  1 1 . 

Edinburgh. — ^Madame  Anna  Bishop  made  her  first  appearance  in  our 
theatre  on  Tuesday  evening,  in  the  opera  of  "  La  Sonnambula ;"  her 
reception  was  of  the  most  enthusiastic  deccription.  She  possesses  a 
voice  of  great  coirpass^  power,  and  flexibility,  and  her  fine  dramatic 
action  gives  an  additional  charm  to  all  her  vocal  efforts  In  the  most 
rapid  and  difficult  passages  she  displays  the  results  of  careful  study  and 
tuition,  while  her  cadences  and  sl>akes  are  given  with  the  most  delicate 
taste  and  precision.  Her  intonation  is  also  perfect.  The  beautiful 
morceau,  **  Oh,  love  for  me  thy  power,"  was  given  with  brilliant  finish 
and  execution,  and  elicited  rapturous  applause.  But  the  greatest  triumph 
of  the  evening  vros  the  concluding  solo,  "  Oh,  don't  mingle,"  which  she 
gave  in  the  original  language.  Such  a  furore  did  this  create,  that  not- 
withstanding  its  repetition,  the  cheering  and  waving  of  hats  and  hand- 
kerchiefs did  not  subside  until  the  curtain  again  rose,  and  it  was  given  a 
third  time.  We  have  particularised  these  two  airs,  as  being  the  principal 
features  in  the  opera  which  are  allotted  to  Anina,  but  there  were  many 
other  pieces  in  which  she  sustained  a  part  deserving  of  the  highest  enco- 
miums. At  the  conclusion  of  the  opera,  the  heroine  of  the  evening, 
with  Messrs.  Reeves  and  Corri,  made  her  appearance  before  the  curtain, 
in  compliance  with  the  unanimous  call  of  a  delighted  and  numeroun 
aCidience.  The  characcer  of  Elvino  was  ably  sustained  by  .Vr.  Reeves, 
who  aung  the  music  throughout  with  taste.  Count  Rodolph  was  «-ell 
supported  by  Mr.  Patrick  Corri,  from  the  Theatre  Royal,  Manchester, 
who  possesses  an  excellent  voice.  The  characters  of  Lisa  and  Annette 
found' good  representatives  in  Miss  Aldridge  and  Miss  Harriet  Coveney. 
The  chorusses  were  well  sustained.  Last  night  the  opera  was  repeated,  and 
with  even  greater  sacceis  than  on  '*^jPfS[5?Wprf^^^g«•— /*W.^^i^L 


190 


THE  MUSICAL  WORLD. 


Edikburoh. — ^Mr.  Templeton  gave  his  third  entertainment  yesterday 
evening  in  the  Music  HdII.  The  galleries  were  crowdrtf ,  and  a  numerous 
audience  occupied  the  centre  of  the  room.  The  finest  effort  of  the  evening 
was  "  AH  is  lost  now/'  wliich  Mr.  Templeton  gave  with  much  pathetic 
fieeling  and  graceful  eipression,  while  he  nxig  the  aria,  "  Still  so  gently 
o'er  me  stealing,**  with  natural  gi-andeur  and  ardent  emotion.  Ail  the 
aongs  in  the  programme  were  greeted  with  hearty  applause,  while  several 
encores  were  enthusiastically  demanded,  and  which  Mr.  Templeton 
readily  complied  with. '^Caledonian  Mercurif,  March  11. 


DRAMATIC  INTELLICENCE. 
DEUftY  Lanb. — Mr.  Bunn's  annual  benefit  took  place  on 
Monday  evening,  and,  as  a  matter  of  consequence,  Drury 
Lane  was  crowded  to  excess  in  every  part.  This  seems  the 
only  public  occasion,  during  the  season,  which  presents  itself  to 
the  friends  and  admirers  of  the  Napoleon  of  Jmpresarii  to  pay 
him  homage  and  respect.  Simply,  we  may  say,  Mr.  Bunn 
is  richly  deserving  of  the  greatest  public  support.  To  musical 
England  especially  has  he  proved  himself  not  only  its  Maecenas, 
but  its  Prometheus.  The  metaphor  may  be  far-fetched  ;  but 
who  can  deny  that  Mr.  Bunn  has  created  a  national  opera  for 
England ;  has  brought  to  light  new  composers,  who,  but  for  him, 
most  probably,  would  have  handed  their  MSS.  over  to  the 
cheeseman ;  and  has  infused  a  new  hope  among  musical  men 
that  their  compositions  shall  not  lie  fallow.  May  not  Mr. 
Bunn,  therefore,  be  entitled  the  Prometheus  of  Music — at 
least  for  Drury,  and  that  is  something.  The  entertainments 
of  Monday  night  consisted  of  The  Botidman,  in  which  Balfe's 
delicious  melodies  were  heard  with  renewed  delight ;  fol- 
lowed by  a  selection  of  vocal  music ;  te^  which  was  added  a 
Pas  de  Danse ;  whereupon  ensued  the  favourite  interiude 
Popping  the  Question;  subsequently  a  performance  by  the 
veritable  Ethiopian  Serenaders;  the  whole  concluding  with 
The  Waiermanf  in  which  Mr.  Braham  supported  his  original 
part  of  Tom  Tug.  The  great  feature  of  the  evening  was 
certainly  Braham's  appearance,  which  appeared  to  have  thrown 
the  audience  into  hysterics  of  delight.  Such  a  reception  has 
seldom  startled  the  walls  of  any  theatre,  as  that  which  hailed 
our  old  favourite  on  Monday  night.  The  moment  he  ap- 
pearedy  "  that's  Braham,"  seemed  to  issue  telegraphically 
from  every  mouth  —  simple  words,  which,  ere  they  were 
pronounced,  were  drowned  in  the  sudden  tempest-blast  of 
human  voices  that  followed.  A  more  unanimous  applause  we 
never  listened  to.  Old  and  young,  those  who  had  beard,  and 
those  who  never  could  have  heard  the  great  artist,  but  felt 
tempestuous  from  sympathy ;  the  grave  and  gay,  those  who 
«eldom  vociferated,  and  those  who  seldom  do  anything  else 
but  vociferate  at  a  theatre ;  the  critic  and  the  amateur ;  the 
professor  and  the  scholar ;  the  artist  and  the  lover,  all  joined 
in  making  their  vocal  powers  instrumental  in  paying  their 
favourite  the  heartiest  homage  and  tribute.  Mr.  Br&ham 
seemed  quite  overcome  by  their  manifestations  of  enthusiasm, 
and  was  obliged  to  pause  before  he  could  commence  his  song. 
His  appearance  was  no  less  hailed  with  applause  in  the  after- 
piece. Mr.  Harley  was  received  with  continued  acclamations 
in  a  favourite  melody,  which  he  sang  in  his  usual  vivaciously 
comic  mode.  Mr.  Bunn  was  called  for  at  the  end  of  the 
opera,  and  made  a  pithy  and  pointed  speech  in  reference  to 
his  position  with  regard  to  Drury  Lane  and  the  public.  He 
was  hailed  with  immense  cheers.  The  performances  did  not 
conclude  till  late.  Her  Majesty  and  Prince  Albert  honoured 
the  theatre  last  night  with  their  presence,  on  which  occasion 
llie  Bondman,  was  commanded  for  performance,  and  Marietta 
Baderna  won  golden  opinions  in  the  Cachoucha 
W  Fjlbnch  PtATs. — Since  our  last  notice  we  have  had  Catanova, 
or  LeFwt  St,  Andrey  In  which  M.  Lafoflt  and  Mile.  Fargueil 


have  both  appeared  and  played  with  their  usual  skill  and  discretioa. 
The  title  of  the  above-named  piece  boded  more  laxity  of  aorals 
and  looseners  of  intrigue  than  is  usually  admitted  in  England,  and 
we  were  not  deceived  in  our  expectations.     We  cannot  conceive 
what  possessed  the  author  to  adopt  such  a  title,  or  to  seek  fbr  his 
subject-matter  in  a  biography  of  doubtful  authenticity^  in  the  first 
place,  and  even  if  this  point  be  conceded  totaU^  devoid  of  wit  and 
humour.    We  remember  seeing  at  the  Adebbiy  some  twelve  years 
ago,  it  may  be  more,  a  {Heoe  founded  on  me  novel  of  FamUUt     v 
softened  down  it  is  true,  yet  preserving  moch  of  the   salt  of  the 
original  composition,  which,  iiowever  nulty  in  other  ieapeel%  hma 
at  least  the  advantage  of  invention,  raciness,  and  causticity,    in 
Casanova  we  find  nothing  of  the  sort,  and  the  people  of  this 
theatre,  who  occasionally  express  an  opinion  of  their  own,  testified 
it  roost  unequivocally  on  Friday  week  last,  so  much  so,  that  we 
have  no  fear  of  a  repetition  of  it     Although  of  some  length,  the 
piece  is  composed  of  very  slight  materials.      Casanova  b  a  bold 
dragoon— «  man  d  bonnes  fortunes^  who  makes  love  to  every  woman 
he  meets  ;  he  is  on  the  opening  of  the  piece  confined  in  a  state 
prison  for  some  politioal  offence,  and  here  he  intrigues  first  with 
the  governor's  wife,  then  with  the  gaoler's  niece,  and  lastly  with 
i\ie  fiancee  of  his  own  friend  s  throwing  at  the  same  time  the  hus- 
band, the  brid^^roora,  and  the  lover  c7  the  several  fair  ones  WHo 
all  the  horrors  of  jealousy,  and  the  ladies  themselves  into  a  ooa- 
plete  state  of  mystification.     On  receiving  the  news  of  his  enlaig** 
meat,  which  promises  a  wider  field  for  his  amorous  adventures,  be 
takes  unceremonious  leave  of  the  whole  party,  allowing  them  to 
make  up  matters  as  best  they  can.    Lafont  was  excellent  as  the 
military  Lothario  ;  his  aciing  was  easy  and  went  far  to  save  the 
piece  u-om  the  most  unequivocal  and  merited  damnation  ;    Made- 
moiselle Fargueil,  as  the  little  Grisette,  was  full  of  vivadty  and 
sprightliness.     We  may  say,  en  passant,  that  these  are  the  parts 
best  adapted  to  the  lady's  capabilities,  as  JeannetOHt  in  Pierre  le 
Rouge,  and  in  this  part,  in  Casanova,  we  shall  be  borne  out  and 
justified  in  our  opinion.     The  reason  is  stnq>lv  that  in  aiioh  parts 
as  these  she  is  more  natural,  she  is  herself :  whilst  in  Methild^t  hi 
the  Demon  de  la  Nuit,  and  similar  parts,  she  affects  a  predseness  of 
language,  an  over- refinement  of  promiuciatton,  which  ahnoat  de- 
generates into  affectation.     Wo  should  like  to  know  why  d^nom  is 
pronounced  di&non—mari  mtam'— and  ami  iammi,  &c.  Ac.   W* 
could  multiply  our  examples  of  her  affectation,  which  destroys  the 
effect  of  a  superior  talent  by  subjecting  it  to  ridicule.     Le  Hot  des 
Frontins,  in  two  acts,  was  the  vehicle  for  the  debut  of  Monsieur 
Alcide  Tousez,    We  have  seen  him  in  two  of  his  principal  parts, 
in  that  already  mentioned  on  Friday,   and  in  l/i  Swur  de  Jocrisse, 
on  Monday  last.     In  comparing  him  with  our  English  acton,  we 
think  that  he  has  many  points  of  resemblance  with  Mr.  KeeleyyOr  per- 
haps a  compound  of  faim  and  Mr.  Buckstone.     In  these  two  ^eces 
he  performed  parts  diametrically  the  antithesis  of  each  other.     In 
the  Hoi  des  ProntinSf  in  two  acts,  he  played  the  part  of  a  mstic 
bumpkin,  who  becomes  a  gentleman's  valet,  and,  by  nis  shrewdness, 
is  so  successful  in  extricating  his  master  from  Innumerable  scrapes 
and  difficulties,  that  he  obtains  the  soubriquet  of  king  of  valets ;  tho 
actor  making  tbe  combination  of  nature,  mother-vit,  and  clownish 
manners  excessively  amusing.     In  the  SoBur  de  Jocrisse  on  the 
contrary,  ho  is  a  simple,  matter  of  fact  lad,  who  contrives  to  torn 
everything    topsy-turvy     in    the    house    where     he    has    been 
admitted      as     a       servant,      through     the     intercessioa      of 
his    sister.     He    knocks    the    buttons     off    his    master's    ooat, 
leaves  his  watch  at  the  Hotel  de  Ville,  when  sent  to  set  it  by  the 
clock,  lets  the  parrot  escape,  and  wonders  that  a  cat  has  taken  its 
place  in  the  cage  ;  and  in  a  capital  scene  endeavours  to  persuade 
his  master  that  the  bird  has  undergone  a  complete  metamorphosis. 
He  breaks  the  vases  ;  lights  a  caudle  with  a  marriage  settlement, 
prepared  by  his  master,  who  is  about  to  wed  a  lady  more  interested 
than  loving  ;    by  his  insiauations  and  gauclttries  breaks  off  the 
marriage,  and  eventually  brinsrs  about  a  match  between  his  master 
and  sister.  M.  Alcide  Tousea  displayed  much  native  imbecility,  and 
and  drew  down  shouts  of  laughter.     Ho  was  called  for  after  tbe 
piece.    Mademoiselle  Fouquet  also  did  her  part  with  much  vivaeity 
and  intelligence.     She  is  a  most  useful  little  person,  and  evinces 
signs  of  manirest  improvement.     We  may  also  mention  that  M. 
Lafont  affain  drew  down  shouts  of  laughter  in  tbe  I>eu£  Briaadiers 
on  Monday  week,  and  in  Un  Jlfnpj^gtj/Mrifij^^oj,  W«Aic«!ay 


THE  MUSICAL  WORLD. 


m 


i 


week  last.  On  Friday,  the  12th,  was  produced  a  most  pleasing 
little  Ccmedte-  Vaudeville  in  two  acta,  entitled  the  Lectrke,  The 
plot  is  of  the  most  simple  de8cri|>tion,  but  was  peculiarly  inter- 
ettiiig  to  o8  from  the  excellent  acting  bestowed  on  their  parts  by 
Mademobelle  Fargueil  and  M  Cartigny.  They  were  so  simple, 
io  unaxtggerated,  so  natural,  so  much  at  home,  that  we  almost 
fofgot  wa  were  at*  the  theatre.  M.  Cartigny  in  the  old  French 
officer,  we  mean  English  officer,  was  perfection,  although  there 
certain^  was  more  of  the  Frenchman  than  the  Englishman  about 
him.  His  principal  amusement  is  to  hear  the  works  of  the  great 
French  poets  read  to  him ;  this  office  is  performed  by  Caroline, 
who,  by  aer  gentleneas  and  unassuming  manners,  has  inspired  the 
old  iuTalid  ^inth  the  most  sincere  afiection  and  gratitude  towards 
her.  While  in  this  situation,  she  meets  a  yoang  officer  named  Sir 
Arthur,  and,  in  a  scene  of  mutual  recognition,  we  learn  her  whole 
hbtory.  She  is  the  daughter  of  the  old  gentleman  with  whom  she 
lives ;  married  by  him  to  an  old  man  whom  she  could  not  loye,  she 
had  attracted  the  admiratiou  of  Sir  Arthur,  then  a  gay  and  thought- 
less youth,  whose  attempts  to  obtain  a  nocturnal  interview  having 
been  discovered|  had  blasted  her  reputation,  and  caused  her  hus- 
band's death.  In  this  distress,  she  had  sought  admission  as  a 
stranger  irfto  her  father's  family,  had  obtained  it,  and  endeavours  to 
aeoth  the  old  man's  sorrow  by  her  devotfon  and  filial  piety.  Her 
lef«r  now  does  his  utmost  to  make  amends  for  the  harm  he  had 
aaiatentlonally  done^  explains  the  whole  transaction,  vindicates 
her  ianoceoce,  and  obtains  her  hand  from'her  delighted  father. 
This  story  is  so  well  told,  so  homely  in  all  its  details,  so  free  from 
false  aentiment  and  conceit,  that  it  met  with  the  most  cordial  recep- 
tion. We  may  particularly  mention  the  scene  in  which  the  veteran 
recognfees  his  daughter's  innocence,  and  is  reconciled  to  her,  as  in 
no  ordinary  degree  affecting.  Tiridate  is  a  trifle  intended  to 
ohibit  the  actress's  talent  both  in  the  tragic  and  comic  line  ;  but 
m  the  present  instance  we  cannot  unreservedly  commend  her 
eSbiis.  Mademoiselle  Fargueil  did  the  part  of  La  Dumemil  most 
charmineiy  in  some  respects,  but  in  the  whole  failed.  She  looked  the 
part  well,  but  in  the  scene,  evidently  intended  by  the  author  to  be 
a  most  serious  one,  where  she  plays  the  heroine  in  the  young 
gentleman's  tragedy,  she  elicited  more  laughter  thai^  wa#  welcome 
to  classical  ears,  in  that  intended  by  the  great  actfbss,  we  mean 
La  Dumesnil,  to  disgust  the  young  poet  with  theatrcts  and  actresses, 
■he  was  eoarse  without  descending  to  vulgarity,  and  entered  fully 
into  the  spirit  of  the  part.  On  the  whole  we  do  liot  like  the  piece 
itself,  in  spite  of  the  excellent  acting  of  M.  Cartigny,  who,  although 
he  has  a  most  decided  contempt  for  creatures  de  cette  espice,  as  he 
calls  theatrical  people,  blubbered  most  heartily  In  the  pathetic 
parts.  There  is  out  one  good  scene' in  it,  which  is  the  last.  Mile. 
Valine  was  also  seen  to  great  advantage,  and  played  with  much 
^Snecse.  We  are  sorry  that  M.  Alcide  Tousez  is  suffering  from 
severe  cold,  so  that  much  of  the  effect  he  would  otherwise  produce 
is  lost ;  his  enunciation,  at  all  times  imperfect  and  indistinct,  is  now 
peifectiy  unintelligible.  M.  Lafont  has  been  delighting  his 
Bearers  with  Le$  £ux  Brigadiert  and  Un  Mart  qui  se  Dhange, 
nieces  which  will  t>ear  seeing  several  times.  On  Wednesday 
Her  Majesty  tiie  Queen  and  the  Prince  Albert  were  present,  and, 
instead  of  the  two  new  pieces  underlined  on  Monday,  we  had  a 
repetitioB  of  Pierre  le  Rouge  and  Lekain^  The  house  was  well 
attended  ou  this  occasion,  and  we  were  so  much  the  more  pleased 
as  it  in  a  great  measure  proved  the  high  esteem  in  which  M., 
Lslbnt  is  held  in  England.  We  need  not  enter  into  any  details  of  a 
performance  which  we  haye  already  noticed  at  great  length ;  there 
was  the  same  qdW,  easy,  gentlemanly  carriage  and  manners  wiiich 
have  made  this  actor  a  universal  favorite.  J.  de  C — s. 

HER  MAJESTY'S  THEATRE. 

There  was  nothing  new  on  Saturday,  Lucia  and  Coralia 
keeping  their  places  in  the  bills.  On  Tuesday  the  same  opera 
and  ballet  were  presented.  On  both  occasions  the  houses  were 
excellent,  and  the  performers  were  honoured  with  distinguisbeil 
*I^)laii0e. 

On  Thnrsday  evening,  "long  Thursday"  was  kept  reli- 
gkmsly,  and  none  of  its  festivities  omitted .  The  entertainments 
were  varied  in  such  a  manner  as  to  combine  moet  of  fiie 
strength  of  Mr.  Lumley's  company.    There  were  also  novelties' 


of  unusual  interest : — for  exiimple,  Gardoni's  first  appearance 
in  a  new  character,  and  tiiat  character  Elvino,  which  must, 
perforce,  induce  comparison  between  the  young  tenor  and  his 
celebrated  predecessors,  Mario  and  Rubini ;  and  a  new  ballet 
by  M.  Paul  Taglioni,  inventor  of  the  graceful  Coralia.  Besides 
these,  some  fragments  of  Lucia^  with  Fraschini,  and  the 
national  pas  de  deux  called  La  Slavonienne,  first  made  known 
to  the  public  by  Mdlle.  Rosati  and  M.  Paul  Taglioni,  on  the 
preceding  Thursday. 

The  Lucia  fragments  may  be  dismissed  at  once,  with  the 
proviso  that  what  we  advanced  last  week,  in  respect  of  Signor 
Fraschini*s  merits  and  demerits,  we  have  found  no  reason  to 
modify.  He  has  a  magnificent  voice,  but  he  is  deficient  in 
style,  and  his  method  is  not  good  enough  to  ensure  a  perfect 
command  of  the  endowments  with  which  nature  has  so  pro- 
digally favoured  him.  Our  duty  towards  the  Slavonienne^  no 
less,  may  be  discharged  with  a  reference  to  our  article  of  last 
week,  in  which  we  rendered  due  justice  to  its  not  very  trans- 
cend ant  merits. 

The  opera  of  La  Sonnambula  demands  more  attention  at 
our  hands,  and  the  pleasure  we  derived  from  its  performance 
renders  our  task  of  criticism  less  unwelcome  than  we  are  but 
too  often  disposed  to  find  it.  Without  further  preliminary, 
then,  we  may  state  that  those  who  have  not  heard  Gardoni  in 
Elvino,  have  not  had  it  in  their  power  to  accord  full  justice  to 
his  talent.  Rubini  and  Mario  fresh  in  the  memory,  we  listened 
to  the  new  comer  with  unalloyed  Batisfaction.  Those  who 
objected  that  his  voice  lacked  power,  must  have  been  well 
convinced  of  their  error,  by  the  powerful  intensity  with  which 
the  famous  tcena  of  the  second  act*  especially  the  aria,  was 
delivered.  We  were  not  at  all  astonished  at  the  sensation  it 
created.  The  auditors  were  taken  by  surprise;  but  the 
instant  surprise  let  dbem  loose  again,  they  gave  uninterrupted 
vent  to  their  feelings  of  admiration.  Following  Mario's 
example,  Gardoni  transposed  this  aria  a  semitone.  Rubini 
himself,  the  original,  was  rarely  in  condition  to  sing  it  as 
Bellini  wrote  it,  in  D  flat ;  and  what  Rubini  could  not  always 
do,  must  be  for  ever  a  despair  to  other  vocalists,  a  consideration 
which  easily  laid  set  rest  our  invariable  repugnance  to 
transpositions.  In  the  other  parts  of  the  opera,  Gardoni  was 
equally  successful ;  and  it  may  safely  be  assumed  that  he  is 
now  established  as  a  prima  tenore  in  every  respect  worthy  of 
Her  Majesty's  Theatre.  Already,  in  so  few  nights,  he  has 
managed  to  win  a  larger  share  of  favour  than  is  allotted  to  the 
great  majority  of  artistes ;  and  it  is  not  unreasonable  to  prophesy 
that  he  will  very  shortly  take  a  place  in  public  estimation  by 
the  side  of  the  most  renowned  of  the  foreign  vocalists,  without 
even  one  exception.  It  is  almost  superfluous  to  add,  that  he 
was  encored  in  the  aria,  repeatedly  applauded  during  the  opera, 
and  recalled  more  than  once  upon  the  stage.  In  short,  the 
warmest  friend  of  Signor  Gardoni  could  scarcely  have  hoped 
for  him  a  more  decided  success.  We  must  also  praise  his 
acting,  which  was  easy  and  unobtrusive,  graceful  and  pre- 
possessing, and,  when  the  situation  required,  full  of  energy 
and  pathos.  Madame  Castellan's  Amina  is  well-known  to 
the  public,  and  our  opinion  tliereon  has  been  presented  to  our 
readers  on  various  occasions.  We  were  more  pleased  with  it 
on  Thursday  than  we  have  ever  been  before,  and  were  con- 
vinced anew  of  the  improvement  which  we  noticed  in  our  last, 
Perha|>s,  however,  if  the  fair  singer  would  slightly  modify  her 
taste  for  excessive  displays  of  ornament,  the  value  of  her  deli- 
cious voice  would  be  more  sensibly  appreciated.  We  readily 
admit  her  facilily,  but  we  so  greatly  admire  her  cantahite 
singing,  that.>ve  should  like  to  hear  a  little  more  of  it.  As  fdr 
the  audience,  they  were  delighted  with  all  she  did,  and  a]^ 


1*92 


THE  MUSICAL  WORLD. 


plauded  her  most  liberally  ;  it  is  therefore,  perhaps,  somewhat 
hypercritical  on  our  parts  to  carp  at  a  performance  which 
afforded  such  undivided  pleasure  to  others. 

One  line  must  chronicle  our  satisfaction  with  the  manner  in 
which  Frederick  Lablache  sustained  the  part  of  Rudolfo,  so 
important  in  much  of  the  concerted  music.  Nothing  could  be 
more  able  than  his  singing,  or  more  agreeable  and  natural  than 
his  acting.  We  should  like  to  see  this  excellent  artist  much 
oftener.  It  is  ill-judged  on  the  part  of  the  management  to 
dispense  with  his  serrices  in  favour  nf  others  so  much  his 
inferiors. 

We  arc  tired  of  praising  Balfe ; — and  yet  on  every  new 
occasion  we  find  reason  to  congratulate  the  management  on 
the  possession  of  so  zealous  and  active  a  servant.  With 
deference  to  the  Morning  Chrmicle,  \vhich,  in  the  fever  of  par- 
tisanship, forgets  to  speak  the  truth,  we  never  heard  the 
choruses  and  orchestral  accompaniments  to  the  Sonnambula  so 
well  executed  at  Her  Majesty's  Theatre,  often  as  we  have 
heard  the  opera.  The  pretty  chorus  in  the  finale  to  the  first 
act  was  sung  with  admirable  precision,  and  the  pianos  were 
attained  to  perfection.  The  orchestra  is  getting  more  and 
more  under  Balfe's  control,  and  every  new  performance  affords 
us  fresh  proof  of  his  generalship.  In  thus  pronouncing  an 
opinion  so  directly  opposite  to  that  of  our  indefatigable  contem- 
porary, we  are  quite  at  ease  ;  since  the  judgment  we  offer  is 
a  purely  musical  one,  for  which  we  depend  upon  an  ear  not 
altogether  uncultivated,  and  an  education  which  has  enabled 
us  to  acquire  the  knowledge  of  several  facts  with  the  existence 
of  which  we  have  much  doubt  if  he  be  acquainted. 

It  remains  to  speak  of  the  new  ballet,  which  must  (until 
next  week)  be  shortly  dismissed.  Thea,  ou  la  Fete  aux  FUurs 
is  a  divertissement  in  one  act,  divided  into  two  tableaux.  A 
more  graceful  subject,  or  a  fitter  vehicle  for  scenic  and 
choregraphic  effects,  was  never  turned  to  stage  account.  The 
story  rests  upon  the  linr0  of  a  certatn  Prince  Hassn  fer^ 
flowers,  which  rcach«»Mich  a  hei^t  tiM  he  neglects  even  his 
favourite  mislitsiylfcea,  who  can  m  longer  afford  him  plea- 
sure, so  absofflifi#ae  in  the  purMdt  of  his  floral  amours. 
Thea,  in  despair.  Implores  the  aid  of  the  Flower  Fairy,  who 
being  a  benignant  supernatural,  accords  it.  Thea  is  cbanged 
by  the  fairy's  power  into  a  rose-tree.  The  rose-bud  attracts 
Prince  Hassan's  attention  more  than  any  plant  in  his  garden. 
He  plucks  a  rose  from  its  branches,  when  lo!  the  Flower  Fdry 
appears,  md  the  whole  garden  is  animated  with  spirits,  decked 
in  the  colours  and  petals  of  different  flowers.  The  Fairy  re- 
proaches Prince  Hassan  for  his  conduct,  threatening  him  with 
punishment  for  having  plucked  the  rose.  The  Prince  implorrs 
her  pardon,  which  she  accords  on  condition  that  he  will  consent 
to  marry  the  rose-tree — to  which  the  Prince,being  as  enamoured 
as  ever  was  the  Italian  prisoner  of  his  Picciola,  gladly  assents. 
The  rose-tree,  assuming  coyness,  works  the  Prince  into  a 
madness  of  desire,  but  at  length  appears  to  receive  his  addresses 
with  favour — ^when  lo !  the  branches  fade  away  into  thin  air, 
and  the  beautiful  form  of  Thea,  his  faithful  and  neglected 
ir.istress,  stands  erect  before  him,  silently  reproaching  him  for 
his  inconstancy-  Alibis  old  love  returns,  and,  at  the  command 
of  the  Flower  Fairy,  the  Prince  and  Thea  are  united  ;  and  so 
the  story  ends. 

The  scenic  effects  to  which  this  ballet  gives  occasion,  are  as 
new  as  they  are  beautiful.  Mr.  Marshall  has  outshone  him- 
•etf  on  this  occasion.  The  last  tableau  is  as  fanciful  In  its 
way  as  that  in  Coralia^  the  combinations  being  fioral  instead 
of  aquatic.  We  never  witnessed  a  more  exquisite  illmion  of 
colour  played  upon  by  light.  The  dresses  were  equally  pic- 
turesque.    The  groupings  displayed  the  corps  de  btMet  to 


wonderful  advantage ;  and  the  principal  dances  were  of  the 
first  quality.  Mdlle.  Rosati  performed  in  such  a  manner  as 
to  place  herself  among  the  queens  «£  choregraphic  art,  and 
Marie  Taglioni  crowned  her  virgin  brow  with  new 
laurels.  The  ballet,  in  short,  created  a  furore.  But  we 
must  reserve  all  detail  till  our  next.  Meanwhile,  we  con- 
gratulate Mr.  Lumley  on  the  continued  evidences  of  his  spirit 
and  discrimination,  of  his  liberality  and  regardlessness  of 
outlay,  which  cannot  fail  of  sustaining  him  in  the  high  posiUon 
he  has  assumed  since  the  beginning  of  his  management. 
Let  him  go  on  thus,  and  he  may  set  competitiou  at  defiance. 

HANDEL'S   BEL8HAZZAR. 

Sacred  Harmonic  Society. — Last  evening,  HaaMt* 
oratorio,  Belshazzar,  was  produced  at  Exeter  Hall,  for  dw 
first  time,  by  the  Society.  The  importance  of  the  woilt 
itself,  and  the  consideration  of  its  first  representation,  warrant 
us,  in  our  present  circumscription  of  time  and  space,  in  defeiring 
a  more  accurate  and  analytic  notice  till  our  next  number. 
Meanwhile,  we  shall  merely  take  account  of  the  principal 
vocalists,  and  the  general  impression  the  orsitorio  maie  om  tke 
audience.  The  leading  vocalists,  therefore,  were  the  Mhses 
Birch,  M.  6.  Hawes,  and  the  Messrs.  H.  Phillips,  J.  Howe, 
Bodda,  and  Man  vers.  As  a  first  performance,  we  may  state 
that  the  oratorio  was  satisfactorily  given,  the  principal  singers 
acquitting  themselves  with  much  credit,  and  the  chorus, 
g^erally  speaking,  upholding  their  character  as  dkient  inter- 
preters of  this  very  arduous  department  of  yoed.  inlefysctation. 
The  general  feeling  left  upon  our  uamtB  h^  fhat  Handel'tf 
Belshazzar  is  bv  no  means  one  of  his  greslHl^  works,  and  that 
the  music  is  elaborate  and  heavy,  nrely  indicating  the 
great  composer's  highest  moments  of  inspiration.  We  shall, 
however,  enter  into  this  subject  at  more  length,  and  with 
moce  carcj  in  our  ensuivg  wumtKtt. 

p^if*— — — i**— i^— ^— — *r*— — *  ■■     >  ■ 

m    JULUCN. 

This  enterprising  and  spirited  conductor  has  returned  to 
London  for  a  few  days,  after  aaiMsing  large  sums  of  monej 
from  his  indefatigable  exertions  in  the  provinces*  Truly  may 
it  bo  said,  "  We  have  but  090  JuLuniir."  He  has  given  uni- 
venal  delight  in  most  of  ^  futeoipal  towns  in  England,  and 
will  leave  the  metropolis  for  a  second  tour  next  week. 


CONCERTS. 

GRANn  Popular  Concbrts. — On  Toesdav  evening,  the  fourth 
of  the  series  of  these  excellent  and  weH-coodiicted  entevtaiaiaeiilB 
was  held  in  Sussex  Hall,  and  attracted  a  tokrably  crowded  asteni* 
blage  of  visHors.  The  concert  was  coBfined  entifely  to  vocal 
morceaux^  comprising  songs,  ballads,  diets,  trios,  gises,  qoartetts, 
comic  songs  aad  sceuas.  The  ball  was  opened  vrHh  Bern's  bean- 
tiful  quatnor,  **  Lo  1  the  early  beam  of  morning,''  sung  with  good 
effect  by  the  Misses  M.  O'Connor  and  Felton,  aad  tbe  Messrs 
H.  Phiiiips  and  F.  Smith.  Next,  Mr.  Geage  gave  a  song  of 
Blewitt*8  nicelv,  and  Miss  A.  Williams  one  of  Auber's  charm- 


ingly ;  and  then  Mr.  H.  Phillips  gave,  by  {jarticulsr  denre,  Dib* 
din's  *'  Sailor's  Journal,"  wi'h  admirable  spirit,  which  was  rapta* 
rously  applauded;  and  followiaii:  the  sea-song  came  the  duet- 
sisters,  whom  every  one  knows  without  farther  naming,  and  sang  a 
duet  very  prettily  and  artistically  ;  and  anon,  Mr.  F.  Smith  treated 
the  then  mmates  of  Sussex  Hall  to  a  second  edition  of  Hemy 
Russcll,  singing  that  s^entleman's  *<  Gambler's  Wife"  so  as  to 
create  a  groat  sensation  in  the  room,  especially  when  the  clnek 
struck  ;  and  subsequently  Mr.  H.  Phillips,  Mr.  Harrison,  Mr. 
Sharp,  Mr.  W.  G.  t'ercival.  Miss  Barwick,  and  the  artistes  atoa- 
said,  aided  and  abetted  in  rendering  the  concert  confonnaMe  to  the 
highest  expectations  of  all  who  pledged  their  faith  to  the  premisea 
of  the  Grand  Popular  Coucbrts.  ,  ^  .*.,..  ^ 

Digitized  by  \^UOyH^  ^ 


THE  MUSICAL  WORLD. 


193 


Concert  »or  Me.  Kearns'  Familt.— The  entertainment  held 
\a  the  Hanover  Square  Rooms,  on  Wednesday  ovenine,  to  assist 
the  widow  tind.family  of  Mr.  Keams,  was  of  snch  a  kind  and  cha- 
racter  as  to  attract  a  denser  audience  than  is  often  witnessed 
vithia  these  rooins.  All  the  musical  professors  of  note  in  London, 
with  few  exceptions,  lent  their  aid  on  this  occasion  to  render  the 
entertainment  worthy  of  the  patT9na2e  of  the  public,  and  as  a  last, 
though  poor  memento  of  their  respect  and  love  for  ono  of  the  most 
venerated  and  amiable  of  all  their  confraternity.  '  AH  the  principal 
mtiTe  Tocalbts,  all  such  as  could  escape  from  their  dramatic  and 
other  neoeaaitated  duties,  came  and  lifted  up  their  voices  in  the 
cause  of  charity.  The  orchestra,  conducted  by  Signer  Costa, 
nombered  eighty  ;  there  were  ten  solo  instrumentalists,  twenty- 
five  solo  singers,  and  the  whole  of  the  members  of  the  Choral  Fund 
attended.  We  have  not  room  to  particularize  each  morceau.  We 
idsy,  however,  notice  a  few  performances  that  stood  out  promi- 
nently from  the  rest.  These  were  the  overture  to  Oberon,  finely 
executed  and  encored  ;  Bach's  concerto  fo  three  pianos,  which,  in 
the  hands  of  Mr.  Anderson,  Mr.  Benedict,  and  Mr.  Sterndale  Ben- 
nett, was  splendidly  interpreted ;  the  exquisite  aria  from  Ttto, 
**Non  piu  di  fieri,**  which  was  given  by  Madame  G.  Macfarren  in  a 
style  to  cause  us  to  believe  that  Mossart's  music,  et  hoc  genua  onme, 
is  decidedly  her  forte  ;  and  Beethoven'sgrand  symphony  in  D.  The 
concert  of  Wednesday  evening  reflected  the  highest  acdit  on  all 
parties  concerned,  wnether  it  be  the  conductor  who  volunteered 
his  eminent  services,  the  professors  and  artists  who '  aided,  or  the 
nublic  who  thronged  in  crowds  in  aid  of  so  benevolent  a  purpose. 
In  addition  to  the  money  paid  for  tickets  by  the  visitors,  we  are  in- 
formed thai  a  handsome  amount  has  been  realized  by  donations 
We  trast  the  subscriptions  will  not  ccaee  before  the  widow  and 
children  will  be  removed  from  all  fear  of  a  lapse  into  indigence. 

Madams  Dulckkn's  Matinbb  Musicals.— Madame  Dulcken 
commeneed  a  aeries  of  morning  performances  of  classical  piano- 
forte music  on  Wednesday,  at  her  residence  in  Harley  Street.  The 
concert  was  interspersed  with  some  vocal  pieces,  executed  by  Mr. 
Harrisob,  |dadaroo  G.  Macfarren,  and  Miss  A.  Lodcr,  the  latter 
lady  making  on  this  6dbftsi«Dier  first  appearatieerin  public.  Mad. 
Diucken  executed  compositions  of  Beethoven,  Haadel  and  Scarlatti, 
vith  btr  wmd  iHli  Mtt  bsHliancjry  and  was  tupported  in  a  Mmtett 
of  Weber^s'Sy  Messrs  Willy,  Weslake  and  Hausman.  Tne  fiur 
pianist  also  introduced  specimens  of  modem  authors.  In  the  vocal 
section  we  have' particularly  to  notice'  Afadame  G.  Maefkrren's 
iioging  two  charming  s  )ng8  with  great  expression  and  purity. 
These  songs  were,  **  The  First  Day  of  Spring,'*  by  G.  A.  Mae&rren, 
a  compositioa  fraught  with  the  deepest  poetic  feeling ;  and  the 
"  Chloe  in  Sickness,*'  of  Sterndale  Bennett,  a  very  delicious  canzo- 
net, plaintive  and  melodious.  The  rooms  were  full  and  fiishiooably 
attended. 

Classical  Inbtbumsktal  Music  —  A  concert  was  given  on 
Tuesday  evening  at  Johnson's  Assembly  Rooms,  Doctors'  Com- 
mons, and  went  off  excellentljr»  the  room  being  tolerably  fall. 
The  performances  consisted  of  Onslow's  quintet t,  No.  4,  in  G 
mbor ;  Mozart's  quartett.  No.  10,  in  D  ;  Spohr's  dnet  for  violin 
and  viola  ;  Onslow's  quintett.  No.  5,  in  D  ;  and  Beethoven's  quar- 
tett. No.  6,  in  B  fiat.  The  executants  were  Messrs.  H.  Blagrove, 
Webbt  Weslake,  Hancock,  and  C.  Severn. 

MISCELUVNEOUS. 

RxMAmxABi.B  Escape. — At  the  Edinbui^h  theatre,  on 
oueoccaaion  in  which  Miss  Faucit  appenred  as  PaoUnein 
the  Ladjf  of  Lyons^  a  rather  untoward  'accident  occurred 
near  the  close  of  the  performances.  A  man,  named  Macdonald, 
a  printer,  who  appears  to  have  been  top-heavy,  fell  over  the 
front  of  the  upper  gallery  into  theipit,  a  height  of  about  thirty 
feet.  His  fall  was  broken  by  alighting  between  two  gentlemen, 
who  were  but  slightly  injured,  and  the  roan  himself  was  taken 
to  the  Royal  Infirmary,  wheie  it  was  found  that  he  had  sus- 
tained no  very  serious  hurt. — Glasgow  Post, 

Mahchkstee. — (From  a  Correspondent ) -^  UurgreAve^n 
Choral  Society. — By  a  paragraph  in  the  Guardian,  it  appeara 
that  Dr.  Mendelssohn  has  accepted  the  engagement  offered 
to  him  by  the  directors  of  the  Hargreave  Concerts,  to  conduct 


the  performance  of  liis  last  oratorio,  Elijah,  We  understand 
be  is  engaged  also  to  conduct  two  performances  of- it  at 
Exeter  Hall— one  on  Friday  the  16th  April,  the  other  on  the 
Friday  following,,  the  23rd;  betwixt  which  dates  the  next 
concert  of  the  Hargreave's  Society  must  be  held,  we  believe, 
Tuesday  the  COth.  The  principal  vocalists  are  not  yet  en- 
gaged ;  but  will,  most  likely,  if  practicable,  be  the  same 
engaged  by  the  Sacred  Harmonic  Society.  The  musical 
folks  in  Manchester  are  on  the  tiptoe  of  expectation,  that  a 
musical  treat  of  no  ordinary  character  Is  in  store  for  them. 
We  tnist  the  solo  performances  will  be  in  the  hands  of  first- 
rate  artists^  We  should  like  to  hear  Staudigl,  Lockey,  and 
Miss  Birch — all,  however,  depends  on  circumstances.  The 
Harmonic  Society  and  the  Hargreave's,  too,  will  be  sure  to 
secuie  the  best  available  talent;*  and  we  hope  that  the  pro- 
duction of  Elijah  in  Manchester  will  fully  satisfy  the  sub- 
scribers for  any  former  shortcorriing ;  and  that  it  will  redound 
to  the  credit,  as  well  as  extend  the  means,  of  the  Hargreave 
Choral  Society. 

[We  may  add  to  the  above,  tliat  Elijah  \yill  be  given  in 
Dublin  immediately  after  its  performance  at  Manchester. 
Mendelssohn  will  attend  on  both  occasions.  The  principal 
singers  will  be  Miss  Birch  (in  place  of  Madame  Caradori), 
Miss  Dolby,  for  whom  the  contralto  part  was  intended  by  the 
composer,  in  place  of  Miss  Hawes,  with  Herr  Staudigl,  and 
the  Lockey,  who  were  engaged  in  the  first  representation  at 
with  Birmingham  festival. — Ed.] 

HuLLAH*s  Testimonial  Fund. — The  last  concert  of  this 
series  will  take  place  at  Exeter  Hall  on  Monday,  the  19th  of 
April,  not  the  12th,  as  stated  by  mistake  in  our  last. 

Madame  Lutzsr,  the  celebrated  German  prima  donna, 
wiU'pay  a  visit  to  liondop.  in  the  first  week  of  April.  She 
has  appointed  Mr.  Albeit '^Schlpas  as  ^e  agent  of  her  engage- 
menla  in  this  country. 

.Madame  Bishop  concludes  her  engagement  this  wA  in 
Edinburgh.  On  Uie  22d  she  appears  in  SimnaimMa  at 
Bristol ;  on  the  2Sd  ditto  at  Bs^th ;  25th  at  Bath,  morning 
performance,  the  Maid  of  Artois;  and  the  same  evening!  I ! 
same  opera  at  Bristol — good  work  this.  On  the  26th  Madame 
Bishop  wXL  perform  in  Anna  Bolena  at  Bristol,  and  on  the 
27th  ditto  at  Bath.  On  the  6th  of  April  the  fair  cantatrice 
gives  two  concerts  at  Exeter,  and  proceeds  soon  after  to 
Dublin  to  fulfil  her  second  engagement. 

Mr.  J.  Ca&tb,  the  celebrated  flute-player,  continues  to  give 
hit  weekly  concerts  at  Greenwich.  On  Monday  last  we 
attended  for  the  first  time,  and  were  much  pleased  throughout 
with  the  entertainments.  Among  the  artists  engaged  for  that 
night,  we  noticed  Miss  Solomon,  Mr.  Manvers,  Mr.  F.  Chat- 
terton,  and  Madame  G.  Macfarren.  Mr.  Carte  received 
immense  applause  for  his  performance  on  the  flute,  and  Miss 
Dolby  and  Madame  G.  Macfarren  divided  with  him  the 
applause  of  the  evening,  for  the  charming  and  artistic  manner 
in  which  they  interpreted  some  vocal  morceaux.  The  rest  of 
the  performers  also  came  in  for  their  share  of  acclamation. 

Madame  Knispel,  the  vocalist,  has  arrived  in  London  for 
the  -season. 

Mr.  Hausmamn,  the  eminent  violoncellist,  has  returned 
to   town,    after    making  a  successful  provincial  tour    with 

JULLIEN. 

A  Grakd  Ball  is  announced  to  take  place  on  Wednesday, 
April  7,  at  Willis's  Rooms,  in  ^id  of  the  distressed  Irish.  The 
bdl  will  be  given  under  the  immediate  patronage  of  their 
Royal  Highnesses  the  Duke  and  Duchess  of  Oamhridge. 
OUivier's  quadrille  band  of  twenty  first-rate  performers,  under 
ih»  direction  of  Mr.  F.  G.  Tinny^.^^^gt^^j^^ty^^^ 


1*94 


THE  MUSICAL  WORLD. 


hoped  that  the  ball  will  be  well  attended.     For  terms  see 
advertisement  page. 

Hatmarket  Theatre.  —  A  very  splendid  entertainment 
of  vocal  and  instrumental  music  will  be  given  at  thi«  theatre 
on  Tuesday  evening,  March  30,  by  that  most  enterprising  and 
energetic  of  all  concert-givers,  Mr.  Allcroft.  The  principals 
in  the  vocal  department,  already  announced,  consist  of 
Mesdames  Albertazzi  and  F.  Lablache ;  the  Misses  Birch,  £. 
Birch,  Steele,  Rainforth,  Poole,  Hill,  Sabilla  Novello,  and  M, 
B.  Hawes  ;  together  with  the  Messrs.  Harrison,  Travers,  H. 
Phillips,  F.  Lablache,  Brizzi,  Allcroft,  Guibilei,  and  H. 
Russell.  The  instrumental  section  comprises  the  names  of 
Madame  Dulcken,  Mr.  Richardson,  and  Herr  Joachim,  as 
soloists.  We  are  delighted  to  announce  the  coming  of  the  latter 
admirable  young  artist,  whose  performances  on  the  violin  are 
hardly  surpassed  by  any  living  executant.  The  orchestra 
will  be  numerous  and  select.  Some  startling  novelties  will 
be  provided.  The  celebrated  Etliiopian  Serenaders,  who  have 
been  creating  an  immense  sensation  for  some  time  past  at  the 
St.  James*s  Theatre,  will  make  their  debut  at  the  Haymarket. 
Sixteen  eminent  pianists,  and  eight  celebrated  harpists,  will 
execute  a  new  grand  Morceau  de  Concert,  arranged  expressly 
for  this  occasion  :  and,  to  crown  all,  selections  from  Rossini's 
Stabat  Mater  will  be  introduced  ;  and  the  entertainments  will 
conclude  with  the  prayer  from  the  Mos^  in  Egiito,  interpreted 
by  the  entire  vocal  corps.  If  this  be  not  the  concert  of  con- 
certs, we  know  not  what  is.  Mr.  Roberts  will  attend  as 
leader,  and  the  conductors  will  be  the  Messrs.  Negri,  Lavenu, 
and  T.  G.  Reed.  Altogether,  a  more  spirited  scheme  we 
have  never  ante- dated ;  and  we  have  no  doubt  that  Mr.  All- 
croft will  meet  with  all  the  success  he  so  well  merits. 

Choral  Harmonists. — The  next  meeting  of  this  society  is 
announced  for  Monday,  the  22nd  inst.  The  scheme  includes 
Haydn's  •*  Second  Mass ;"  Spohr's  cantata, "  Christian  Prayer," 
Mendelssohn's  overture  to  the  "Isles  of  Fingal ,"  and  Romberg's 
**  Song  of  the  Bell."  We  shall  do  our  best  to  attend  this 
classical  gathering. 

Mr.  Henry  Smart,  the  talented  organist  of  St.  Luke's 
Church,  Middlesex,  is  actively  engaged  in  the  formation  of 
an  efficient  choir,  for  the  performance  of  the  full  cathedral 
service  at  morning  and  evening  worship  at  that  church.  A 
meeting  of  the  parishioners  was  held  some  time  since,  to  de- 
cide on  the  advisability  of  making  so  great  a  change  in  the 
mode  of  celebrating  divine  worship,  when  not  only  was  the 
unanimous  feeling  in  favour  of  such  alteration,  as  conducive  to 
an  increased  degree  of  devotion,  but  the  necessary  funds  for 
carrying  the  contemplated  improvement  into  effect,  were  voted 
with  the  greatest  cordiality.  This  is  another  instance  of  the 
progress  of  musical  feeling,  and  we  have  little  doubt  but  th  t 
for  the  opposition  to  the  further  introduction  of  music  in  our 
church  services,  so  strenuously  exerted  in  high  quarters,  this 
example  would  be  extensively  followed.  Mr,  Smart  has  se- 
cured the  services  of  two  gentlemen  from  Lancashire,  of  con- 
siderable musical  talent,  for  his  first  tenor  and  bass  ;  and 
having  selected  from  amongst  the  boys  attached  to  the 
national  schools,  those  whose  voices  and  abilities  gave  promise 
of  success,  has,  for  some  time  past,  been  pursuing  with  them 
a  rigid  course  of  instruction,  resulting  in  the  formation  of  a 
choir  of  boys  which,  we  have  no  doubt,  in  time  will  be  equal  to 
any  in  the  metropolis.  The  cathedral  service  will  be  performed, 
for  the  first  time,  on  Easter  Sunday. 

Abbey  Glee  Club. — This  club,  which  has  been  established 
upwards  of  half  a  century,  and  includes,  among  its  members, 
several  of  our  best  glee  singers,  gave  its  eighth  soir^,  on 
Thursday  evening,  in  the  large  room  of  the  Crown  and  Anchor 


Tavern,  to  a  crowded  audience.  The  selection  comprised  a 
variety  of  glees  by  Calloott,  T.  Cooke,  Goss,  Arne,  Bishop,  . 
Webbe,  Stevens,  &c,,  which  were  well  performed.  We  would 
especially  commend  the  excellent  manner  in  which  T.  Cooke's 
glee,  "  Shades  of  the  Heroes,"  was  rendered.  The  Misses 
Williams  assisted  with  their  charming  voices  and  cultivated 
style  in  passing  off  the  evening  most  pleasantly.  They  sanfif 
together  Hatton's  duet,  "Two  Laughing  Fairies,"  which 
elicited  an  encore,  and  also  the  duet  from  Benedict's  Crusaders, 
'*  The  ties  of  Friendship."  Miss  A.  Williams  sang,  moreover, 
the  song  from  the  Siren,  in  a  manner  peculiarly  her  own,  and 
which  always  commands  an  encore.  Some  two  or  three 
German  glees  were  introduced,  but  were  not  so  effectively 
performed  as  those  of  the  authors  we  have  above-named. 
Among  them  were  '*  Maying,"  by  Miiller,  and  '*  Lutzow's  Wild 
Hunt,"  by  Weber.  This  collection  of  glees,  which  are  pub- 
lished periodically,  under  the  name  of  "  Orpheus,"  are  formed 
on  a  very  different  model  to  our  English  glees,  and  require  in 
themselves  a  peculiar  style  of  singing,  which  we  have  heard 
but  rarely  attained.  A  few  years  since,  Mr.  Henry  Smart 
organised  a  small  private  society  for  the  especial  study  of  this 
class  of  composition,  which  arrived  at  a  considerable  degree  of 
perfection,  but  we  believe  the  society  is  now  extinct.  A  m .8. 
glee,  by  Mr.  J.  Howe,  was  well  sung,  and  the  compontion  in 
itself  contains  many  good  points.  Mr.  Coward  played  a 
fantasia,  by  Alexander  Fesca,  on  the  piano,  evincing  a  tolerable 
acquaintance  with  the  instrument,  and  the  performance  of  each 
part  concluded  with  madrigals  by  Converso  and  Beale,  which 
were  neatly  and  effectively  sung. 


TO   CORRESPONDENTS. 

JusTiTiA. — We  have  received  our  correspondent* s  letter  but  met  the  notice 
alluded  to.     We  shall  be  s^iad  to  hear  thereupon  from  Justxtia. 

Ma.  J.  N.  Sporls'8  and  Mr.  Lindsay  Slopir's  Concerts  will  be  noticed 
in  our  next. 


ADVERTISEMENTS. 


Warren's    SO   Guinea   Cottage   Piano-Fdrtea 


ARE  NOW  SELLING  AT  THE 

ManofBictory,  71,  Zieadenhall  Street 

{Removed  from  1  and  2,  Liverpool  Stmt,  Bishopigate  Street.) 
These  iBstraments  are  well  manafactiired  of  the  best  seasoned  wood»  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  ffiven  with  each  ioitni- 
ment.  ESTABLISHED  TWENTY-ONE  YEARS.  The  only  house  in  Londoii 
where  a  frood  sound  instrument  can  be  obtained  at  the  above  low  pricej  (for  cash 
only).  SMALL  PROFIT  AND  QUICK  RETURNS  1 
JOHN  WARRBN,  71,  ZieadenliaU  St.,  opposite  Ald^ate  1 


PIANOFORTES. 

Parties  in  want  of  a  really  good  PIANOFORTE,  at  a  moderate  price,  will  do  well 

to  call  at 
J.  C.  JONES  AND  C0.'«, 
2,  Hanway-street,  Oxford-street,  a  few  doors  on  the  right  from  Tottenham-ceiirt- 
road,  who,  from  their  intimate  acquaintance  with  every  kind  of  instmment  made, 
have  endeavonred  to  combine  the  separate  good  quaiitiei  of  eaeh  with  til  the 
latest  improvements,  therefore  for  tone,  tooch,  durability,  end  appctnnce  theee 
Instruments  are  not  to  be  surpassed  at  the  price. 

Instruments  tosk&L  repaired,  exchanged,  and  lent  on  hire*       .  k^ 
Tuning  by  the  year,  one  guinea.   Second-hand  Pianos,  from  8  to  90  gnisMi. 


THE  MUSICAL  WORLD. 


105 


ROYAL   ITALIAN    OPERA,   COVENT  GARDEN, 

EatabliBbed  for  tlie  puii^OM  of  rendering  a  more  perfect  performance  of  the 

IiYRIC     DRAMA 

nmbAs  hitherto  heen  attained  in  this  country. 

Virora  THE  BIKECnON  AND  MANAGBMBNT  OP  MRw  BBALE. 

The  NobiUty,  Gentry,  and  Patrontf^yf  Muaic,  are  respectAilly  informed,  that  the 

ROYAL  ITALIAN  OPERA 

Will  Open  the  Fir«t  "Week  in  ApriL 

ProipectaMS  to  be  had  at  the  Box-office,  Bow  Street ;  at  Cramer,  Beale,  and 
Co.%  201,  Regent  Street ;  and  at  aU  the  Libraries. 

GOOD  PIANOFORTES  CHEAP. 

The  ]ivg»  and  valuable  STOCK  of  PIANOFORTES  mannftctnred  by 

aSOTTER    &    00«» 

IS    NOW     SELLING    OFF, 

At  A,  K«w  Ovreadlsli  Street,  Portland  PlacCi  Itondonit 

In  consequence  of  a  Pissolntion  of  Partnership.  The  Instruments,  consisting  of 
mahopiny  and  rosewood  Grands,  Semi-Grands,  Cabinet,  Cottage,  and  Piccolos, 
are  made  with  the  patent  Sounding- Board,  Metallic  Plate.  Check  Action,  and  all 
tte  Meat  improrements.  The  nanofortes  made  by  ZEITTER  and  Co.  have 
slwaya  enjoyed  a  preference  among  tlie  nobility  and  gentry,  having  been  honored 
niththemitoonageor  Her  Majesty  the  Queen,  the  Duchess  of  Sutherland,  &c. 
Tbe  peculiar  construction  of  the  Sounding- Board  insures  their  ereater  durability 
sad  the  firm  tone  is  well  known.  Parties  desirous  of  possesnng  one  of  these 
nperior  Instnunents,  may  now  purchase  the  same  on  very  advantageous  terms. 
Grands,  heretofore  fh>m  130  to  145  Guineas,  are  now  selling  at  jffSO  to  j^TO,  and 
others  in  proportion.    Ilie  premises  No.  5  have  been  recently  closed. 

MESSIEURS.    DiSTIN, 

The  original  and  unrivalled  Performers  on  the 
SAX     HORNS    AND     SAX    TUBAS, 

WiU  give  their 

i0optilar  €omett0, 

Anisfed  by  Miss  O'CONNOR,  Mr.  WELLS,  and  Mr.  W.  S.  ROCKSTRO,  as 

follows  :-> 

CROYDQN^  March  22nd;  KENNINGTON,  23rd.  They  will  perform  also 
tt  NATIONAL  HALL,  25th;  MANCHESTER  29th,  30th,  snd  Slst,  and 
April  Ist  and  Srd;  BOLTON,  April  5th;  WARRINGTON,  6th  and  7th; 
LANCASTER,  8lh ;  GREENWICH,  12th;  STORE  STREET,  14th; 
SUSSEX  HALL,  15th;  BEAUMONT  INSTITUTION,  26th. 

N.B.  Comets,  Sax  Horns,  Sax  Tubas,  Mouthpieces,  &c.,  to  be  had  at  Distin's 
Musical  Repository,  SI,  Cranboume  Street,  Leicester  Square. 

FAIR      COMPLEXION. 

Under  the  Patronage  of  the  Nobility  and  Gentry, 

TO  TRB   &ADZB8. Wonderftd  and  Important  IMscoTersr. 


ORIENTAL    BOTANICAL    PREPARATION, 

For  removing  simoet  instsntaneouslycutaneous  eruptions,  flrecltles,  pimples,  spots, 
snd  other  diicolorations  of  the  skin.  After  one  appncation  of  the  Botanic  Extract, 
which  must  be  used  twice  a  day,  a  wonderful  change  will  be  perceived,  and  in  the 
course  of  a  few  days  the  complexion  will  assume  a  beautiftal  transparent  roseate 
hue  appearance.  The  extract  to  apply  is  of  the  most  agreeable  nature,  and  the 
first  application  will  prove  its  ?ronaerftil  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

GEOROB  H.  J.  COOKBURN,  9,  Aldffate,  London; 
And  Barclay  and  Sons,  Farringdon-street,  London ;  in  bottles  at  2s.  9d.  and  4s.  6d. 
each;  also  oy  Sanger.  150,  Oxford-street;  Keating,  St.  Paul's  Church  Yards 
Johnson.  68,  Comnill:  Hannay  and  Co.,  63,  Oxford  street ;  Butler  and  Co..  4, 
Cheapside ;  Edwards,  St.  Paul's  Churchyard ;  Prout,  239,  Strand ;  and  of  all  other 
CbeiDists  and  Perfumers  in  the  kingdom. 


HANOVER   SQUARE   ROOMS. 
MR.    STERNDALE    BENNETT 

Begs  to  announce  that  his 

'STIttb  performance  of  <ZDIa5(sicaI  pianoforte  ^\x%\t 

Will  be  held  in  the  above  Rooms, 

On   TVSSBtAY    BVBNINO,    the    S3rd   instant, 

On  which  occasion  he  will  be  assisted  by  several  eminent  Vocal  and  Instrumental 
artistB.  Fortber  particulars  will  be  duly  announced.  Tickets,  half-a-6uinea  each, 
ttay  be  had  at  Mr.  BBNNBTTS'  residence,  15,  Russell  PUice,  Fitzroy  Square  and 
St  all  the  Music  Shops. 


.HERR       PISCHEK 

Has  the  honor  to  announce  that  he 
WILL      ARRIVE      INLONDO 
For  the  Season,  on 
ICONDAY,    May  loth. 


N 


to  Haaa  PiM»n,  at  Jullibw  and  CSo.'t,  214,  Raeanp 

Sranrr,  wttl  be  attended  to. 


f^anober  Sbquare  lloom». 


Miss   DINAH    FARMER'S    CONOOlTy 

MONDAY  EVENING,  March  22nd. 

Principals— Miss  Rainforth,  Mrs.  A.  Newton,  Miss  Cubitt,  Miss  M.  A.  Ley, 
Mrs.  W.  H.  Weiss,  Messrs.  D.  W.  King,  T.  Williams,  W.  H.  Weiss,  J.  A.  Novello, 
atretton  and  Leffler.  Pianoforte,  M&  Dinah  Farmer;  Violin.  Mr.  Blagrove; 
Haro,  Mr.  Frederick  Chatterton;  Concertina,  Mr.  Rd.  Blagrove;  Horn, 
Mr.  Jarret;  Oboe,  Mr.  Gratton  Cooke;  Flute,  Mr.  Richardson;  with  a  Band  and 
Chorus  of  160  performers.  Tickets,  8s.;  Reserved  Seats,  5s.;  to  be  had  of  the 
principal  Music  SeUers,  or  of  Miss  Fanner,  5,  North  Cwscent,  Bedimrd  Stpiare. 


THE  ROYAL  HIBERNIAN  BALL, 

In  Aid  of  the  Funds  for  the  Deatttvte  Irish. 

Under  the  Immediate  Patronage  of  His  Rotal  Highness  thb  Duke  of 
Cambridge— Her  Royal  Highness  the  Duchess  of  Cambridge,  &c.,&c. 

Will  be  held  at 

fflSillfe'  llooms,  Itfng  Sbtreet,  Sbt.  gjames', 

On  WEDNESDAY,  April  7Tfl,  1847. 

Double  TickeU,  One  Guineas  Ladies  Tickets,  Haifa-Guinea;  Gent]emfia*s 
Tickets.  Fifteen  Shillings,  including  Refirrahments  throuffhout  the  evening. 

Vouchers  may  be  obtained  of  the  Ladies  Patroness,  and  Patrons,  the  Members  of 
the  Committee,  the  Stewards,  at  Willis' Rooms,  or  of  the  Hon.  Treasurer  and  Hon. 
Secretary. 


PIANOFORTES    FOR  SALE. 

A  very  superior  and  powerful  toned  6£  Octave  Rosewood  OOTTAGB,  by  Zeitter 
and  Co.,  with  metallic  string  plate,  check  action,  &c.,  cost  «0  guineaa  a  short  timo 
since,  and  will  now  be  sold  for  half  that  sum ;  an  elegant  Rosewood  Semi-CABI  NET, 
6|  octaves,  with  all  tbe  latest  improvements,  only  35  guineas ;  a  COTTAGE, 
14  guineas;  a «  OCTAVE  SQUARE,  by  Broadwood,  with  metallic  spring  pUte, 
only  j^l8.,  cost  62  guineas ;  a  6^  DITTO,  jff4.  Also,  a  variety  of  new  and 
improved  CABINET,  COTTAOE,and  PICCOLO  PIAN0F0RTES,fhmiS5  guineas 
each.    Packed  free  of  expense. 

C.  SCOTCHER, 
(firom  Collard  and  Collard's),  60,  Mortimer-street,  Cavendish^uare. 

PlANOFOBVES  TAREN  IN  EXCHANGE* 

TO    THE    MUSIC    PROFB88ION. 


60,    ST. 


OFFICE, 

CHARING    CROSS. 


NASSAU      STEAM      PRES  S/ 

AND 

PUBLISHING 

MARTIN'S    LANE, 

Every  description  of  CONCERT  PRINTING,  (Public  or  Private,)  consisting 
of  Progbammes,  Notes,  Tickets,  Posting  Bills,  &c.,  are  neatly  and 
expeditiously  executed  ?rith  economy  and  taste  by 

W.    8.    JOHNSON, 
printer  to   her  majesty's   theatre  21  years  1 
Where  also  may  be  had  *'The  Musical  World,"  and  all  Operas,  Comedies, 
Plays,  Farces,  Burlesques,  and  the  whole  of  Webster's  unique  Acting  Drama. 


DR.   STOLBERGPS   voice   LOjBENGE 

Is  acknowledged  as  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thioats. 

The  Proprietors  have  just  received  tbe  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop: — 

«*  Dear  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  Dr.  Stolbero's  celebrated  Lozenge  is  perfectly  true,  as  yesterw 
day.  feeling  myselt  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

<*  18th  November  1846.— Jermyn  Street" 

Barclay  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard ; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Churchyard ;  Sanger,  and 
Dietricbsen  and  Hannay,  O^rd-street ;  and  retul  by  aU  respectable 
Chymirt,  inthe  Ktogdom.  ^mzeti  by  V^UU^ ItT 


i9ir 


THE  MUSICAL  WOKLD. 


THOMAS    BAKER'S 

MODERN   PIANOFORTE  TUTOR. 

Ha«  the  honor  to  announce,  that  he  haajqst  published  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratum  so  long  sought  after  by  the 
profession.  Nfttwithstanding  the  improverotnts  that  nave  taken  place  in 
Pianofitfte  Playing  within  the  last  ten  years,  no  deriation  has  been  made  in 
the  system  of  teadilng  from  Tutors  of  the  Old  School;  in  consequence,  many 
gifted  with  brilliant  talents  have  been  unable  to  execute  the  music  of  the 
present  day.    For  this  reason  the  * 

MODERN    PIANOFORTE   TUTOR 

Has  been  introduced,' and  met  with  the  greatest  success  from  the  elite  of  the 
profession,  who  have  universally  adopted  it.  The  work  is  divided  into  two 
parte :  the  first  bdng  a  C6m(>lete  Tutor  in  itself,  containing  the 

EUDIMENTS  OF  MUSIC,  . 
mnh%  for  t|)t  ;jf^omation  of  ti)c  |^anb>  ^tsAtSj 

FZNGBIt    BXERCIBB8,    *c. 

Interspersed  with  Morceaux  from  the  works  of 

Beethoven^  Mosart^  Si^hr,  Weber,  Meyerbeer,  Bocb- Albert, 

Houlni,  BelUni,  Do&isetti,  *o.— Price  8si. 

The  second  part  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
the  most  refined  style  of  Modem  Playing ; 

ningtrated  with  numeronji  Examples  &»  Exercises, 

On  all  tlie  various  Fingerings  adopted  by  the  most  eminent  Pianistcs  of  the 
Modern  School  :  witli  Selecuons  from  tlie  Pianoforte  Compositions  of 
Hedz,  Dohler,  TUM.BERG,  &c. ;  in  fact,  everything  necessary  to  constitute 
sHELrst-rate  Pianist.    Price  Ss.,  or  1  's.  the  entire  work. 

Published  by  M.  JULLIEN  «r  Co., 

ATTHEIROYAL  MUSICAL.  CONSERVATORY, 

214,  REGENT  STREET,  and  45,  KING  STREET, 

Where  all  the  Compositions  of  the  above  A^uthor  may  he  had. 


JULLiEN'S  ALBUM  for  1847. 

M.  JvLLitM  has  the  honor  to  announce  that  the  sixth  edition  of  his  . 

MUSlCAfc    A3SHUAI.    FOR    1847 

Is  now  Published,  and  will  be  foujiA  by  far  the  best  work  of  the  kind  that 
has  ever  appeared  ;  containing  no  less  than 

Thirty  Piceesi  of  yoc«l  and  Fourt«6n  of  Iii«tnun«ntaa  ifusie, 
The  gff«at«r  part  of  whieh  have  never  before  been  published,  the  cop^ghts 
having  been  purchajied  expressly  for  this  work,  at  an  imnwnse  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  an^  of  its  predecessors. 

TAe^pdrtion  which  has  alitady  appeared  cotnpnse  those  pieces  only  whose 
decided  success  has  induced  M.  Julllen,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection;    ' 

The  lUustratibns,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  taken  during  the  brilliant  scene  exhibited  in  that 
snl^id  arena  of  the  occasion  of  M.  JULLIEN'S  GRAND  BAL  MASQUI^; 
the  other  a  VI RW  OF  THE  THEATRE  TAKEN  DUIllNGTHE  CON- 
CERTS,  the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  l\fe-like  and  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  the  «dmired  Pa?,  La  *  Castigliani.  An  original  subject, 
'*  The  Fortumi:  Teller,"  illustrating  Baker^:)  beautiful  ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDAllD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  production. 

Nothing  Dftore  n^ed  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
wui  superiority  over  all  others,  dian  to  call  attention  to  the  name^  of  the 
Centribulors,  where  will   be'  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  uddition  to  the  latest  compositions  of  the 
hmt  English  Compoaers,  the  ALBUM  contains  sortie  of  the  newest  and 
most  popular  productbns  of  Italy,  Germany,' France,  Spain,  &c,  a  careful 
selection  of  which  haa  been  jnade  from  those  works  that  are  now  attracting 
Ihe  attention  of  the  Continental  dilecanti.    Price  iSs.  and  £1  Is. 

ROYAL   CONSERVATORY   OF    MUSIC, 

214,  Regbnt-Stbeet,  and  45,  King-Steeet. 


SOVKRliieBI 

%.iSt  9imxvmt€  Compang, 

No.  5,   St.  JAMES'S    STREET, 


LONDON. 


Sir  A.  Brydgea  Henniker.  Bart. 
B.  Bond  Cabben,  Esq.,  BLP. 


TVtiffws* 

I        Henry  FowaalL  Esq. 

I       GhmdeftdirwdSeott,^. 
DiTMera. 


Chairman,  Lieutenant  Colonel  Lord    Henry  Broadwood,  1!^  M.F. 
Arthur  Lennox.  Sir  James  Carmlcbael,  Bart. 


Dbputy-Chairman,  T.  C.  Granger,    Charles  Farebri^er,^ 
Esq.,  M.P.  WiUiam  Tulloh  Fraser, 

John  Aiiburner,  Esq.,  M.D.  John  Gardiner,  Esq. 

T.  M.  B.  Batard,  Ssq.  Aaron  Adier  Goldsmidi  Ssq. 

Philip  P.  Blyth,  Eaq.  ,  HenryWilliam  PownaU,  Eaq- 

Bankere,  Sir  Claude  Scott,  Bart.,  and  Co. 
Soiidiors,  Messrs.  DavSea,  Son,  and  Campbell. 

Assujanceson  the  livea  of  persona  U\  every  station  of  life  and  every  P«t  oc  mt 
world,  arantedou  a  plan  which  combines  the  utmoat  amount  of  benefit  to  tha 
fanuliea  of  the  assured  a/  deeitM,  with  every  attainable  advantage  ilwi^  iift, 
which  the  system  of  Life  Assurance  is  capable  of  affording.  

It  affbrds  |)erfect  security  in  a  subscribed  Capital,  nhich  guaranteea  the  proBMpi 
settlement  of  every  claim,  with  particjpatiag  and  non-partidpating  rates  on  the 
lowest  scale,  especially  for  terms  of  years.  *.,.    ^„  *  ^  *i_ 

.  Tlte  Assured  can  antidpste  or  obtam  the  aAlvance  of  tne  lull  anoont  oi  toe 
Policy,  on  giving  approvrd  available  security  for  a  certain  number  ol  annual 
payments,  as  explained  by  the  Prospectus. 

Every  fadlity  Is  affbrded'to  persons  assuring  the  liv^s'of  othtrs,  so  as  to 
suchPoUCieselftctwilaectftiHea.      ';  • 

A  new  plau  of  gradual  or  accumulative  Aaaonmoa,  pMciiliriy 


young  Hves,  and  ibr  such  as  canpot,- without  inconvefdcaee/imdi 
paVmeht  of  a  lixed  premium,  securing  at  once  provision  in  Cm»  ofj 
defltb.  and  an  accnmuUtina  (tend,  available  during  1^  shonM  occarii 


l^fc.1 
Alfa,  on 


dei«tb,  and  an  accumuUting  (tend,  available  durina  i\ 
ANNUiTias,  Enoowmemts,  Advancbs,  and  Lo.-.„,  ,„  _--_  ---__^    ^ 
Petailed  Prospectuses,  with  forms  of  Proposal,  and  every  informawp,  Mif  !• 

had  on  appHcatwo,  either  personally  or  by  letter,  at  the  Company's  Offices. 

The  usual  commiasion  to  Solidtora  and  Agents.  .  

H.  D.  DAVBNPOBf,  9eeretmy* 


THE  FAMIIT  HARMONXtfM. 


Tills  beautiful  Instrument  possesses  the  softness  of  the  voice  whh  the  w^ty  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  lage  Orgsn^Ria  equaUy 
suiUbleforSamd  Music,  or  the  Dance,  and  adapted  fbr  «>«  P«7*J«,  «>?S 
Concert  Boom,  Church  or  Chapel.  Printed  particulars  can  be  had  wLo  ff  ana 
SoNr*ole>pSi»,  whSre  the  l»AftNT  HAMtONIUM  can  be  hwu^  from  10  un  ♦ 
daily;  andwhere  can  be  inspected 

lUFP  *  SON'S 
Elegant  Assortmemt  of  PIANOFORTES, 

Made  by  experienced  workmen,  and  thoroughly  seasoned  wood.  aU  of  which  U 
prepared  onthe  premises.    They  are  warranted  to  stand  well  in  Tune,  and  are 
prepared  for  extreme  climates ;  prices  one-third  less  than  usually  charged. 
Instruments  taken  in  exchange,  and  a  liberal  allowance  to  dealers. 

IiUFF  and  SON/  103, 


,  Gteat  RusscU  Street^  Bloonusbnrr. 


Friated  and  PuWishe.1,  for  the  Proprietpit^  atthe."Na8sauSt«mPi«^^ 
by  William  Sfbncer  Johnson,  60,  Sf  Mw«n'8  Lane,  *»  ^^J JP|»**1»J' »|; 
if artin's  in  the  Fields,  in  the.  County  of  Middlesex :  where  •Hf**SK!S!f  JlSSJ 
for  the  Editor  are  to  be  addressed  post  paid:  To  be  had  of  Q.  gnricesa.  Dean 
Street,  Sbho ;  Striuige»THrtemoaterR</w  j  Wifcbeart,DubUns  and  an  SoAMMi. 
_8..«rd.y.  i.«ch»U..t847.  oigitizedby  V^UOy  It:  ■ 


Zfft  Muiiml  Wiovin. 

(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

A  RECORD  OP  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

Ttmui  of  Butaeriptlon,  per  Ann«m,  ie«.  Stateped ;  las.  Unstamped ;  to  be  forwarded  by  Money  Order  or  FoBt««o  fitoaBp* 

to  the  PnblUber,  VT.  B.  Johnson,  ^'Mase^  Steam  Press,"  OO,  St.  Martin's  Zdine,  Charinir  CroMi 

CT'Baeh  Sabsorlber  Is  entitled  to  an  AdmUslon  to  an  Annual  Concert,  and  a  Piece  of  Mnslc^  (regular  Music  sise)  Monthly. 


No.  13.~VouXXir. 


SATURDAY,  MARCH  27,  1847. 


(PRICB   THKXEPRNCB 
]  STAMPED,  roURPKNCK. 


\fgr    NOTIOB,— An  ARIA,  wrtttea   •zpresaly   tor 

SICNOR     CARDONI, 

by  a  celebrated  Italian  Composer,  will  be  presented  to'  the 
ftiibaertbers  of  the  '•  Musical  World,"  with  the  First  Mnmber 
of  the  month  ensulnir. 

JENNY   LIND. 

Tub  mystical  correspondence  apropos  of  the  nightingale  of 
nightingales  has  been  continued  since  our  last.  Edward 
Jennings,  Esq.,  Chancery-lane,  9,  is  evidently  not  a  man  to 
be  brow-beaten.  He  accordingly  addresses  the  following 
letter  to  Mr.  Bunn,  at  half-past  ten  o'clock  on  Friday  night, 
and  a  copiy. thereof  to  the  editor  of  the  Morning  Post,  which 
the  editor  of  the  Morning  Post  forthwith  pablishes  in  his  paper 
of  Saturday,  prefacing  its  introduction  with  the  observation 
that  "  No  answer  has  been  returned  to  Mdlle.  Jenny  Lind*s 
solieilor.  as  will  be  seen  by  the  following  letter :" — 
[Copy.] 
9»  Cfumcery  Lane,  March  19,  1847. 

"'8ir,-«I  amstiH  waiting  for  the  answer  to  my  communications, 
vhieh  yoa  propaisei)  should  be  immediate.  On  my  part,  all  the  forms 
of  coarteay  and  business  have  been  observed.  On  my  first  addressing 
you  I  had  the  honour  of  observing  that  the  letter  of  Mademoiselle  Lind 
ivti  open  to  your  inspection,  and  that  of  your  legal  advisers.  On  your 
expressing  a  wish  to  have  this  letter  in  your  hands  to  satisfy  yourself,  I 
called  upon  you,  an4  wbiUt  I  stated  that  this  note  formed  an  essential 
part  of  my  instructions,  and  1  could  not  therefore  part  with  it,  I  placed 
it  in  your  bands  to  peruse.  On  returning  It,  you  stated  that  you  >a  ere 
perfectly  satisfied  as  to  its  authenticity,  and  would  give  me  a  reply  in  the 
course  of  that  day.  this  answer  I  therefore  beg  leave  to  demand  directly 
at  your  hands,  and  I  trust  that  if  you  are  now  held  by  a  bond  to  other 
parlies,  which  prevents  your  acceptance  of  a  gift  of  peace,  of,  which  you 
of  course  could  not  foresee  the  generous  offer,  and  still  less  the  extra- 
ordinary liberalhy— I  trust  you  will  consider  it  due  to  yourself  and  to 
Mdlie.  Lind,  in  all  fairness,  to  state  the  circumstances.  I  have  the 
•hooQur  tojbie,  sir,  your  obedient  servant,  ■, 


(Signed) 


'£•  Jennings. 


"'To  Alfred  Bunn,  Esq.,  Theatre  Royal,  Drury-Ume*  " 
Next  morning  the  Cerberus  cf  the  Morning  Chronicle,  ever 
watchful  at  his  post  (no  pirn),  prints  and  comments  upon  the 
above,  annexing  to  it,  by  way  of  tag,  a  copy  of  a  letter  from 
Mr,  Bunn,  of  Drury-lane,  to  Jennings,  Esq.,  Chancery-lane,  9, 
which  runs  as  follows  : — 

*'  Dawley,  near  Hays,  March  20,  1847. 

"Sir,— I  cannot  admit  of  your  putting  words  into  my  mouth  I  never 
ottered,  or  constructions  upon  my  conduct  not  founded  on  fact ;  and 
vith  this  observation  I  dismiss  your  nonsensical  remarks  of  '  demand 
dffectly* — ^"a  bond  to  others' — 'a  gift  of  peace,' — 'generous  offer*— 
'  exf  raordtiuuy  liberality'  &c.  &c.— evidently  intended  for  further  ear^arf^ 
publication.  I  staied  to  you  that  I  would  send  an  immediate  answer  to 
the  letter  you  showed  me,  bearing  the  signature  of  '  Jenny  Lind ;'  and 
tlthougfa  I  believed,  and  still  believe,  that  letter  1o  have  been  concocted 
in  London,  I  did  answer  it  at  once,  addressing  Madlle  Lind  herself  at 
Vienna.  As  you  state  she  is  a  cUent  of  yours,  I  refer  you  to  lier  for  the 
aature  of  my  reply.-- 1  am,  sir,  your  obedient  servant," 

"  C.  Jl.  Jmnmgi,  Btq.,  ^e.  8fc.  dcor  '*  A  Bonn. 


We  are  as  much  in  the  dark  as  ever.  Were  it  not  a  clear 
impossibility,  we  should  think  that  Mademoiselle  Jenny 
Lind  would  please  both  parties,  by  coming  to  London,  and 
not  coming  to  London,  at  one  and  the  same  period.  Mean- 
time the  Post  chronicles  (no  pun),  in  one  of  its  recent  articles 
on  the  Opera,  the  fact  that  Jenny  Lind  has  started  from 
Vienna,  on  her  route  to  London.  This  would  settle  the 
question  but  for  a  paragraph  in  the  same  paper,  lower  down 
the  same  column,  which,  after  trumpeting  the  praises  of 
Jenny  Lind  in  Meyerbeer's  Camp  of  Silesia,  states  ttiat 
another,  opera  is  preparing  for  her  at  the  An-deV'TVien 
Theatre.  How  this  can  be  reconciled  with  her  having  already  * 
started  from  Vienna  for  London,  we  leave  the  Post  to  decide. 

PosTCRipTUM.— In  the  Morning  Post  of  Wednesday,  March  | 
24,  we  read  as  follows  :— 

•  **  We»are  happy  to  state  that  during  the  performance  a  foreign  courier 
arrived,  bringing  letten  announcing  the  departure  •/  MdilB,  Jewny  Lind 
firem  fHemm,  m  her  way  to  fhdfil  her  en^gement  at  her  Mafest^s  Theatre, 
The  letters  also  announce  the  arrival,  immediately  after  Easter,  of 
Staudigl.  Thus  we  shall  have  the  great  Italian  basso,  Lablache,  and  the 
greatest  German  basso  at  the  same  time.  Novelty  will  succeed  novelty— 
Bmani  on  Saturday,  /  Due  Foscari  after  Easter  week,  whil&t  Jenny  Lind 
will  make  her  dibut  in  Alicia,  in  Meyerbeer's  grand  opera  of  Roberto  it 
Diavolo," 

In  the  same  column  occurs  the  following  :— 
"The  enthusiasm  of  the  Viennese  public  for  the  opera  of  The  Camp  of 
Silesia  continues  unabated.  At  each  representation  the  Imperial  Theatre, 
notwithstanding  the  great  increase  of  prices,  is  filled  to  excess,  and  the 
receipts  invariably  amount  to  about  11,000  florins  (about  6001.)*  The 
opera  of  Robert  le  Diabte  is  about  to  be  reproduced,  in  which  MdUe.  J. 
Und  wiU  fill  the  part  of  Alice  at  well  as  that  of  the  Princess,  It  is  said 
M.  Meyerbeer. has  undertaken  to  set  to  music  for  the  theatre  An-der^ 
fVien,  a  new  opera,  the  words  of  which  are  by  M.  Baurenfeid. 

Will  our  excellent  contemporary  oblige  us  by  an  explanation 
of  this  seeming  contradiction.^  It  is  not  easy  to  understand 
how  Jenny  Lind  can  be  about  to  appear  in  Robert  le  DiabUj 
having  already  started  for  London.  We  have  no  doubt,  how- 
ever, that  the  matter  will  be  cleared  up,  as  we  hinted  above,  and 
that  Jenny  Lind  will  be  proved^  as  we  hinted  above,  ubiquitous. 


LOLA    MONTEZ. 

It  appears  that  the  letter  which  has  gone  the  round  of  the 
English  and  French  press,  stopping  short  at  the  Journal  des 
Debats,  is  after  all  nothing  more  than  a  hoax.  The  Journal  des 
Debats  suspecting  the  hand-writing  not  to  be  Lola's,  declined 
inserting  the  letter.  The  National^  less  wary,  gave  it  in- 
sertion.  It  runs  as  follows :  — 

\TransiQtio%\, 

"  Sir^I  have  read  in  your  journal  infamous  articles  against  my 
person,  and  against  one  of  the  most  just  and  most  noble  of  Kings.  Far 
from  complaining  of  them,  I  rather  congratulate  myself  on  an  aggression 
which  gives  me  the  opportunity  of  enlightening  you  with  respect  to  me. 
Knowing  so  well  your  fairness  as  to  be  assured  that  you  will  consider  ie 
a  duty  to  defend  a  woman,  exposed  to  the  infernal  intrigues  of  the 

Digitized,by\^OOyit: 


198 


THE  MUSICAL  WORLD. 


JesQitB,  and  of  thtir  bHnd  partisans,  I  hope  that  you  will  also  be  kind 
inoDgli  to  insert  tiie  present  letter  in  one  of  the  earliest  numbers  of 
your  journal.  Arrived  at  Munich  towards  the  commencement  of  the 
month  of  October  of  last  year,  I  soon  saw  with  astonishment  the  Jesuits 
eiercised  a  fatal  and  immense  influence  in  that  city,  as  well  as  in  all 
Bavaria.  Having  loudly  declared  myself  against  such  an  abuse,  and 
being  ignorant  that  the  last  Ministry  conformed  itself-to  their  principles, 
I  saw  myself  imperceptibly  and  adroitly  exposed  to  the  cruel  intrigues 
of  which  the  disciples  of  Loyola  are  capable,  without  having  given  cause 
for  them  by  my  own  conduct.  Since  then  every  day  brought  new 
attempts ;  calamny  in  all  its  forms  was  employed ;  I  received  menaces 
of  being  poisoned,  assassinated  ;  every  day  insulting  letters,  bearing  my 
signature,  were  addressed  to  the  most  respectable  persons  of  the  capital, 
in  order  to  excite  them  against  me.  Even  an  offer  of  a  life  income  of 
5O,O00f.  was  made  to  me  if  I  would  censent  to  disappear  without  noise, 
but  I  refused  the  proposition  with  indignation.  His  Majesty  the  King 
having,  of  his  own  ftree  vnll,  dismissed  a  professor  of  the  University 
belonging  to  the  Jesuits'  party,  I  was  assailed  in  the  house  I  inhabit  by 
a  mob  which  was  paid  by  them,  and  though  I  had  never  meddled  in  any 
matter  which  concerned  the  Government,  I  saw  myself  exposed  to  the 
danger  of  being  stoned  to  death.  Happily  the  good  sense  of  the  inha- 
bitants of  Munich,  and  the  wise  measures  of  the  authorities,  soon 
reduced  the  mob  to  order.  This  statement  of  facts  proves  sufficiently 
the  injustice  that  the  newspapers  have  done  me.  If  I  had  had  any 
influence,  and  if  I  had  consented  to  use  it  on  behalf  of  my  enemies, 
instead  of  being  persecuted  as  I  am  now,  they  would  not  have  failed  to 
declare  me  the  heroine  of  their  patron,  and  then  there  would  have  been 
not  only  a  Saint  Ignatius  Loyola,  but,  according  to  their  proverb  that 
"  the  end  sanctifies  the  means,"  they  would  have  proclaimed  a  Sancta 
Lola!  "Ihave,  kc., 

(Signed)  "  Lola  Montkz." 

A  provincial  journal.  The  Cheltenham  Looker-on,  gives  the 
following  history  of  the  fair  intriguer's  life ;  which,  albeit  we 
altogether  doubt  its  authenticity,  we  reprint  for  the  edification 
of  our  readers : 

"  Who  is  Lola  Montbs  ?— The  donna  Is  of  a  very  good  Spanish  family, 
but  was  bom  in  Ireland.  Her  friends  returning  to  Spain,  young  Lola 
accompanied  them,  and  in  due  course,  at  an  early  age,  married  an  officer 
in  the  Spanish  service,  and  mixed  in  very  good  society.  This  marriage 
did  not  turn  out  a  very  happy  one,  and  Donna  Lola  eloped  with  an 
Irishman ;  she  was  afterwards  abandoned  by  her  lover  in  Dublin,  when 
she  commenced  a  career  of  profligacy  remarkable  only  for  its  audacity. 
One  of  her  many  admirers  procured  her  some  lessons  in  stage  dancing, 
and  had  influence  enough  to  get  her  an  engagement  at  the  Opera.  She 
appeared  as  Lola  Montes,  the  whole  matter  having  been  kept  as  secret  as 
possible.  But  the  men  of  the  omnibus  box,  and  the  habitues  of  the 
stalls,  recognised  in  the  new  "  Spanish  dsncer*'  their  old  friend  "-Betsy 
Watson,"  and  the  whole  affair  was  voted  a  "  take  in."  Lola  then  pro- 
ceeded to  Paris  where  she  failed.  From  Paris  she  went  to  Berlm,  and  from 
Berlin  to  Munich,  where,  it  seems,  she  has  completely  enslaved  the  King. 
It  is  difficult  to  say  which  runs  to  the  greatest  excess,  his  Migesty's 
infatuation,  or  the  lady's  insolence.  Lola  had,  before  the  "  bull-dog" 
story,  managed  to  make  herself  tolerably  notorious  by  refusing  to  rise 
when  the  Royal  Family  entered  the  Theatre,  according  to  the  custom  at 
Munich,  and  persisted  in  retaining  her  seat  in  her  box  even  when  the 
propriety  of  rising  was  suggested  to  her.  The  King  of  Bavaria  must  be 
a  sad  fellow  indeed,  even  when  tried  by  the  very  lax  standard  of  German 
eourt  morality.  The  most  beautiful  room  in  his  palace  is  that  which  is 
devoted  to  the  portraits  of  his  mistresses.  The  apartment  is  hung  with 
crimson-coloured  velvet,  and  the  portraits  of  some  dozen  beautiful 
women,  all  in  deep  gold  oval  frames,  decorate  it.  The  effect  is  beautiful 
in  the  extreme.  The  Ministerr  and  attachSt  of  the  German  Courts  here 
(London)  are  quizzed  unceasingly  by  the  quondam  friends  of  "  Betsy 
Watson,"  for  the  doting  fondness  of  the  Bavarian  King." 

If  any  of  our  readers  believe  a  word  of  the  above,  we  con- 
gratulate them  on  their  good  faith.  We  ourselves  do  not,  and 
were  we  asked  our  reason  for  publishing  it,  we  should  be 
puzzled  to  give  it.     But  it  is  too  late  now  to  leave  it  out. 


MADAME  BISHOP  IN  THE  PROVINCES. 

(J^ai  a  Coiregpondent) 
Madame  Bishop  terminated  her  engagement  in  Edinburgh 
on  Friday  the  19th  instant.  The  evening's  performance,  an- 
nounced as  her  benefit,  was  Donizetti's  Anna  Bolena,  slightly 
compressed,  and  the  grand  scena  from  Tancredi,  '*  O  patria 
dolce."  The  house  was  very  full,  and  most  fashionably  at- 
tended.   The  singing  of  Madame  Bishop  created  an  immense 


sensation.  She  was  hailed  with  cheers  repeatedly  throughout 
the  opera.  The  acting  of  Madame  Bishop  was  no  less  the 
theme  of  admiration.  She  possesses  great  fire  and  vigour, 
and  the  subdued  portions  of  her  performance  are  marked  by 
fine  discrimination  and  taste.  Her  pathos,  above  all,  is  ex- 
ceedingly beautiful.  With  those  various  and  rare  qualifications 
the  artist  could  not  fail  to  rouse  the  audience  to  a  state  of  en- 
thusiasm, and  there  has  been  seldom  more  excitement  witnessed 
and  h^ard  in  a  theatre,  than  there  was  in  the  theatre  Royal  on 
Friday  night.  A  singular  circumstance  took  place  on  Friday 
evening,  which  tells  more  loudly  than  newspaper  organs,  or 
voices  of  friends,  the  high  estimation  in  which  Madame  Bishop 
is  held  by  those  who  have  heard  her,  and  the  value  they  at- 
tach to  that  which  they  have  once  heard  her  sing.  After  the 
scena  from  Tancredi  had  been  encored  and  repeated,  a  nun  • 
her  of  slips  were  sent  round  from  the  front  to  the  stage- 
door,  requesting  the  fair  cantatrice  to  favour  the  audience  once 
more  with  her  exquisite  new  Rondo  Finale  from  L'Elisir" 
d*Amore,  Madame  Bishop  at  once  consented,  and  after  the 
interlude,  came  on  in  Adina's  costume,  led  by  Mr.  Reeves  as 
Nemorino,  and  was  received  with  applause  which  endured  for 
a  considerable  time.  The  Rondo  was  unanimously  encored, 
and  was  repeated  ;  and  after  the  curtain  fell,  Madame  Bishop 
was  recalled  before  the  curtain  to  receive  a  farewell  salutation 
from  an  Edinburgh  audience.  It  is  really  impossible  to  do 
justice  to  the  ebullition  of  genuine  feeling  of  kindliness  and 
admiration  which  roused  the  assembly  when  the  fair  vocalist 
appeared.  Not  the  gentlemen  only,  but  ladies  rose  up,  and 
waved  their  handkerchiefs,  and  the  roar  of  voices  might  have 
been  heard  at  the  end  of  Princes-street,  or  at  Holyrood 
House.  Such  a  theatrical  parting  has  been  rarely  seen.  It 
is  due  to  Madame  Bishop,  as  a  lady,  to  state,  that  her  unas- 
suming, gracious,  and  conciliating  behaviour  has  won  the 
suffrages  of  all  those  with  whom  she  came  in  contact  on  die 
stage,  whether  they  were  principals  or  secondaries.  It  is  well 
known  that  her  attendance  at  rehearsals  was  punctual,  to  a 
moment,  and  that  during  rehearsal,  although  she  had  been 
singing  every  night,  she  sang  in  full  voice,  in  order  to  benefit 
the  other  performers.  Her  conduct  in  this  respect  is  worthy 
of  remark,  and  might  afford  a  good  lesson  to  some  great 
singers  without  a  tithe  of  her  ability.  Take  it  for  all  in  all,  Ma- 
dame Bishop's  engagement  in  Edinburgh  has  been  the  most 
successful  for  very  many  years.  The  tenor,  Mr.  Reeves,  seems 
to  improve,  as  he  sings  more  in  consort  with  Mde.  Bishop.  We 
cannot  speak  very  loudly  in  praise  of  the  band  or  the  chorus. 
The  leader,  however,  Mr.  Mackenzie,  is  deserving  of  a  good 
note  of  comment.  He  acts  as  an  able  general  over  a  very 
minute  and  inefficient  army. 


HER   MAJESTY'S  THEATRE. 

.  There  has  been  no  change  of  performances  since  our  last. 
La  Sonnambula  was  given  on  Saturday  and  on  Tuesday,  with 
the  new  ballet  of  Thea^  and  Marie  Taglioni's  Pas  de  la 
Rosiere  between  the  acts  of  the  opera.  The  audience  was 
brilliant  and  crowded  on  both  occasions.  On  Thursday  thete 
was  no  performance.     To-night  Emani  will  be  given. 

Gardoni  has  confirmed  the  impression  he  produced  on  his 
first  appearance  in  Elvino.  We  cannot  pay  him  a  greater 
compliment  than  to  say  that  he  is  worthy  of  being  associated 
with  Rubini  and  Mario  in  the  personation  of  that  arduous 
character,  at  once  the  fear  and  the  desire  of  youthful  tenors. 
With  the  public  he  is  already  as  great  a  favorite  as  ever  trod 
the  boards  of  Her  Majesty's  Theatre.  Castellan  is  always 
graceful  and  unpretending.  Balfe  is  effecting  wonders  with 
his  orchestra  and  chorus.    The  Boreas  of  the  Chronich  may 


THE  MUSICAL  WOULD. 


199 


bluster  till  his  cheeks  burst,  he  cannot  prevent  the  public 
from  appreciating  real  merit  wherever  it  is  to  be  found. 

The  new  ballet  of  Thea  has  completely  won  the  public 
heart.  A  more  picturesque  and  beautiful  spectacle  was  never 
placed  upon  the  stage.  As  for  Carolina  Rosati,  after  what  has 
been  said  of  her  in  The  Times,  we  despair  of  apostrophizing 
her  in  adequate  terms.  Nevertheless,  we  propose  dedicating  au 
"aesthetic  column"  to  her,  and  the  fascinating  Marie  Taglioni, 
en  a  near  occasion.  The  Bouquet,  with  Kosati  as  thp  rose, 
creates  a /«ror«  night  after  night,  and  the  step  in  which  she 
ties  her  pretty  feet  in  a  knot,  and  unties  them  again,  is  like  a 
little  bit  of  flickering  sunshine  demonstrated  in  choregraphy. 
A  trit>le  encore  is  the  invariable  sequence,  and  Rosati,  never 
tired,  grows  lither  and  stronger  witli  each  repetition.  Little 
Taglioni  is  a  flower  that  one  fears  to  caress  lest  one  should 
crush  it.  Her  pas  in  the  second  tableau  is  inimitable  for 
natural  simplicity  and  grace.  With  no  other  danseuses  than 
these  Mr.  Lumley's  ballet  would  be  complete.  What  will  it 
be  when  Grahn,  and  Cerito,  and  Taglioni,  and  Perrot,  and 
above  all,  the  peerless  Carlotta,  shall  arrive ! 

Mr.  Lumley  has  thus  accomplished  his  anjte-Easter  season 
wiUi  singular  credit  to  his  establishment.  The  question  is  no 
longer  how  he  will  get  artists  of  sufficient  consequence  to 
carry  him.  through,  but  how  he  can  And  enough  to  do  for  the 
artbts  he  has  secured.  He  has,  really  an  embarras  de 
riehessesf  Six  months  ago  he  had  noUiing  before  him  but 
deapair-*«n  empty  stage  and  empty  benches.  But,  as  it 
were,  by  a  waive  of  his  hand,  he  has  summoned  before  him  a 
goodly  array  of  talent ;  he  has  created  a  new  atmosphere  of 
atara  of  the  first  magnitude  ;  he  has  made  a  world  out  of 
nothing.  Balfe,  his  faithful  lieutenant,  has  seconded  him 
with  all  the  zeal  and  energy  for  which  his  character  is 
remarkable.  He  has  collected  a  mighty  band  of  vocalists 
and  instrumentalists,  which  he  has  organized  and  mar- 
•halled  into  discipline.  It  was  thought  impossible  to  find  either 
singers  or  players,  but  here  is  a  goodly  host  of  them,  armed  at 
all  points,  and  ready  to  do  battle  in  the  cause  of  their  general. 
The  fuss  made  about  Jenny  Lind  and  Mendelssohn  serves 
very  well  to  throw  dust  in  the  eyes  of  unreflecting  persons ; 
but  Jenny  Lind  will  be  shortly  here,and  Mendelssohn  too,  to 
speak  for  themselves ;  and  that  Mr.  Lumley  will  be  justified 
by  both  of  them,  we  do  not,  and  never  did,  entertain  a  doubt. 

Let  us  summon  common  sense  to  aid  us  in  the  argument. 
Those  who  know  Mendelssohn,  and  those  who  have  been  with 
him  lately,  are  perfectly  aware  that  he  takes  an  immense 
interest  in  the  rivahry  now  going  on  between  the  two  Operas. 
A  gentleman  who  has  lately  come  from  Germany,  and  has 
been  staying  with  Mendelssohn  at  his  own  house,  assures  us 
that  he  talks  of  nothing  else.  With  him  it  is  a  national 
question— a  question  of  rivalry  between  two  opposite  schools, 
the  German  and  the  Italian.  Need  we  insist  upon  a  matter 
so  well-known  as  the  entire  want  of  sympathy  which 
Mendelssohn  entertains  for  the  latter,  and  the  devotion  with 
which  he  adheres  to  the  former  ?  '*  Oh,"  he  has  been  heard 
to  exclaimt  "  let  Mr.  Lumley  get  Jenny  Lind,  and  he  will 
bave  it  all  his  own  way."  Jenny  Lind  is  a  German  singer, 
and  Mendelssohn  prefers  German  singers  to  Italian  singers, 
as  he  prefers  German  composers  to  Italian  composers.  The 
truth  is,  that  in  this  question,  which  is  to  him  a  question  of  art, 
Mendelssohn  is  all  for  Mr.  Lumley.  Arguing  from  these  facts, 
which  are  authentic  and  incontrovertible,  is  it  at  all  pre- 
posterous to  suppose  that  Mendelssohn  was  in  treaty  with  the 
director  of  Her  Majesty's  Theatre  to  write  an  opera,  and  that 
opera  The  Tempest  of  Shakspere  ?  Is  it  not,  on  the  contrary, 
tather  probable  than  improbable  ?    That  Scribe  has  made  a 


libretto  from  the  text  tpe  know;  that  a  literary  gentleman 
in  England  has  been  engaged  to  translate  it  into  Italian  verse, 
we  know.  Is  it,  then,  at  all  likely  that  Mr.  Lumley  would 
have  entered  into  these  engagements  for  the  mere  gratification 
of  throwing  away  his  money  ?  Moreover,  we  have  heard 
Mendelssohn  declare,  that,  if  ever  he  wrote  an  opera,  The 
Tempest  would  be  the  subject  of  his  choice.  Again,  those 
who  know  how  particular  Mendelssohn  is  in  finishing  his 
works,  how  long  a  time  he  occupies  in  their  completion,  and 
with  what  reluctance  he  allows  them  to  go  out  of  his  hands 
before  they  have  received  the  last  polishing  touches  of  his  pen, 
will  not  be  at  all  astonished  that  an  opera  promised  by  him 
for  one  year  should  not  be  ready  till  the  next.  Mendelssohn 
does  not,  and  will  not,  compose  to  order — he  waits  for  in- 
spiration. How  long  was  Elijah  expected  before  it  was 
produced  ?  Why,  even  at  the  last  moment,  only  three  weeks 
before  the  Birmingham  Festival,  he  wrote  to  a  friend  in  London, 
and  in  the  course  of  his  letter  expressed  a  hope  that  his 
oratorio  might  be  ready  in  time  —  hinting,  thereby,  that 
it  was  by  no  means  a  certainty.  And  when  it  was 
produced,  disdaining  his  triumph,  he  took  away  with 
him,  to  Germany,  the  score  and  all  the  vocal  and  or- 
chestral parts,  with  the  intention  of  revising  and  correct 
ing.  He  was  not  satisfied.  How  much  less  easily 
would  he  be  satisfied  with  an  opera^  which,  were 
he  ever  so  discontented,  after  hearing  one  performance,  he 
could  not  possibly  withdraw  without  injuring  the  theatre  at 
which  it  might  be  produced.  An  oratorio  is  given  once  during 
a  music  meeting ;  an  opera  mast  be  given  many  times  during 
the  season,  to  repay  the  expense  of  getting  it  out,  and  must 
continue  to  be  represented,  with  all  its  faults  on  its  head. 
Elijah  was  performed  once,  achieved  a  triumph,  was  with- 
drawn  by  the  composer,  who  was  not  satisfied,  although  the 
public  was,  and  has  never  been  played  since,  any  where, 
although  all  Germany  is  anxious  to  hear  it.  The  Tempest,  on 
the  contrary,  once  represented,  must  remain  at  the  manager's 
disposal,  until  it  has  served  his  turn  and  run  out  its  attraction. 
On  these  grounds  we  reiterate  the  belief  we  have  so  often 
expressed,  that  the  promised  opera  of  Mendelssohn  is  no 
invention  of  Mr.  Lumley's,  but  a  thing  actually  cDutemplated, 
and,  for  ought  we  know,  in  process  of  completion.  At  the 
same  time,  we  shall  not  be  at  all  surprised,  knowing  Men« 
delssohn's  character,  his  love  for  his  art,  and  the  sedulous 
care  he  takes  of  a  reputation  at  once  the  most  brilliant  and 
the  most  solid  in  musical  £urope«-we  shall  not,  we  repeat, 
be  at  all  surprised  if  the  production  of  the  opera  be  deferred 
till  next  season.  Mendelssohn  will  not  be  hurried  in  the 
composition  of  his  small,  much  less  of  his  great  works — and 
for  this  who  can  blame  Mr.  Lumley  ?  In  arguing  thus,  we  do 
but  render  justice  where  it  is  due — to  Mr.  Lumley's  integrity, 
which  we  will  not  see  unfairly  impeached,  and  to  Mendelssohn's 
sensitiveness,  which  is  one  of  those  traits  in  his  character  diat 
constitute  him  so  thoroughly  the  great  and  conscientious 
artist.  Meanwhile  the  long  rhapsody,  published  in  the  Morning 
Chronicle,  on  Thursday,  we  set  down  at  its  proper  value.  To 
those  who  judge  impartially  and  think  seriously  it  signifies 
nothing.  Supporting  our  claims  to  be  called  unbiassed  and 
impartial,  however,  we  quote  that  portion  of  it  which  relates 
exclusively  to  Jenny  Lind  and  to  Mendelssohn. 

"  Our  present  object  it  to  refer  to  the  two  great  causes  of  complaint 
specifled  in  the  above  article  against  the  Momwg  Chronicle,  We  are 
accused  of  not  believing  in  the  advent  of  Jenny  Lind,  and  of  having 
pronounced  the  promised  opera  of  the  Tempett,  by  Mendelssohn,  to  be 
moonshine.  As  to  the  '  Jenny  Lind'  vexed  question,  we  have  never 
published  a  line  that  was  not  based  on  documentary  evidence.  We  have 
expressed  our  opinion  that  she  would  never  come  to  J^omtiHiirUli  two 

Digitized  by 


200 


THE  MUSICAL  WOULD. 


oontiicts  agunst  her,  and  our  opinion  was  groandf>d  on  Jenny  lind'a 
verbal  declarations  and  her  own  letters.  If  we  should  prove  to  be 
wrong,  therefore,  it  will  be  Jenny  Lind  herself  who  has  deceived  as  and 
the  public/' 

lliere  is  no  deception  in  the  matter,  nor  any  thing  that  in- 
sinuates  a  hint  of  Mr.  Lumley's  want  of  faith.  The  practice 
of  "  buying  off"  engagements,  by  paying  the  dedits,  is  no 
novelty,  and  thus  stands  the  case : — Jenny  Lind  is  engaged  to 
appear  at  Drury  Lane  for  a  stipulated  sum  in  the  year  1845. 
She  does  not  come  to  her  engagement,  and  two  years  pass 
over  without  any  claim  for  damages  or  compensation  on  the 
partof  the  Drury  Lane  management.  In  1847  an  oiSer,  on  a 
much  larger  scale,  is  made  to  her  by  the  director  of  Her  Ma- 
jesty's Theatre.  Having  heard  nothing,  meanwhile,  from  Drury 
Lane,  Jenny  Lind  thinks  herself  (naturally  enough)  free  to  ac- 
cept, and  accepts  Ih^  new  offer.  In  the  interim  arises  the  com- 
petition between  the  two  operas  in  London,  and  as  a  corollary 
thereto,  the  threatened  action  for  damages  on  the  part  of  the 
first  engager.  Jenny  Lind  takes  fright,  and  is  coy  in  fulfilling 
her  new  engagement  with  Mr.Luraley.  In  the  name  of  reason 
and  of  right,  how  can  Mr.  Lumley  be  blamed  for  this  ?  He 
might  decently  have  withdrawn  Jenny  Lind's  name  from  the 
hilb  and  have  let  the  matter  drop.  But  no— Mr.  Lumley  thinks 
too  seriously  of  his  devoir  to  the  public,  and  eschewing  a 
disappointment  that  he  could  not  possibly  forsee,  he  offers,  in 
addition  to  the  large  amount  of  the  stipulated  terms  to  the 
songstress,  to  pay  two  thousand  pounds  as  a  compensation  to  the 
lessee  of  Drury  Lane  Theatre.  If  that  functionary  declines  this 
liberal  proposition,  is  it  the  proposer's  fault?  Evidently  no^- 
and  none  but  interested  persons  could  possibly  ^x.  the  charge 
upon  him.  In  respect  to  Mendelssohn  the  Chronicle 
remarks  :— 

"  The  '  Mendelssohn'  affkir,  we  repeat,  was  not  only  mere  *  mobnshine/ 
but  something  worse :  what  word  is  required  to  charscterise  this  trans- 
action we  shall  leave  to  the  imagination  of  our  readers.  We  find  the 
following  pledge  in  the  prospectus  of  her  Majesty's  Theatre  for  the  season 
1647,  issued  on  the  19th  of  January  last : — 

'ThecelebntedDr.  Felix  Mendelssohn  BartboMy  will  likewise  vMt  Fnghmd, 
and  nrodnce  an  opera  expressly  composed  for  ber  Majesty's  Theatre,  the  lir     " 
founded  on  *  The  Tempest'  of  Sliakspere,  written  by  M.  Scribe. 

Miranda, Madlle.  Jbnnt  Lind, 

Ferdinand, Sigoor  Garooni, 

Caliban,  .*»...       Herr  Stauoiol, 
I'rospero, SignOrLABLACHs.* 

Now  we  distinctly  repeat  that  MendeIs<iohn  never  gctve  a  promise  nor 
entered  into  an  engagement  to  compose  the  opera  of  '  The  Tempest/  and 
that  he  has  written  to  Mr.Luroiey  to  withdraw  his  name  from  the  prospectus 
and  advertiseirents,  ss  he  (Mendelssohn)  did  not  intend  to  produce  the 
opera  in  the  seiuon  1847.  And  yet  in  the  '  programme '  of  Her  Migesty's 
Theatre,  of  March  23,  1847,  that  is,  only  last  Toesdsy,  it  is  declared, '  by 
authority,'  that  the  sUtements  of  the  Morning  Chronicle  '  are  skimble- 
skamble  stuff,'  and  the  subscribers  are  led  to  believe  that  the  pledgee  in 
the  prospectus  of  Her  Majesty's  Theatre  will  be  fulfilled  in  every  respect" 

When  Mendelssohn,  with  his  own  lips,  or  in  a  letter  signed 
with  his  name,  shall  declare  that  he  never  had  an  engagement 
to  write  an  opera  for  Mr.  Lumley,  we  shall  believe  it,  and  not 
till  then.  His  silence  on  the  subject  is  presumptive  evidence 
in  favour  of  the  lessee  of  Her  Majesty's  Theatre.  At  the  same 
time  we  entirely  agree  with  the  writer  in  the  AtherKseuntf  that 
it  was  Mendelssohn's  duty  to  his  friends  in  England,  no  less 
than  to  his  European  reputation^  to  have  set  the  public  right, 
and  the  matter  at  rest,  long  ago.  The  sophistry  of  the  Chro- 
nicle  may  be  easily  exposed  by  reference  to  the  two  portions 
of  the  last  paragraph,  which  are  printed  in  italics.  The  first 
dedares  that  Mendelssohn  '*  never  gave  a  promise,  or  entered 
into  an  engagement"  to  write  the  opera ;  and  the  second, 
assumes  that  he  has  written  to  Mr,  Lumley,  stating  that  he 
"  did  not  intend  to  produce  the  opera  in  the  season  1847." 
The  dishonest  inconsistency  of  this  is  plain  enough  for  a  child 
to  penetrate.    If  Mendelssohn  never  thought  of  composing 


the  opera  at  all,  what  reason  was  there  for  his  writing  to  say 
that  he  was  not  going  to  produce  it  in  1847  ?  Why  1847  any 
more  than  1867  ?  But  time  will  speak  the  truths  and  we  have 
little  doubt,  in  justifying  Mr.  Lumley,  that  it  will  prove  our 
words  correct. 


TBB     AFFIBIVISBt 

JFrom  t^e  (Srcrman  of  (fifit^e. 

CoKtiMued  from  page  167. 
PART    11. CHAPTER  VII. 

So  far  as  the  architect  desired  that  the  best  might  befal  his 
patronesses,  it  was  agreeable  for  him,  when  ho  departed,  to  know 
that  they  were  in  the  good  company  of  the  valuable  assistant  to  the 
school ;  but  inasmuch  as  the  latter  dreir  the  favor  of  the  ladies  to 
himself,  the  architect  felt  it  in  some  degree  painful  to  find  his  place 
80  soon,  and  as  his  modesty  admitted,  so  well,  nay,  so  perfectly 
supplied.  Hitherto  he  had  always  delayed,  but  now  he  was  forced 
away  ;  for  that  which  he  would  bo  compelled  to  put  up  with  when 
absent,  ho  was  unwilling  to  endure  when  present. 

It  served  much  to  cheer  him  in  the  midst  of  these  half-moamfiil 
feelings,  that  the  ladies,  on  his  departure,  presented  him  with  a 
waistcoat,  which  he  had  seen  them  both  embroidering  for  a  long 
time,  not  without  silently  envying  the  happy  man  to  whom  it  might 
once  belong.  Such  a  gift  is  the  pleasantest  which  a  loving,  respect- 
ful man,  can  receive — since,  if  he  thinlu  of  the  unweaned  toil  of 
the  fair  fingers,  he  cannot  help  flattering  himself  that  the  heart  will 
not  be  entirely  without  participation,  during  so  constant  a  work. 

The  ladies  had  now  to  entertain  a  new  gentleman,  towards  whom 
they  feit  kindly  intentions,  and  who,  they  thought,  ought  to  be 
happy  when  with  them.  The  fair  sex  harlK)ur  a  peculiar,  internal^ 
unchangeable  interest,  which  nothing  in  the  world  can  make  them 
abandon,  while,  on  the  other  hand,  in  external  social  relations,  they 
allow  themselves  willingly  and  easily  to  be  surveyed  by  the  man 
who  gives  them  occupation,  and  thus  by  repulsiveness  and  sus- 
ceptibility, by  firmness  and  yielding,  they  carry  on  thai  government, 
from  \(hich/m  the  social  world,  no  man  cau  emancipate  himself. 

If  the  Architect,  as  it  were,  according  to  his  own  good  will  and 
pleasure,  had  exercised  and  displayed  nis  talent  for  the  pleasure 
and  utility  of  his  fricnds-^if  his  occupation  and  converse  had  been 
with  this  feeling,  and  according  to  their  views,  the  presence  of  the 
Teacher  soon  brought  with  it  another  mode  of  life.  His  great  gift 
was  to  speak  well,  and  discourse  in  conversation  upon  the  relations 
of  humanity, — especially  those  connected  with  the  education  of 
youth.  And  thus  a  tolerablv  palpable  contrast  to  the  former 
courso  of  life  was  produced  ;  the  more  so,  as  the  Teacher  did  not 
entirely  approve  of  the  manner  in  which  the  time  hitherto  had  been 
exclusively  employed. 

Of  the  living  picture,  which  had  received  him  on  his  arrival,  he 
did  not  speak  at  all.  When,  on  the  other  hand,  with  com- 
placency, they  showed  him  the  church,  the  chapel,  and  the  things 
connected  with  them,  he  could  not  suppress  his  feelings  and  his 
opinions  upon  the  subject.  '*  For  my  own  part,"  said  he,  **  I  am  by 
no  means  pleased  with  this  mingling  of  the  sacred  with  the  sensual— 
am  not  pleased  when  persons  set  apart,  consecrate,  and  deck  out 
certain  particular  places  thus,  for  the  first  time,  to  harbour  and 
sustain  a  feeling  of  piety.  No  external  circumstance — not  even  the 
commonest — sbouM  disturb  in  us  that  feeling  of  the  divine,  which 
can  accompany  us  everywhere,  and  consecrate  every  spot  into  a 
temple.  1  like  to  see  the  divine  service  of  a  household  performed 
in  a  room,  where  people  are  accustomed  to  eat,  to  meet  socially 
together,  to  amuse  themselves  with  playing  and  dancing.  That 
which  is  highest,  which  is  most  distinflniishea  in  man,  is  formless; 
and  we  should  avoid  giving  it  any  other  form  than  that  of  noble 
deeds." 

Charlotte,  who  already  had  a  general  notion  of  his  sentiments, 
and  inquired  into  them  still  more  closely  in  a  short  time,  at  once 
made  him  active  in  his  own  way,  by  causing  the  ffarden-boys,  who 
had  been  trained  by  the  architect  shortly  before  his  departure,  to 
march  into  the  great  hall,  where  they  looked  exceedingly  well  in 
their  gay,  clean  uniforms,  with  their  regular  movements,  and  a 
certain  natural  liveliness.  The  Teacher  examined  them  in  his 
own  fashion — some,  by  a  number  of  questions  and  terms,  displayed 
the  disposition  and  capacities  of  the  children  ;  and,  in  less  than  an 

Digitized  by  \^0(jy  ItT 


THE  MUSICAL  WORLD. 


201 


hoar,  without  seeming  to  do  anything  of  the  kind,  really  advanced 
and  instracted  them  to  au  important  degree. 

"  How  do  yon  manage  it?"  said  Charlotte,  as  the  boys  departed. 
*'  I  have  listened  yery  attentively.  Nothing  has  beenWnched  upon, 
excepting  things  peiicctly  familiar  ;  and  yet  I  do-  not  know  bow, 
in  so  short  a  time,  and  with  so  mnch  desultory  talking,  I  should 
contrive  to  make  them  speak  with  such  consistency." 

**  Perhaps,**  replied  the  Teacher,  *•  one  ought  to  make  a  secret  of 
the  advantages  ot  one's  profession.  Nevertheless,  I  cannot  conceal 
fromyoa  the  simple  maxim,  according  to  which  this,  and  still  more, 
may  be  effected.  Comprehend  an  object,  a  matter,  a  conception, 
or  what  else  you  please  to  call  it ;  hold  it  firmly,  make  it  plain  to 
yourself  in  all  its  parts,  and  then  you  will  find  it  easy,  in  the  wav 
of  dialogue,  to  ascertain,  among  a  mass  of  children,  how  much  of  it 
is  already  developed  in  them,  and  what  has  to  be  excited  or  taught. 
The  answers  to  your  questions  may  be  as  unsuitable,  may  be  as 
wide  irom  the  mark  as  possible,  provided  your  counter-question 
again  draws  the  mind  witnin,  and  you  do  not  allow  yourself  to  be 
moved  from  your  own  point.  Thus  the  children  must  at  last 
think,  comprehend,  be  convinced,  but  only  of  that,  and  in  that 
manner,  which  the  teacher  pleases.  The  greatest  fault,  on  his 
part,  is  to  allow  himself  to  be  led  from  the  mark  by  his  pupils,  so 
that  he  cannot  hold  them  to  the  point  of  which  he  is  actually 
trcatujg.  Only  try  this  at  the  earliest  opportunity,  and  you  will  be 
greativ  amused." 

'*  This  is  pleasant,"  said  Charlotte ;  "  a  good  method  of  education 
is  predscly  the  reverse  of  the  rules  of  good  society.  In  society 
one  ought  to  adhere  to  nothing ;  in  education  it  is  the  highest 
command  to  contend  against  all  distraction." 

**  Variety,  without  distraction,  would  be  the  finest  motto  for 
teachers  and  for  life,  if  this  estimable  balance  were  but  easily 
obtained,"  said  the  Teacher,  and  he  was  proceeding  further,  when 
Charlotte  called  upon  him  once  more  to  look  at  the  boys,  who,  in 
long  procession,  were  then  in  the  act  of  passing  through  the  court« 
He  testified  his  satisfaction  at  the  circumstance,  that  the  boys  were 
obliged  to  go  in  uniform.  *'Men,"  he  said,  *' should  wear  an 
uniform  from  youth  upward,  because  they  must  accustom  themselves 
to  act  together ;  to  link  themselves  among  their  fellows,  to  obev  in 
a  mass,  and  to  work  for  a  whole.  Moreover,  every  kind  of  uniform 
favours  the  military  disposition,  as  well  as  a  more  disciplined  and 
decided  course  of  conduct ;  and,  besides,  all  boys  are  bom  soldiers, 
as  we  may  see  by  their  games  of  battle  and  contention,  their  storm- 
iiigs  and  their  climbings." 

**  Then,"  said  Ottilia,  **  you  will  not  blame  me  for  givinz  no 
uniform  dress  to  my  girls.  When  I  bring  them  before  )ou,  I  hope 
to  please  you  with  an  agreeable  mixture." 

**  Of  that  I  greatly  approve,"  replied  the  Teacher ;  <' ladies  should 
always  be  variously  attired— every  one  in  her  own  fashion,  that  she 
may  learn  what  is  really  appropriate  and  becoming  to  her.  A  still 
more  important  cause  is,  because  she  is  destined  through  her  whole 
life  to  stand  alone  and  to  act  alone." 

'•  That  appears  to  me  very  parodoxicali"  observed  Charlotte ;  "  we 
are  scarcely  ever  for  ourselves." 

"Oh,  yes,"  replied  the  Teacher,  "with  respect  to  other  women,  you 
cerlunly  are.  Only  consider  a  lady  as  in  love — as  a  bride — ^as  a 
wife,  as  a  housewife  and  mother,  she  always  stands  isolated,  is 
alone,  and  likes  to  bo  alone.  Even  the  vain  woman  furnishes  a 
case  in  point.  ^  Ever^  woman  excludes  the  others,  according  to  her 
very  nature  ;  since,  from  every  one,  everything  is  exacted,  which 
the  whole  sex  b  bound  to  afford.  It  is  not  so  with  men.  One  man 
deceives  another — would  create  for  himself  another,  if  none  were 
existii^,  while  a  woman  could  live  on  eternally,  without  thinking  of 
producing  another  of  her  sex." 

'*  One  need  only,"  remarked  Charlotte,  '*  say  what  is  true  in  an 
odd  way,  and  at  last,  what  is  merely  odd,  appears  true.  We  will 
take  to  ourselves  what  is  best  in  your  observations,  and,  never- 
theless, as  ladies  hold  together  with  ladies — aye,  and  work  in 
common,  too,  that  we  may  not  give  the  men  too  great  an  advantage 
over  us.  Nay,  you  will  not  grudge  us  the  little  malicious  pleasure, 
which  we  must  feel  the  more  vividly,  when  the  gentlemen  do  not 
remarkably  agree  together." 

With  much  attention,  the  Teacher  now  investigated  the  manner 
in  which  Ottilia  treated  her  little  pupils,  and  on  this  subject  testified 
his  decided  approbation.    "  You  very  rightly,"  sud  he,  "  bring  up 


your  subjects  to  immediate  utility  only.  Cleanliness  accustoms  the 
children  to  set  a  value  upon  themselves,  and  all  is  gained,  if  thejr 
are  excited  to  do  what  they  have  to  do  with  cheerfulness  and  self« 
respect." 

He  also  found,  to  his  great  delight,  that  nothing  was  done  for 
the  sake  of  appearance,  and  with  a  refereuce  to  externals,  but  all 
with  a  reference  to  the  internal,  and  to  absolute  necessaries.  "With 
how  few  words  I"  he  exclaimed,  "'might  the  whole  business  of  edtt« 
cation  be  expressed,  if  every  one  had  earslo  hear  I" 

"  But  you  will  not  try  with  me,"  said  Ottilia,  affectionately. 

"  Yes,  I  will,  readily,"  replied  the  teacher,  **  let  boys  be  brought 
up  as  servants,  and  girls  as  mothers,  and  all  will  go  right." 

*'  As  for  the  mothers,"  said  Ottilia,  '*  the  ladies  may  let  that  pass, 
since  even  if  they  are  not  mothers,  they  must  always  make  up 
their  mind  to  act  as  nurses.  But  our  young  men  would  think 
much  too  highly  of  themselves  to  become  servants,  since  we  can 
easily  see  in  every  one  of  thorn,  that  he  deems  himself  more  fitting 
to  command." 

"  On  this  account  we  will  conceal  it  from  them,"  sud  the  teacher 
*'  we  flatter  ourselves  into  life,  but  life  flatters  us  not*  How  many 
men  would  like  to  do  that  voluntarily,  which  they  are  obliged  to  do 
in  the  end  ?  But  let  us  leave  these  reflections,  which  do  not 
concern  us  now. 

^  I  congratulate  yon'that]  you  are  all  to  employ  a  right  method 
with  your  pupils.  If  your  smallest  girl*  go  about  with  dolls,  and 
stitch  together  a  few  rags  to  clothe  thom ;  if  the  elder  girls  take 
care  of  the  younger,  and  the  house  thus  serves  and  assists  itself; 
then  the  further  step  into  life  is  not  great,  and  such  a  girl  finds  in 
her  husband  what  sno  has  quitted  with  her  parents. 

"  But  with  the  educated  classes  the  problem  is  very  complicated. 
We  have  to  pay  regard  to  high,  more  aelicate,  finer,  and  especially, 
social  relations.  Hence  we  teachers  must  cultivate  our  pupils  with 
a  view  to  external  effect.  This  is  necessary  and  indispensable,  and 
would  bo  quite  right,  if  the  bounds  were  not  overstepped  t  for 
while' the  intention  is  to  train  children  for  a  more  extended  sphere, 
they  are  easily  driven  into  the  unlimited,  and  that  which  their  in* 
temal  nature  properly  demands  is  no  longer  kept  in  view.  Here 
lies  the  problem,  in  the  solution  of  which  preceptors  will  more  or 
less  fail  or  succeed. 

"  Many  of  the  accomplishments,  with  which  we  adorn  our  pupils 
at  the  >chool  renders  me  uneasy,  because  experience  tells  me  of 
how  little  use  they  will  be  in  future.  How  much  is  thrown  aside, 
how  much  is  consigned  to  oblivion,  as  soon  as  a  lady  finds  herself 
in  the  situation  of  a  housewife,  or  a  mother. 

**  In  the  meanwhile,  as  I  have  once  devoted  myself  to  this 
profession,  I  cannot  refrain  from  the  pious  wish,  that  I  shall  some 
day,  in  company  with  a  female  assistant,  succeed  in  perfectly 
cultivating  in  my  pupils  that  of  which  they  stand  in  need,  when 
they  pass  into  the  field  of  their  own  activity  and  independence,  so 
that  I  may  be  able  to  say  to  myself,  '  in  this  sense  is  their  education 
completed.'  But,  indeed,  another  education  is  sure  to  be  added, 
which  nearly  in  every  year  of  our  life  is  occ^ioned  by  circum« 
stances,  if  not  by  ourselves." 

How  true  did  Ottilia  find  this  remark  I  How  much  had  she  been 
educated  during  the  past  year  by  an  unexpected  passion !  What 
temptations  did  she  see  floating  before  her,  if  she  only  looked  to 
the  immediate  future  I 

The  young  man  had  not  undesignedly  made  mention  of  an 
assistant — a  wife,  since  with  all  his  modesty  he  could  not  avoid 
hinting  at  his  views  in  a  remote  fiishion.  Nay,  many  circumstances 
and  events  had  moved  him  to  approach  some  steps  nearer  to  his 
aim,  on  the  occasion  of  this  visit. 

The  Governess  of  the  school  was  already  advanced  in  years. 
She  had  long  looked  amone  her  assistants,  male  and  female,  for  a 

Eerson  who  should  regularly  enter  into  partnership  with  her,  and 
ad  at  last  made  the  proposal  to  the  Teacher,  in  whom  she  had  great 
reason  to  place  confidence.  He  was  to  conduct  the  establishment 
together  with  her,  and  after  her  death  was  to:  succeed  as  heir 
and  sole  possessor.  The  chief  matter  now  seemed  to  be  that  he 
should  find  a  suitable  wife.  In  secret,  he  had  Ottilia  l)efore  his 
eyes,  and  in  his  heart ;  but,  nevertheless,  many  doubts  were  excited 
which  again  were  in  some  measure  balanced  by  favorable  events. 
Luciana  had  left  the  school ;  Ottilia  was  more  at  liberty  to  return. 
Something  had,  indeed,  been  whispered  about  the  affair  with 


302 


THE  MUSICAL  WORLD. 


Edward,  but  the  matter,  like  other  occurrences  of  the  sort,  had 
been  heard  with  indifference.  Nay,  the  very  event  might  be  con- 
durire  towards  the  return  of  Ottilia.  However,  no  resolution 
would  have  been  formed,  no  step  would  have  been  taken,  had  not 
an  unexpected  visit  given  a  particular  impulse.  In  any  sphere, 
the  afq>earance  of  important  persons  cannot  be  without  its  con- 
sequences. 

The  Count  and  the  Baroness,  who  so  often  found  themselves  in 
the  situation  of  being  questioned  as  to  the  value  of  different  schools, 
because  almost  every  one  is  embarrassed  about  the  education  -of 
hli  children,  bad  resolved  to  become  especially  acquainted  with 
this  one,  of  which  so  much  good  had  been  said,  and  could,  in  their 
new  position,  make  such  an  experiment  together.  But  the  Baroness 
had  also  another  design  in  view.  During  her  last  residence  with 
Ctiarlotte,  she  had  circumstantially  talked  over  with  her  the  whole 
affair  concerning  Edward  and  Ottilia.  Again  she  insisted  on  this 
one  point — Ottilia  must  be  removed.  She  endeavored  for  this 
purpose  to  give  courage  to  Charlotte,  who  still  stood  in  awe  of 
Edwards'  threats.  Different  expedients  were  talked  over ;  and, 
while  on  the  subject  of  the  boarding-school,  the  Teacher's 
predilection  for  Ottilia  likew'ise  came  under  discussion,  and  the 
oaroness  resolved  all  the  more  to  pay  her  intended  visit. 

She  arrives,  and  becomes  acquainted  with  the  Teacher.  The 
establishment  is  surveyed,  and  Ottilia  is  mentioned.  The  Count 
likes  to  talk  about  her,  having  handed  to  him  her  letter  during 
the  last  visit.  She  had  approached  him  —  nay,  was  even 
attracted  by  him,  because  she  thought  that  by  hb  solid  conversation 
she  would  see  and  know  that  which  had  hitherto  remained  unknown 
to  her.  And  as,  in  Edward's  society,  she  forgot  the  world,  so  in 
the  presenoo  of  the  Count  did  the  world  first  appear  desirable. 
Everjr  attraction  is  mutual.  The  Count  felt  an  inclination  for 
Ottilia,  and  liked  to  r^;ard  her  as  a  daughter.  Here,  again,  she 
was  in  the  way  of  the  Baroness,  and  more  so  than  at  first.  Who 
knows  what  this  lady  might  have  contrived  against  her  in  the  days 
of  a  warmer  passion  ?  Now  it  was  enough  if,  by  marrying  her,  she 
could  make  her  harmless  to  married  ladies. 

She,  therefore,  in  a  gentle,  though  effective  manner,  saffacioasly 
invited  the  Teacher  to  undertake  a  little  expedition  to  the  castle, 
and  without  delay  to  approach  the  realization  of  those  plans  and 
wishes,  which  he  had  communicated  to  her  without  reserve. 

With  the  full  consent  of  the  Governess,  he  set  out  on  his  journey, 
harboring  the  best  hopes  in  his  mind.  He  knew  that  Ottilia  was 
not  unfavorably  disposed  towards  him,  and  if  there  was  some 
difference  of  rank  between  them,  the  spirit  of  the  times  would 
easily  set  that  straight.  Moreover,  the  Baroness  had  made  him 
sensible  that  Ottilia  would  always  remain  a  poor  girl.  "  It  was  no 
advantage,"  she  said,  "  to  be  related  to  a  wealthy  family,  for,  however 
great  the  fortune,  one  would  scruple  to  take  a  large  sum  from  those 
who  by  reason  of  greater  proximity  seem  to  have  a  more  complete 
right  to  the  property."  And  it  is  certainly  strange  that  man  seldom 
employs,  for  the  benefit  of  his  favorites,  the  great  privilege  of 
disposing  of  his  property  after  death ;  but,  as  it  seems  from  regard 
to  ancient  usage,  only  favors  those,  who  would  possess  his  property 
after  him,  if  he  had  no  will  at  all. 

^  Hb  feelings  on  the  journey  made  him  quite  Ottilia's  equal,  and 
his  hopes  were  increased  by  a  kind  reception.  He  did  not,  indeed, 
find  Ottilia  so  frank  towards  him  as  she  was  wont  to  be,  but  she 
was  more  matured — more  educated — and,  we  may  say,  altogether 
more  communicative  than  he  had  known  her.  They  allowed  him 
^  familiarly  to  investigate  much  that  had  especial  reference  to  his 
department*  Yet,  when  he  was  about  to  draw  near  his  object,  he 
was  restrained  by  a  certain  internal  timidity. 

Once,  however,  Charlotte  gave  him  an  opportunity,  when,  in 
presence  of  Ottilia,  she  said  to  him,  "  Now,  you  have  examined 
pretty  closely  all  that  is  growing  up  in  my  sphere — how  do  youi 
find  Ottilia  ?  You  are  at  liberty  to  express  your  opinion  in  her 
presence." 

Upon  thU  thQ  Teacher,  with  a  great  deal  of  dbcemment  and  a 
calm  expression,  stated  how  greatly  Ottilia  was  altered  to 
advantage,  as  far  as  concerned  a  freer  deportment,  a  more  ready 
mode  of  communication,  and  a  higher  glance  into  worldly  affairs, 
which  was  shown  more  in  her  actions  than  in  her  words ;  but  he 
adde4  that  he  thought  it  would  be  greatly  to  her  advantage  if  she 
returned  for  some  time  to  the  school,  to  appropriate  to  herself. 


fundamentally  and  permanently,  what  the  world  gives  only  in 
fragments— producing  more  confusion  than  satisfaction,  and  often 
coming  too  late.  "  He  did  not  wish,"  he  said,  "to  enlarge  on  the 
subject  I  OtU|ia  herself  best  knew  from  what  a  connected  course  of 
instruction  sne  had  been  torn." 

This  Ottilia  could  not  deny  ;  but  she  could  not  confess  what  she 
felt  at  these  words,  as  she  scarcely  knew  how  to  interpret  it  for 
herself.  It  seemed  to  her  that  there  was  nothing  imconnected  in 
tho  world,'  if  she  thought  of  the  man  she  loved  ;  and  she  did  not 
comprehend  how,  without  him,  anything  could  be  connected. 

Cnarlotte  replied  to  the  offer  with  judicious  kindness,  saying 
that  both  herself  and  Ottilia  had  long  desired  a  return  to  the 
school.  At  this  time,  indeed,  the  presence  of  so  dear  a  friend  and 
assistant  had  been  indispensable,  but  henceforth  she  would  raise  no 
obstacle,  if  it  were  still  Ottilia's  wish  to  return  to  the  school,  and 
remain  there  long  enough  to  complete  what  she  had  begun,  and 
perfectly  to  appropriate  to  herself  what  had  been  interrupted. 

The  assistant  received  this  offer  with  joy.  Ottilia  could  say 
nothing  against  this,  dthough  she  shuddered  at  the  very  thought. 
Charlotte,  on  the  other  hand,  thought  to  gain  time  ;  she  hoped  that 
Edward  would  only  return  to  find  himself  a  happy  father,  for  then, 
she  was  convinced,  all  would  come  right,  and  Ottilia  would  be 
provided  for,  in  some  way  or  other. 

After  an  important  conversation,  which  affords  matter  for 
reflection  to  all  who  participate  in  it,  there  generally  comes  a 
certain  pause,  which  resembles  a  general  embarrassment.  They 
walked  up  and  down  in  the  room,  the  Teacher  turned  oyer  some 
books,  and  at  last  came  to  the  folio  which  had  remained  lying  since 
Luciana's  time.  When  he  saw  that  it  contained  nothing  but  apes, 
he  closed  it  immediately.  Thb  occurrence  probably  gave  rise  to  a 
conversation,  of  which  we  find  traces  in  Ottilia's  diary.  , 

PROM  Ottilia's  diabt. 

How  can  we  reconcile  it  to  our  feelings  to  copy  disgusting  apes 
so  carefully  ?  We  already  humiliate  ourselves  when  we  regard 
them  only  as  animals,  but  we  become  really  malicious,  when  we 
obey  an  inclination  to  look  out  for  persons  of  our  acquaintanco 
under  such  marks. 

A  certain  perverscness  is*requircd  to  amuse  one's  self  readily 
with  caricatures  and  distorted  pictures.  I  owe  it  to  our  good 
Teacher,  that  I  have  not  been  tormented  with  Natural  History  j  I 
could  never  feel  on  frieudly  terms  with  worms  and  chafers. 

On  this  occasion  he  confessed  to  me  that  it  was  the  same  with 
hira.>  Of  nature,  he  said,  "  We  should  know  nothing  except  the 
living  things  which  immediately  surround  us.  With  the  trees  that 
bloom,  grow  green,  bear  fruit  around  us — with  every  shrub  which 
we  pass — with  every  blade  of  grass  over  which  we  walk,  we  have  a 
veritable  relation— they  are  our  true  compatriots.^  The  birds  which 
hop  backwards  and  forwards  in  our  boughs,  and  sing  in  our  bower, 
befong  to  us — speak  to  us  from  our  youth  upward,  and  we  learn  to 
understand  their  language.  Let  us  only  ask  ourselves,  whether 
every  strange  creature,  torn  from  its  natural  circumstances,  does  hot 
make  upon  us  a  certain  painful  impression,  which  is  only  deadened 
by  custom.  A  varied,  bustling  sort  of  life  is  required  to  endure  the 
presence  of  apes,  parrots  and  negroes." 

Often,  when  a  curious  desire  after  such  strange  things  has  come 
over  me,  I  have  envied  the  traveller  who  sees  such  wonders  in 
living  constant  connection  with  other  wonders.  But  he,  in  hb  turn, 
becomes  another  man. 

That  investigator  of  nature  is  alone  worihyof  respect  who  knows 
how  to  represent  and  describe  to  us  the  most  foreign  singular 
things,  with  their  locality  and  vicinity,  and  always  in  their  most 
peculiar  element.  How  much  I  should  like  once  to  hear 
Humboldt  describing. 

A  cabinet  of  natural  curiosities  mav  appear  to  us  like  an 
Egyptian  tomb,  where  the  different  idols,  animal  and  vegetable* 
stand  round  embalmed.  It  is  suitable  enough,  for  a  priest-caste 
to  busy  itself  with  them  in  a  mysterious  gloom  ;  but  such  things 
should  not  be  introduced  into  general  instruction,  especially  as  they 
may  easily  supplant  what  is  nearer  and  more  estimable. 

A  teacher,  who  can  awaken  in  us  the  feeling  for  one  good  deed, 
for  one  good  feeling,  does  more  than  one  who  gives  us  whole  series 
of  subordinate  natures,  according  to  their  form  and  name  ;  for  the 
whole  result  is  no  more  than  we  may  have  without  the  troubleWr 


THE  MUSICAL  WORLD. 


2oa 


namelr,  ihat  the  human  form  above  all,  and  most  peculiarly,  bears 
in  itself  the  image  of  the  Deity. 

Let  indiTiduais  be  iree  to  occupy  themselves  with  whatever 
attracts  them,  gives  them  pleasure,  or  seems  useful  to  them,  but 
after  all — **  The  proper  study  of  mankind  is  man."      1^ 
( To  be  continued,)  »     t^. 

V  To  prevent  misunderstanding,  it  may  be  stated  that  the  copyright  of  thii 
translation  belong^s  solely  to  the  translator. 

SONNET. 

MO.  XXVII. 

Wekm  I  have  press'd  thine  hand  within  mine  own, 
Hast  thou  ne'er  felt  how  fierce  the  grasp  has  been. 
As  though  my  hand  would  crush  the  hand  within* 

Or  hold  it  till  together  they  had  grown  ? 

By  that  wild  pressure,  love,  would  I  make  known 
That  cancer,  pain,  which  holds  my  heart  between 
Its  firm  unyielding  daws,  and  works  unseen, 

Nor  e'en  allows  one  solitary  gtoon. 

And  in  all  love  there  is  a  savage  bliss 
In  giving  some  slight  pain  where  we  adore. 
As  though  that  pain  were  witness  of  our  truth. 

'Twas  thus  the  ancients  had  their  "  biting  kiss," 
And  love  was  never  deem'd  complete  before 
The  blood  burst  forth  beneath  the  lover's  tooth.  N.  D. 

MISCELLANEOUS. 

The  Marseillaise. — In  the  garrison  of  Strasburgh  was 
quartered  a  young  artillery  officer,  named  Rouget  de  Lisle,  a 
native  of  Lous  le  Saulnier,  in  the  Jura.  He  bad  a  great  taste 
for  music  and  poetry,  and  often  entertained  bis  comrades 
during  their  long  and  tedious  bours  in  garrison.  Sought 
after  for  bis  musical  and  poetical  talent,  be  was  a  frequent  and 
fiimiliar  guest  at  the  bouse  of  one  Dietrich,  an  Alsatian  patriot, 
mayor  of  Strasburgh.  Tbe  winter  of  1792  was  a  period  of 
great  scarcity  at  Strasburgh.  The  bouse  of  Dietrich  was  poor, 
his  table  was  frugal,  but  a  seat  was  always  open  to  Rouget  de 
Lisle.  One  day,  wben  there  was  notbing  but  biead  and  some 
slices  of  smoked  bam  on  the  table,  Dietrich,  regarding  tbe 
young  officeri  said  to  him  witb  a  sad  serenity,  ^*  Abundance 
fails  at  our  boards,  but  wbat  matters  that,  if  enthusiasm  fails 
not  at  our  civic  fetest  nor  courage  in  tbe  bearts  of  our  soldiers. 
I  have  still  a  last  bottle  of  wine  in  my  cellar.  Bring  it,*'  said 
he  to  one  of  bis  daughters,  '*  and  let  us  drink  to  France  and 
liberty.  Strasburgh  should  soon  have  its  patriotic  solemnity. 
De  Lisle  must  draw  from  these  last  drops  one  of  those  hymns 
which  raise  tbe  soul  of  tbe  people."  The  wine  was  brought 
and  drank,  after  which  tbe  officer  departed.  The  night  was 
cdd.  De  Lisle  was  thoughtful.  His  heart  was  moved ;  his 
head  heated.  He  returned  staggering  to  his  solitary  room, 
and  slowly  sought  inspiration,  sometimes  in  tbe  fervour  of  bis 
citizen  soul,  and  anon  on  the  keys  of  bis  instrument,  com 
posing  now  tbe  air  before  the  words,  and  then  the  words  before 
the  air.  lie  sang  all  and  wrote  notbing,  and  at  last,  exhausted, 
fell  asleep  with  his  head  resting  on  his  instrument,  and  awoke 
not  till  daybreak.  Tbe  music  of  the  night  returned  to  his 
mind  like  tbe  impression  of  a  dream.  He  wrote  it,  and  ran 
to  Dietrich,  whom  he  found  in  the  garden  digging  winter 
lettuces.  The  virife  and  daughters  of  tbe  old  man  were  not 
yet  up.  Dietrich  awoke  them,  and  called  in  some  friends,  all 
as  pasuonate  as  himself  for  music,  and  able  to  execute  the 
composition  of  De  Lisle.  At  the  first  stanza  cheeks  grew  pale, 
at  the  second  tears  flowed,  and  at  tbe  last  the  delirium  of 
enthusiasm  burst  forth.  Tbe  wife  of  Dietrich,  bis  daughters, 
himself,  and  the  young  officer  threw  themselves  crying  in  each 
other's  arms.  The  hymn  of  the  country  was  found.  JBxecuted 
some  days  afterwards  in  Strasburgh,  the  new  song  flew  from 
city  to  city,  and  was  played  by  all  the  popular  orchestras. 
Marseilles  adopted  it  to  be  sung  at  tbe  commencement  of  tbe 


sittings  of  its  clubs,  and  tbe  Marseillaises  spread  it  through 
France,  singing  it  along  the  public  roads.  From  this  came 
the  name  of  **  Marseillaise. — Lamertine's  Hist  aire  des 
Girondins. 

JRoYAL  Italian  Opeba  Covent-Gabdbk. — Signer  Tam- 
burinl  arrived  in  London  on  Wednesday  night,  at  Mivart't 
Hotel,  accompanied  by  his  son,  in  good  health  and  spirits. 
The  Jssur  in  Semiramide  has  been  consequently  tbe  first 
arrival.  Letters  from  Paris  also  announce  that  the  new 
Arsaccy  Mdlle.  Alboni,  tbe  great  contralto,  had  reached  that 
capital  on  Monday  last  from  Venice,  as  also  the  tenor  Lavia, 
who  will  be  the  Idreno,  and  the  basso  Polonini,  tbe  Hiifh 
Priest  in  Semiramide.  Advices  have  been  received  from  all 
tbe  leading  artists,  except  Alba,  the  basso,  who  was  at  Bar- 
celona, that  they  were  on  their  way  to  London,  to  fulfil  their 
engagements  at  tbe  Royal  Italian  Opera.  Before  tbe  end  of 
next  week  Madame  Grisi.  Madame  Persiani,  Madame  Ronconi» 
and  Mdlle.  Stefi^anone  (Prime  Donne),  Mario,  Salvi,  Lavia, 
and  Tulli  (tenors). Alboni  (contralto),  Corbari  (mezzo  soprano) » 
Ley,  Marini,  Rovere,  Polonini  (basses),  and  Tambnrini  and 
Ronconi  (baritones),  with  tlie  artists  for  secondary  parts,  will 
be  at  their  post.  The  decorator  (Mr.  Ponsonby)  and  as- 
sistants  are  now  engaged  In  fixing  the  ornamental  devices  for 
tbe  fronts  of  each  tier  of  boxes,  of  the  two  amphitheatres  and 
of  the  gallery.  The  beautiful  ceiling  is  now  open  to  view,  tbe 
colossal  scafiblding  having  been  removed,  except  tbe  portion 
under  the  proscenium,  which  Signor  Verardi  is  now  paintbg* 
Mr.  Albano,  whose  untiring  energy  has  accomplished  the 
herculean  task  of  re-constructing  the  interior  in  less  than  four 
months,  has  undertaken  that  before  tbe  close  of  the  ensuing 
week,  everything  shall  be  ready  for  the. full  stage  rehearsals. 
Heavy  bets  are  pending  as  to  the  opening  of  the  Theatre  on 
Tuesday,  tbe  6th  of  April,  but  the  indefatigable  architect,  or 
rather  civil  Engineer,  for  such  is  Mr.  Albano*s  profession,  has 
never  for  one  moment  since  he  began  his  enormous  labours  in 
the  first  week  in  December,  expressed  the  slightest  doubt  on 
the  subject,  and  those  who  have  watched  tbe  progress  in  tbe 
works,  day  by  day,  could  but  feel  perfect  confidence  in  him, 
when  such  marvels  were  evident  at  every  successive  stage* 
Printed  re^zulations  for  carriages,  and  for  the  facilities  of 
egress  and  ingress,  will  be  ready  in  a  few  days.  In  order 
that  there  may  be  no  interniption  to  tbe  labours  of  tbe  up- 
holsterer and  decorator,  it  will  be  found  absolutely  neces- 
sary to  exclude  visitors  to  view  tbe  theatre,  after  this  day, 
except  the  subscribers,  and  artists  engaged  in  illustrating  the 
splendid  interior.  After  a  careful  inspection  of  every  portion 
of  the  theatre,  tbe  certificate  of  the  official  referees,  or  govern- 
ment surveyors  under  tbe  Metropolitan  Building  Act,  has 
been  given  as  to  the  solidity  of  the  works,  the  massiveness  of 
which  has  elicited  the  approbation  of  tbe  most  eminent  archi- 
tects and  builders.  The  novel  and  ingenious  plans  of  Mr. 
Albano  to  warm  and  ventilate  the  theatre  have  been  much 
admired . — Chronicle* 

Madlle  Mars,  the  celebrated  French  actress,  died  lately 
in  Paris,  at  a  very  advanced  age. 

The  Patent  Harmonium  — ^We  beard  so  much  of  the 
extraordinary  qulaities  of  this  instrument,  that  we  were 
determined  to  ascertain  and  investigate  tbe  truth  thereof. 
Accordingly,  we  repaired,  on  critical  thoughts  intent,  to  the 
manufactory  of  Luff  and  Co.,  Great  Russell  Street,  Blooms- 
bury,  the  agent  for  the  patentee,  and,  by  good  fortune,  arrived 
just  as  Mr.  Julian  Adams  was  expounding  tbe  magical  pro- 
perti<?s  of  the  Harmonium  to  a  knot  of  inquirers.  Mr.  Julian 
Adams  is  a  professor  of  this  instrument ;  and  from  his  masterly 
performance  we  were  able  to  gain  a  tolerable  insight  into  its 


204 


THE  MUSICAL  WORLD. 


mysteries.  The  Harmonium  is  scarcely  as  large  as  a  piccolo 
pianoforte :  it  possesses  immense  advantages  over  every  in- 
strument capable  of  yielding  but  one  tone  :  audit  combines  the 
variety  of  the  organ  with  the  facility  and  delicacy  of  the 
piano.  The  patent  Harmonium  contains  twelve  stops  of  the 
usual  qualities,  which  are  capable  of  being  so  varied,  that  the 
performer  may  produce  all  the  effects  of  a  full  band.  By  a 
certain  management  of  these  stops  an  extent  of  seven  octaves 
may  be  obtained ;  though,  with  regard  to  the  notes  used, 
the  Harmonium  contains  but  five  and  a  half,  or  six  octaves. 
The  tone  is  mellow,  loud,  or  reedy,  according  as  the 
various  stops  are  used :  and  when  the  Grand  Jeu  is 
drawn  a  volume  of  tone  is  produced  equal  to  a  very  loud 
organ.  This  instrument  may  be  used  for  more  purposes  that 
those  of  sacred  performances,  the  delicacy  of  its  touch  allowing 
the  most  rapid  passages  to  be  played  on  it  with  effect ;  and  a 
particular  management  of  the  stops  rendering  it  so  that  it 
may  sound  in  every  respect  equal  to  a  piano.  The  Harmonium 
may  be  made  available  at  church>  concert  room,  or  private 
abode*  We  cannot  too  strongly  recommend  this  admirable 
instrument. 

Mr,  Allcroft*8  Concbrt. — We  beg  leave  to  call  the  at- 
tention of  our  readers  to  the  splendid  programme  put  forth  by 
Mr.  Allcroft  for  his  concert  next  Tuesday.  All  the  first-rate 
talent  in  the  metropolis  is  engaged,  and  a  musical  feast  is  pre- 
pared that  can  rarely  be  enjoyed. 


PROVINCIAL. 

BRitTOL.*-From  a  CorrefponcfmQ— Madame  Anna  Bishop  com- 
menced  her  short  engagement  at  the  Bristol  Theatre  on  Monday  last— 
the  open  was  La  Sonnambula^ihe  fair  cantatrice's  reception  was 
splendid.  In  her  first  cavatlna  she  received  three  cheers  of  applause, 
and  throughout  the  opera  she  was  immensely  applauded;  her  last 
rondo  finale  was  encored  with  enthusiasm,  and  she  was  called  before  the 
curtain  with  accUmations.  On  Tuesday,  the  23d,  she  sings  at  Bath, 
and  on  Thursday  evening  we  shall  have  the  Maid  o/Artois,  The  house 
last  night  was  well  attended. 

Ebinburoh.— ifsiactalian  for  ike  Rnival  of  Saered  Mutie.^^n 
Tuesday  the  classes  of  this  institution  were  examined  in  the  Music  Hall 
at  a  morning  and  evening  meetinflr.  Among  those  who  were  present  in 
the  morning  and  evening  (and  some  of  them  on  both  occasions),  we 
observed  the  Chairman  of  the  Association,  Lord  Murray,  the  Hon.  Mr. 
Primrose*  Sir  George  Warrender,  Lady  Ruthven,  Sir  George  and  Lady 
Hsrriet  Suttie.  Lady  Arbuthnot,  Lady  Keith  Murray,  Sir  William 
Murray,  Sir  James  Ramsay.  Robert  Graham,  Esq ,  David  Milne,  Esq., 
of  Milne  Graden,  Richard  Trotter,  Esq.,  of  Morton  Hall;  Professors 
Pillans,  Donaldson,  and  Smith ;  Rev.  Dr.  Grant,  Rev.  R.  H.  Stevenson, 
Robert  Paul  Esq.,  Dr.  Schmitz,  rector  of  the  High  School,  &c.  At  the 
momiug  examination  700  children  were  present,  and  made  a  very  grati- 
fying appearance,  demonstrating  that  they  had  been  taught,  not  only  to 
read  and  sing  musical  notes  correctly,  but  that  the  ear  had  been  cultivated 
to  distinguish,  and  to  transUte  into  musical  notation,  any  tune  which  they 
night  hear.  During  the  examination  some  melodies  and  some  pieces 
firom  Mozart  were  handed  by  the  directors  to  Dr.  Malnser  to  play,  and 
the  pupils,  although  they  had  never  heard  them  before,  very  readily  and 
successfully  stated  the  notes  of  which  they  were  composed.  "  The 
Shepherd  Boy  "  was  sung  by  some  children  from  three  to  five  years  of 
age.  "  Oh,  had  I  Jubal's  Lyre,"  from  Handel's  Oratorio,  was  sung  by 
fifteen  children.  In  the  evening  about  200  of  the  more  advanced  children 
sang  several  compositions  of  Handel,  Shield,  Arnold,  Kent,  Cherubtni, 
&c.,  in  a  manner  to  elicit  deserved  applause.  The  Association  has  been 
nearly  three  years  in  exbtence,  and  has  demonstrated  its  eflSciency  to 
promote  a  revival  of  sacred  vocal  music,  so  greatly  needed  throughout 
Scotland,  and  to  supply  the  humbler  classes  of  society  with  innocent 
and  rational  amusement.— Svenin^p  Courant. 


DRAMATIC  INTELLIGENCE. 

Drubt  Lame  Thbatrb. — Mr.  Harrison's  benefit  drew  a 

crowded  audience  on  Thursday  night.     The  popular  tenor 

selected  Balfe's  clever  opera  of  t?ie  Daughter  of  *SU  Mark, 

and  a  fragment  of  Jiasaniello,  in  both  of  wluch  he    sung 


with  immense  applause,  and  exerted  himself  with  unflagging 
spirit.  Miss  Messent  highly  distinguished  herself  in  the 
soprano  part  in  the  last  mentioned  opera,  and  won  golden 
opinions  ^An  the  public.  The  theatre  closes  to  night  untfl 
Easter  wfi^,  when  a  magnificent  Easter  entertainment  will  be 
produced.  The  engagement  of  the  clever  M.  Blasis,  and  his 
charming  and  intelligent  pupil.  Marietta  Baderna*  concludes  to 
night.  They  are  both  secured  by  Mr.  Beale,  of  the  Royal 
Italian  Opera.  The  forthcoming  grand  Easter  spectacle  of  tbis 
theatre  is  called  The  Desert :  or,  The  Imaun's  Daughter,  and 
will,  it  is  said,  surpass  all  previous  productions  of  this  kind  at 
Drury  Lane.  Two  immense  elephants,  twelve  camels,  up- 
wards of  sixty  horses,  one  hundred  choristers,  &c.  will  appear 
in  the  passage  across  the  Desert  by  the  caravan.  Several  new 
and  striking  effects  of  combined  scenery  and  machinery  will 
take  place,  among  which  the  halt  of  the  Caravan  in  the  Desert; 
the  Caravan  attacked  by  the  Bedouins ;  the  representation  of 
the  Simoom ;  or  the  Wind  oj  Fire,  with  the  rising  of  the  sand, 
will  not  be  the  least  effective.  The  principal  part  of  the  music 
will  be  taken  from  Felicien  David's  Le  Desert,  and  all  the 
choral,  and  some  of  the  operatic  strength  of  the  theatre  will  be 
used.  To  give  every  effect  to  the  procession,  Mr.  Hughes  has 
been  engaged  to  supply  the  Mammoth  carriages  from  his 
equestrian  establishment  lately  arrived  in  this  country.  To 
give  some  notion  of  the  size^and  magnificence  of  these  vehicles, 
we  shall  make  an  extract  from  the  Leicester  Mercury^  in 
which  they  are  described  at  full : — 

"  Thk  Splkndid  '  Mamu oTii '  Carriaoks. — ^We  have  been  highly 
gratified  this  weeic  to  see  the  splendid  new  pictorial  carriages  which  are 
now  being  built  for  Mr.  Hughes,  the  proprietor  of  the  wdl-known 
'  Mammoth '  Equestrian  Establishment.  These  carriages  may  truly  be 
described  as  of  a  most  novel  description.  They  are  lofty  and  long,  and 
on  each  side  the  panels  are  divided  into  three  compartments  by  rich 
gilt  carvings  in  the  Louis-Quatone  style,  and  each  panel  is  occupied  by 
a  spirited  and  cleverly-exeeuted  painting--one  descriptive  of  some  of  the 
peculiarities  of  Eastern  life,  another  taken  from  the  history  of  the 
Crusaders,  another  depicting  a  mountainous  and  roclcy  pass  with  a  tro<9 
of  horsemen  defiling  through  it,  and  others  again  giving  representationa 
of  camels,  elephants,  &c.  Most  of  the  sicetches  from  which  these 
paintings  are  executed,  we  believe,  are  originals.  The  gronnd-wotk 
between  the  panels  is  a  beautiful  ultra-marine  blue,  cross-hatched  with 
vei-million;  and  the  carving  and  gilding  of  the  whole  outer  framing  are 
very  rich,  and  produce  an  excellent  effect.  The  Queen's  arms  decorate 
the  hinder  part  of  the  carriage ;  and  both  the  under-csrriage  and  wheels 
are  painted  and  gilt  in  a  very  tasteful  manner,  the  centre  of  each  wheel 
being  appropriately  surmounted  by  a  fine  lion's  face.  In  addition  to  the 
pictoi  ial  carriages,  the  grand  camel  or  l>and  carriage,  also  belonging  to 
Mr.  Hughes,  Is  also  well  worthy  of  a  visit.  It  is  in  the  form  of  two 
gigantic  dragons,  which,  if  the  Jilce  are  not  to  be  found  in  the  drawinga 
of  Buffon,  fire  frequently  to  be  met  with  in  the  pages  of  heraldic  works ; 
and  these  two  recline  on  massive  gilt  carvings.  With  their  long  and 
forked  tongues  outstretched,  they  have  the  appearance  of  being  on  the 
watch  for  some  unhappy  traveller,— 

'  Whose  bones  they  would  grind  to  make  their  bread.' 
The  decorations  of  this  carriage  (which  weighs  no  less  than  four  tons) 
are  profuse  in  number,  and  have  been  executed  with  extreme  care  and 
elegance." 

Mr.  Bunn  is  never  wanting  in  novel  resources  to  gratify  bis 
visitors,  and  we  are  inclined  to  believe  that  he  has  now  hit 
upon  H  real  means  of  delighting  them,  which  will  redound  to 
his  character  as  a  public  caterer,  and  make  the  treasury  preg- 
nant with  profit.  We  trust  it  may  prove  so.  Mr.  Bunn  has 
had  many  buffs  and  rebuffs  of  late,  but  he  stood  bravely 
against  them,  and  beat  them  back,  as  a  rock  beats  back  the 
waves  that,  in  their  fury,  would  fiiin  swoUow  it  up.  Fortune 
owes  Mr.  Bunn  a  good  turn.  We  trust  she  won't  destrt  him 
now.     Pardon  the  pun ! ! ! ! 

The  Hatmarket. — ^The  Light  Troop  of  St,  James's  had 
on  last  Saturday  a  capital  reception  at  this  favourite  little 
theatre,  for  which  they  were^mi^^^^^ttle  indebted  to  Mr. 


THE  MUSICAL  WORLD. 


205 


Buckstone,  who  exploitated  a  single  joke  with  great  perse- 
verance and  wonderful  success.  The  truth  is,  a  piece  with 
Buckstone  in  it  must  be  a  success.  The  roan's  face  is  a  sure 
laugh  whenever  he  choose  to  ask  for  one,  and  in  a  farce  or 
light  drama  he  chooses  to  ask  for  it  at  every  sentence  he  ut- 
ters. This  was  the  case  upon  Saturday,  and  the  consequence 
was  the  complete  success  of  tlic  little  piece  he  acted  in.  Not 
thf>t  in  Itself  it  was  bad ;  on  the  contrary,  although  as  we  said 
before  it  rejoiced  in  one  positive  joke,  it  displayed  plenty  of 
that  scintillating  repartee  and  sparkle  which  were  howevet 
borrowed  from  our  neighbours  on  the  other  side  of  the  channel. 
One  of  the  chief  attractions  of  the  piece  it  was  indebted  to  for, 
was  the  universal  preponderance  of  female  characters,  a  cha- 
racteristic which  it  seems  to  have  copied  from  Mr.  Bourcicault's 
last  comedy,  and  which  we  think  a  very  decided  improve- 
ment on  tlie  old  system  of  making  up  a  drama  in  the  propor- 
tion of  one  woman  to  sixteen  men,  as  if  the  fair  sex  were  too 
strong  a  drug  to  be  used  other  than  sparingly.  Enough, 
however,  of  discussion  dissertatim.  Mr.  Buckstone  and  the 
females  dove-tailed  into  the  intrigue  of  tlie  piece  shared 
with  the  author  the  laurels  of  the  night,  and  we  have  little 
doubt  that  Mr.  Webster  will  derive  from  his  last  success 
every  possible  pecuniary  reasons  to  be  gratified  with  it,  a  re- 
salt  not  always  to  be  ensured  by  a  night's  applause. 

Princess's  Theatrb. — A  melo  drama  called  the  Dream  of 
the  Hearty  has  been  during  the  week  produced  at  this  theatre, 
with  scarcely  so  much  success  as  the  neatness  of  its  construc- 
tion, and  the  excellent  acting  of  Mrs.  Stirling  so  well  deserved. 
This  lady  acted  a  species  of  mesmerised  Sonnambula,  which 
formed  the  thread  of  the  plot,  being  worked  upon  by  a  half 
philosophic,  half  honest  scamp,  who,  on  the  advice  imparted 
from  her  slumbering  lips,  sails  fiom  America,  aud  leaves  her 
dear  France  to  wear  the  orange  flowers,  and  laoe  of  marriage. 
It  is  needless  to  say,  that  ultimately  the  wheels  of  the  theatri- 
cal fortune  rotates  to  the  right  place,  and  the  marriage  of  our 
heroine  is  broken,  for  the  purpose  of  giving  her  to  the  arms 
of  her  original  lover.  The  plot  is  not  perhaps  too  substantial, 
hut  the  neatness  of  the  piece — evidently  French, — and  the 
delidously  finished  acting  of  Mrs.  Stirling,  ought,  as  we  have 
said  before,  to  havo  saved  it  from  the  half  discontent  which 
attended  its  termination* 

Shakspere's  A  Midsummer  Night's  Dream,  with  Mendels- 
sohn's overture,  and  other  music  is  preparing  in  great  splendour 
for  the  Easter  holidays.  Auber's  opera  La  Barcarole,  is  also 
in  rehearsal ;  and  Mrs.  Butler  will  give  a  series  of  performances 
immediately  after  Easter.  -So  that  the  management  is  not  idle. 
But  where  are  the  English  operas  so  long  expected  ?  That 
of  Mr.  Howaid  Glover  for  example,  and  the  new  one  by 
Macfarren  ? 

French  Plays.— "Zc  Marriage  au  Tambour'*  has  been  played  several 
dmes  since  our  last.  It  has  turned  out  a  moat  agreeable  audition  to  Mr. 
MitcheU's  rtfjerloire*  The  cast  was  strong,  as  it  included  the  three  stars  who 
BOW  reign  iriuniphant  at  this  elegant  little  theatre.  The  story  is  founded  on 
an  episode  in  the  first  French  Revolution:  the  heroine,  Louise  tPObemaif,  is 
the  dau^ter  of  a  noble  house,  who  has  aided  in  the  escape  of  her  brother,  an 
officer  in  the  army  commanded  by  Cond6 :  she  is,  consequently,  proscribed 
by  the  reTolutionary  tribunals,  and,  seeks  a  refuge  in  the  house  of  her  nurse, 
where  she  remains  concealed  under  the  disguise  of  her  foster-sister.  It 
happens  that  a  party  of  Kepublican  soldiers,  under  \ht  order  of  Sergeant 
Lambert,  are  biueited  upon  the  house :  this  Sergeant  Lambert  is  himself  a 
nobleman,  but  he  prefers  his  country  to  the  absurd  conventionalities  of  rank ; 
and  he  has  chosen  rather  to  defend  it  against  the  invading  array,  in  a  sub- 
ordinate position,  than  lo  enlist  in  the  hostile  band  of  emigrants.  LouUe  is 
Btmck  by  tlie  lofty  bearing  and  gentlemanly  manners  of  the  Sergeant,  in  spite 
of  his  affectation  of  niggedness  and  coarseness ;  she  resolves  to  confide  in  his 
honour ;  and  hearing  that  the  regiment  is  about  to  pass  the  Rhine,  she  adopts 
the  suggestion  throw  n  out  by  him  in  jest,  and  doiHing  the  dress  of  a  Vivandiire, 
she  pats  herself  under  his  more  immediate  safeguard,  and  sets  out  with  the 
company.  Ere  twenty-four  hours  have  elaped  the  disguised  nobleman  is 
deeply  enamoured  wiih  the  pretty  Vivandi&re ;  and  she,  unknowingly,  is  not 
witboat  acknowledgmg  the  merits  of  the  handsome  Sergeant,  and  being  struck 


with  the  high  qualities  of  his  mind— not,  however,  confesung,  even  to  herself, 
such  a  sentiment  in  favour  of  one  so  much  beneath  herself  in  rank  and 
station.  The  adn.iration  of  her  beauty  pervades  the  whole  troop  of  soldiers, 
and  a  furious  rivalry  springs  up  amongst  them ;  go  much  so,  that  the  Captain 
of  the  troop  calls  upon  her  to  select  one  for  her  husband.  She  hesitates ; 
but  this  only  makes  matters  worse,  and  to  avoid  being  denounced  «tMpec/e, 
she  chooses  'Lambert,  with  whom  she  is  forthwith  united  by  le  mariage  uu 
tambour,  the  drum- head  marriage.  Lefc  alone  with  her  husband  she  appeals 
to  the  generous  sentiments  she  has  discerned  in  him,  and  is  not  deceived  in 
her  confidence.  He  swears  on  the  cross  which  he  wears  next  his  heart,  the 
last  gif^  of  his  m  ther,  that  he  will  respect  Louise  as  a  beloved  sister,  stipu- 
lating only,  that  should  she  consider  hun  worthy  of  her  love,  she  will  avow  it 
by  restoring  to  him  the  cross  he  then  gives  her.  (We  remember  a  scf  ne 
somewhat  similar  to  this  in  one  of  Scribe's  little  vaudeviiles,  entitled  •«  Un 
Mariagede  Raieon,*' the  only  difference  being  that  a  kev  is  substituted  for  the 
cross).  They  have  just  been  separated,  when  the  brother  of  Louise  is  led  in 
a  prisoner ;  she  effects  his  escape,  and  flies  vrith  him  to  their  friends,  beyond 
the  Rhine,  leaving  Lambert  in  utter  misery  at  her  supposed  duplicity,  for  he 
fancies  that  it  is  her  lover  with  whom  she  has  escaped.  In  the  third  act 
Lambertt  now  a  Colonel,  is  quartered  at  the  verv  chdteau,  in  Germany,  in- 
habited by  the  Vicomte  d*Obema  and  his  sister.  Several  years  have 
elapsed,  but  Lambert,  although  convinced  he  has  been  deceived  by  Louise^ 
still  loves  her ;  his  tenderness  for  her  has  undergone  no  change.  An  inter- 
view takes  place  between  them,  which  proves  rhat  his  suspicions  were  un- 
founded, and  that  he  has  wronged  her  by  deeming  her  unfaithful.  He  now 
resolves  to  remove  the  claim  which  he  had  previously  resolved  to  enforce,  in 
order  to  revenge  on  her  all  the  pain  he  had  suffered  on  her  account ;  but  she^ 
in  whom  a  long  absence  had  gradually  converted  into  love  the  inclination  she 
from  the  first  had  manifested  towards  him,  and  her  admiration  for  his  noble 
qualities  and  elevated  rentiments,  restores  the  cross,  and  all  ends  to  the 
satisfaction  of  the  parties  concerned.  Mademoiselle  Fargudl  elicited  much 
applause  by  the  admirable  manner  in  which  she  played  the  part  allotted  to 
her.  M.  Lafont  was  perfection  in  the  noble-minded  Sergeant,  and  M. 
Dum€ry  made  a  capiUl  Tambour  Maitre,  the  real  French  type.  On  Thursday, 
Her  Majesty  and  Prince  Albert  honoured  the  theatre  by  their  presence,  when 
the  pieces  performed  were,  the  Mariage  au  Tambour,  and  the  Roi  des 
Frontiru,  Friday  was  the  last  performance  before  Easter.  On  Easter 
Monday  we  are  promised  our  charming  little  Ro8e-Ch6rie  who  delighted  us, 
so  mucn  last  year.  J.  de  C— — b. 


CONCERTS. 

Beethoven  Q(7aetet  Society. — The  (quartets  performed  at  the 
second  meeting  were  No.  3  from  Op.  18,  m  D  major  ;  No.  7  from 
Op.  b9,  in  F  major  ;  and  No.  15  irom  Op.  181,  in  0  sharp  minor. 
Tbo  No.  3,  composed  in  1791,  and  dedicated  to  Prince  Lich- 
nowsky,  is  one  of  tbo  most  melodious  and  graceful  of  the  early 
quartets.  The  subjects  are  short,  and  the  plan  of  each  movement 
as  clear  and  symmetrical  as  in  Haydii  and  Mozart.  The  quartet 
was  well  played,  M.  Steveniers  holding  the  pladft  of  first  violin,  M. 
Sainton  that  of  second,  Mr.  Hill  tenor,  and  M.  Roiisselot  violin- 
cello.  The  No,  7,  composed  seventeen  years  later  in  (1808),  and 
dedicated  to  Princo  Rasumousky,  is  one  of  the  mo?t  thoroughly 
Beethovsnish  of  the  master's  works.  The  Allegro  is  a  fine  specimen 
of  (hat  large  development  which  characterises  all  be  wrote  during 
tho  middle  period  or  his  career.  The  Adagio,  in  F  minor,  pour- 
trays  a  world  of  despair  and  gloom  ;  it  is  one  of  those  peculiar 
fT.ovements  of  which  Beethoven  alone  knew  the  secret,  preserving 
amidst  an  appearance  of  fragmentary  brokenness,  entire  unity  of 

f>urpose  and  of  feeling.  It  is  only  when  you  have  listened  to  the 
ast  note  that  you  comprehend  the  full  meaning.  The  attention  is 
kept  continually  on  the  stretch ;  the  ear  and  the  mind  are  aslo- 
nisned  by  cadences  seemingly  endless,  and  which  after  all  are  in- 
terrupted, as  though  the  master  disdained  to  minister  to  the  ordinary 
laws  of  rhythm.  And  then,  what  a  prodigy  of  fancy  and  invention 
is  the  Finale — fashioned  upon  a  theme  so  apparently  insignificant ! 
But  in  a  simple  national  tune  Beethoven  foresaw  infinite  combi- 
nations of  harmony  and  counterpoint.  The  performance  of  this 
quartet,  in  which  M.  Sainton  took  the  first  violin,  and  M.  Steveniers 
the  second,  Mr.  Hill  and  M.  Rousselot  occupying  their  usual 
places  as  tenor  and  violoncello,  was  the  triumph  of  the  evening. 
It  would  be  invidious  to  single  out  one  for  praise  where  all  laboured 
80  zealously ;  and  the  highest  compliment  ^  e  can  offer  to  the 
players  is  involved  in  the  assurance  that  their  performance  was  a 
faultless  specimen  of  pure  quartet-playing,  each  instrument  fulfill- 
ing its  duties  to  the  utmost,  without  any  attempt  at  obtrusive  pro- 
minence. The  No.  15,  composed  sixteen  years  subsequently  (in 
1824-5)  and  dedicated  to  Baron  Stutterheim,  was  also  a  clever  per- 
formance, but  not  so  near  to  perfection  as  the  other.  There  are  no 
less  than  twelve  changes  of  time  in  this  quartet ;  the  rhythms  and 
accents  are  complicated  and  various^  thg  ghraseology  i^^^^n- 


206 


THE  MUSICAL  WORLD. 


ffularly  fantastic  Yet  in  no  work  has  tie  fertility  of  Beethoven's 
inyention  manifested  ^  itself  more  prodigally.  Some  of  the  subjects 
are  as  firesh  and  innocent  as  those  of  his  early  youth  ;  others  pre- 
sent the  gravity  of  his  sterner  age :  while  some  are  markea  by 
that  quaint  mixture  of  simplicity  and  extravagance  which  is  one  of 
the  chief  elements  of  his  latter  style,  and  is  no  where  so  strongly 
evidenced  as  in  the  Posthumous  Quartets.  The  variety  of  interest 
excited  is  almost  without  precedent.  The  whole  character  of  the 
composition  appears  to  be  based  upon  effects  of  violent  con- 
trasts. The  ease  with  which  these  are  attained,  and  the  art  with 
which  they  are  made  subservient  to  consistent  unity  of  design, 
prove  how  equally  philosophical  and  poetical  was  the  genius  of 
Beethoven.  The  room  was  brilliantly  attended,  and  the  performers 
were  complimented  throughout  the  evening  with  the  most  flattering 
demonstrations  of  approval. 

Mr.  BoLBTNB  Rebves'  first  concert  took  place  on  Monday  for  the 
benefit  of  the  distressed  Irish.  The  rooms  were  crowded  at  an 
early  hour,  and  the  programme  held  out  promises  of  the  most  satis- 
fiictory  nature  whicn  were  more  than  realised.  Mr.  Reeves  is 
a  deserving  artist,  and  may  take  his  place  among  the  most 
promising  performers  on  his  instrument.  We  hailed  with  much 
pleasure  the  re-appearance  of  Madame  Catrufo,  who  sang  with 
much  feeling  and  expression  the  ^<*  Ckme  fadoro"  of  Bellini. 
This  lady  has  a  contralto  voice  of  great  compass,  her  intonation  is 
faultless,  and  her  interpretation  of  the  music  admirable.  She  and 
Miss  Ellen  Lyon  won  golden  opinions  in  the  duet  of  Mercadante, 
**  Doie  eanjorto  al  misero/*  The  latter  lady  holds  out  high  pro- 
mises of  future  excellence,  and  much  pleased  us  in  her  solo  "  Bel 
raggio  lusinghier,**  by  Rossini,  by  the  great  progress  she  has 
already  made.  The  other  vocalists  were  Miss  Sabilla  Novello, 
who  needs  no  praise  from  us,  Madame  de  Fontaine,  Signori  Marras 
Brissi  and  Gailio,  who  achieved  in  the  most  satisfactory  manner 
the  pieces  allotted  to  them.  Mr.  John  Lee  also  sang  with  true 
feeling  Schubert's  song  *'Der  Wanderer,'*  The  entertainment 
gave  universal  satisfaction,  and  was  listened  to  with  delight  to 
the  end.  We  must  not  foi^t  a  Canon  by  Signer  Catrufo,  which 
was  one  of  the  gems  of  the  evening. 

Thb  Mbssiburs  Distin  gave  a  concert  on  Tuesday  last,  at  the 
Horns  Tavern,  Kensington,  which  was  very  well  attended,  and 

Sve  great  satisfaction.  The  Messrs  Distin  were  assisted  by  Miss 
.  O'Connor,  and  Miss  £.  Loder,  as  vocalists ;  and  by  W.  S. 
Rockstro,  who  performed  on  the  piano.  The  principal  perform- 
ances were  a  quintetto  from  Cfuiliame  Tell,  by  the  Distin  family, 
on  the  Sax-horns,  played  with  great  pffect ;  the  favourite  aria  from 
Robert  U  Diable,  "  Robert,  toi  que  faime^*  arranged  as  a  ouintette 
for  the  Sax-tubes  ;  a  madrigal,  performed  by  tho  brothers  Distin  on 
ibur  Sax-tubes,  and  clamorously  encored ;  Mr.  Distin's  fantasia,  on 
••  The  Soldier  Tir'd,"  executed  per  «6,  and  rapturouslv  re-demanded, 
and  obligingly  repeated  ;  and  the  selection  from  the  Hugueno% 
performed  on  the  Sax-horns  by  the  Messrs.  Distin.  There  were 
other  morceaux^  vocal  and  instrumental,  which  obtained  the  favour 
of  the  audience.     Miss  Baynes  presided  at  the  piano. 

St.  James's  Thbatre.  •— The  benefit  concert  of  Mr.  Charles 
and  Mr.  Hamilton  Braham  took  place  at  this  theatre  on  Tuesday 
evening.  The  house  was  well  attended  by  a  numerous  and  aristo- 
cratic audience.  The  vocalists  were  Miss  Dolby,  Miss  Ransford, 
Mrs.  Newton,  Mr.  Braham,  and  his  sons.  The  programme  con- 
tained the  names  of  most  of  our  popular  composers,  and  the  se- 
lection evidently  afforded  the  utmost  satisfaction.  Soon  after  tho 
commencement  of  the  concert,  Mr.  Richards  apologised  for  tie 
absence  of  Mr.  Braham,  who  was  unable  to  attend,  in  consequence 
of  a  severe  cold.  Amongst  the  pertbrmances  of  the  evening  we 
must  notice  the  exquisite  manner  in  which  Mr.  Charles  Braham 
sang  **  The  Flowers  of  Friendship,"  and  also  a  now  ballad,  '*  The 
Rose^  and  the  Vine."  Miss  Dolby  sang  with  the  success  that 
invariably  attends  her*  She  ^ave  with  great  effect  an  aria  by 
Mercadante,  and  Linley's  ballad,  *<  Constance,"  and  also  with  Mr. 
Charles  Braham,  Balfo's  duo,  •'  The  Sailor  Sighs."  Miss  Ransford, 
who  possesses  an  admirable  voice,  and  must  become  au  acquisition 
to  our  concert  rooms,  produced  much  sensation  in  a  recitative  and 
aria  by  Mercadante,  and  with  Miss  Dolby  sang  very  charmingly 
"  Vanne  se  alberghi."  During  the  evening  Mr.  Charles  Braham 
introduced  a  new  song  by  Brinley  Richards,  **HarkI  Maiden, 
berkr  written  by  FitzbaU.'    The  effect  was  unquestionable,  and  I 


the  interpretation  of  the  song  reflects  much  credit  upon  Mr.  C. 
Braham's  taste  and  judgment.  The  song  was  loudly  applauded, 
and  narrowly  escaped  an  encore.  We  feel  certain  that  Mr.  Charles 
Braham  will  one  day  occupy  a  very  eminent  position  in  the  list  of 
our  English  vocalists,  provided  ho  does  not  allow  himself  to  become 
satisfied  with  the  success  that  has  already  attended  his  efiforts. 
Mrs.  Newton  sang  '*  Una  Voce,"  and  Dr.  Ame's  charming'  song, 
"  Where  tho  Bee  sucks."  Mr.  Hamilton  Braham,  for  the  first 
time,  delivered  a  song  called  the  "Dead  Trumpeter" — a  highly 
dramatic  composition,  and  well  selected  to  illustrate  the  resources 
of  Mr.  H.  Braham's  fine  voice.  In  the  "  Sea  Rings'*  he  was  also 
eminently  successful,  and  entered  into  the  gay  and  reckless  character 
of  the  Rover  with  a  spirit  and  power  that  makes  one  regret  that  he 
does  not  turn  his  attention  to  the  stage,  upon  which  with  care  and 
study,  he  would  become  a  great  acquisition.  The  performance 
concluded  with  Nicholai's  duo  ;  <'  The  Exile's  Return,"  sang  very 
effectively  by  Mrs.  Newton  and  Mr.  H.  Braham.  The  concert 
was  conducted  by  Mr.  Brinley  Richards  with  his  usual  ability  and 
success. 

Thb  Bbaumont  iNSTrrirrioN.    {^rom  our  oum  Correspondent), 
—A  numerous  body  of  persons  were  assembled  at  these  rooms  on 
Monday  evening,  on  the  occasion  of  Mr.  Braham's  concert      The 
admirers  of  the  "  Veteran  of  Song  "  had  evidently  come  with  the 
full  intention  of  revelling  in  all  the  glories  and  excitements  of 
"  Biscay's  Bay"  and  the  "  Death  of  Nelson  ;"  in  addition  to  which 
the  programme  announced  that   Mr.  Braham  would  sing  a  new 
scena,  tne  incidents  of  which  were  taken  from  the  field  of  Water- 
loo, entitled  "  Shaw  tho  Life-Guardsman,"  the  words  by  Fitzball, 
and  the  music  by  Brinley  Richards.     Great,  therefore,  was  the 
anticipations  of  the  worshippers  of  dramatic  songs— the  very   idea 
of  Waterloo  filled  the  mind  with  all  those  fesrfiil  incidents  of 
'*  smoke  and  cries  of  the  wounded,"  so  deliciously  interpreted  by 
the  gallant  heroes  at  the  Surrey  and  Astley's  ;  but  the  course  of 
love  is  not  the  only  thins  that  runneth  not  smoothly.     The  clock 
tolled  the  hour  of  eight,  but  no  vocalists  had  even  arrived.     The 
audience  became  restive ;  the  restive  became  vocal  5  the   vocal- 
isation, in  a  rapid  crescendo,  burst  forth  with  all  the  violence  of 
storm.     In  the  midst  of  this  ^eute  the  secretary  appeared  on  the 
platform,  and  succeeded,  after  a  few  touches  of  mesmerism,  in 
tranquilizing  the  perturbed   minds  of  his  auditors.      He  briefly 
informed  them  that,  at  the  la«t  moment,  Mr.  Braham  found  himself 
so  very  unwell  from  the  effects  of  cold,  that  he  could  not  possibly 
appear  that  evening,  and  that  every  exertion  had  been  made  by 
Mr.  Charles  and  Mr.  Hamilton  Braham,  and  an  excellent  horse 
and  Brougham  to  procure  the  assistance  of  several  emineut;vocalists, 
but  without  success,  as  they  were  previously  engaged  ;  and  after  a 
touching  appeal  to  the  generosity  of  the  house— d  la  Bunn— -the 
speaker  sat  down — i.  e.  would,  had  there  been  a  chair— amidst 
much  applause.       The  whole  duties  of  the  concert,  therefore, 
devolvea  upon  the  exertions  of  Mr.  Hamilton  and  Mr.  Charles 
Braham  ;  and  considering  the  arduous  task  which  the^  were  called 
upon  so  unexpectedly  to  perform,  we  have  no  hesitation  in  saying 
that  the  entire  performance  reflected  the  utmost  credit  upon  them. 
Mr.  Charles  Braham  was  encored  in  a  very  pretty  ballad,  "  The 
Rose  and  the  Vine,"  the  composer's  name  was  not  printed.     Mr. 
Hamilton  Braham  sang  with  great  spirit  a  new  song  by  Brinley 
Richards,  called  "  The  Sea  Kings."      This  was  likewise  uproar- 
iously re-demanded  and  encored  with  great  applause.     Towards 
the  close  of  the  evening  a  sort  of  musical  dialogue  was  Jntroduced 
by  Messrs.  C.  Braham  and  Richards,  and. considering  that  it  had 
not  enjoyed  the  luxurv  of  a  rehearsal,  went  off  with  considerable 
Mat.     The  plot  and  incidents  ran  thus  :— While  Mr.  C.  Braham 
was  preparing  himself  for  a  duo  with  his  brother,  a  cry  was  raised 
for  tho   "  Lads  of  the  village;"  af^er  some  delay  Mr.  Charles 
Braham  and  Mr.  Richards  appeared.     The  introduction  began  and 
finished  with  a  brevity  truly  marvellous.     It  consisted  of  the  bass 
note  with  the  M.  A.  drd,  A.  M.  L  6th,  and  the  O.  C.  8th  (we 
believe  our  friend,  Mr.  F.  Flower,  will  apprise  us  if  the  abbrer. 
be  wrong),  a'l  these  sounds  were  heard  simultaneously ;  and  as  two 
individuals  were  seized  with  a  fit  of  talking,  the   chord  evidently 
was  not  without  some  effect.     The  song  began,  and  charmingly  the 
lugubrious  melody  was  uttered  by  Mr.  C.  Braham,  when  a  sudden 
halt  alarmed  the  and ieuce.     After  a  sotto  voce  conversation  with 
the  conductor,  ^another  stave  waSppffected. .  Bint  it|^soonm|{e|camB 


THE  MUSICAL  WORLD. 


20T 


evident  thai  the  accompanyist  and  Mr.  C.  Braham  wero  enjoying 
a  aort  of  bide-and-seek  exercise  in  modulation  ;  for  no  sooner  did 
the  "  Lads  of  the  Village  "  arrive  at  one  key,  when  the  accom- 
paniment was  found  somewhere  else,  and  so  on,  vice  versa,  for 
some  time,  when  another  halt,  and  a  sotto  voce  conversation,  inter- 
rupted with  cries  of"  Bray-vo,"  "  Hoevoov/'  ensued.  A  new  idea 
had  evidently  shot  up  in  Mr.  C.  Braham's  mind,  as  he  very  quaintly 
and  jocularly  informed  the  audience,  "  that  neither  he  nor  Mr. 
Richards  had  got  a  copy  of  the  song,  and  that  Mr.^  Richards 
could'nt  exactly  play  it,  because  he  had  never  heard  it.*'  This 
seemed  so  penectly  satisfactory  that  the  speech  was  heartily 
applauded,  and  the  vocalist  and  his  indefatigable  conductor  de- 
scended theplatform,  evidently  amused  and  astonished  with  their 
success.  We  most  not  conclude  this  notice  without  remarking 
npon  the  effective  manner  in  which  the  vocalists  gave  "  All's 
Well,"  this  was  greatly  applauded  and  encored.  The  concert  ter« 
minated  about  ten.    Mr.  orinley  Richards  conducted. 

Mb.  N.  F.  Sporlb's  annual  vocal  and  instrumental  concert  was 
given  on  the  evening  of  Tuesday,  the  16th,  at  the  London  Tavern. 
The  entertainments  were  of  the  best  kind,  and  were  excellently 
varied  so  as  to  suit  the  many-coloured  fancy  of  the  audience.  The 
coBcert  was  conducted  on  the  long-Thursday  principle,  which 
simply  means,  to  give  the  greatest  quantity  of  amusement  in  the 
smallest  space  of  time.  The  firot  part  contained  twelve  perform- 
ances, and  the  second  part  contained  twelve  performances  ;  but  the 
items  were  so  capital,  and  the  int^preters  so  perfect,  that  no 
weariness  resulted  from  the  longitudinity  of  the  entertainments, 
thoogfa  the  numerous  encores  considerably  elongated  the  perform- 
ance. To  particularize  all  the  items  we  cannot,  but  to  specialize 
some  of  the  items  we  can.  And  first  to  designate  the  executants — 
Miss  Dolby,  Miss  Morriatt  0*Conuor,  Miss  Thornton,  Miss  Mary 
Rose,  Mrs.  A.  Newton,  Mr.  Genge,  Mr.  Ransford,  Mr.  Robinson, 
Mr.  Farquharson  Smith,  Mr.  Turner,  Mr.  N*  F.  Sporle,  and  Mr. 
John  Parry,  were  the  vocalists ;  while  the  instrumental  performers 
numbered  Miss  Binfield  Williams  on  the  piano,  Mr.  F.  Chattcrton 
OB  the  harp,  BIr.  George  Case  on  the  violin,  and  Mr.  A.  Sedgwick 
and  Master  J.  Ward  on  the  concertina.  Among  the  excellencies 
of  the  entertainment,  we  shrill  notice  the  very  neat  and  finished 
performance  of  Miss  Binfield  Williams,  in  a  dashing  composition  of 
Hertz.  This  lady  improves  considerably.  Miss  Mary  Rose,  a 
pupil  of  Mr.  Louis  Leo,  a  very  young  debutante,  in  despite  of  a 
great  state  of  nervousness,  whicli  nearly  put  her  hore  de  combat  at 
her  first  iqppearance  in  public,  gave  iniucations  of  skill  as  an  artist, 
and  displayed  a  voice  rich  and  pure  in  quality.  We  expect  good 
finits  from  this  young  lady's  talents  and  gifts,  and  the  excellent 
instructions  which  she  receives.  Mr.  Frederick  Chatterton 
performed  a  fantasia  on  the  haip  with  great  brilliancy  and  power, 
and  was  vociferously  applaudecL  A  pretty,  and  somewhat  quaint 
ballad  of  Mr.  Sporle's,  received  an  encore  with  great  ajiplause,  and 
was  repeated  vrith  acclamations.  Miss  Dolby  sang  Linley's  very 
pleasing  ballad,  ''  Constance,"  beautifully,  "^and  was  rapturously 
eneored.  As  a  matter  of  course  John  Parry  was  similarly 
complimented  in  both  his  songs.  Mr.  Carte  was  immensely 
anplauded  in  a  solo  on  the  Boehm  flute.  Miss  Morriatt  O'Connor 
pleased  her  bearers  bv  her  unaffected  method  in  Balfe's  <' Child  of 
the  Sun."  Miss  Dolby  gave  a  Scotch  song,  which  was  received 
irith  universal  commendations ;  and  the  concert  concluded  with 
John  Parry's  affecting  comic  sone,  *'  The  White  Cat."  The  room 
was  full,  and  the  audience  were  nighly  pleased  with  the  entertain- 
ments, and  Mr.  Sporle  received  the  congratulations  of  all  who 
attended,  and  great  was  the  success  thereof.  Mr.  Louis  Leo  con- 
doeted  with  his  usual  ability. 

RoTAL  AcADSHT  or  Music. — The  first  concert  for  the  season 
took  place  In  the  Hanoyer-square  Rooms.  The  following  pro- 
gramme  was  performed  in  presence  of  a  very  full  audience : — 

Past  L— Funeral  Antbem.  **  When  the  ear  heard  Mm/'  Miss  Ransford,  Miss 
Safanon.  Hr.  Herbert, and  Mr.  Wetberbee,  and  chorus,  Handel.  Cantata,  "Let 
an  on  Idch  tbeir  voices  raise.''  Soli  by  Miss  Stewart,  Miss  Salmon,  Messrs  Gard- 
ner, and  Wstherbee,  Weber,  Concerto  Dramatique,  violin,  Mr.  A.  Simmons, 
Bpetr, 

.  Past  II.— Chorus,  MS.,  from  a  Mass:  the  Soli  by  Miss  Cheeseman,  Miss 
ftdmeo,  Mr.  St.  Albin,  and  Mr.  Weeks,  H,  Wylde.  Recit.  and  Air,  **  But  who  is 
he?"  BCiiB  Baaslbrd,  (Jodiua)  Handel,    Concert  StOck,  Pianoforte,  Mr.  J.  T. 


MareeUo.    Trio  and  Chorus, "  Though  all  alone,"  Miss  Ransford,  Mr.  Herbert, 
and  Mr.  Wetherbee,  (Mount  of  Olives)  Beethoven. 
Conductor,  Mr.  C.  Lncas.    Princiind  violin,  M.  Sainton. 

The  Royal  Academy  of  Music,  says  the  Morning  Chronicle,  was 
instituted  in  i8J2,  and  is  under  the  immediate  patronage  of  her 
Majesty.  The  Queen  Dowager  is  the  patroness.  Prince  Albert, 
the  King  of  Belgium,  and  the  Duke  of  Cambridge,  yico-patrons> 
and  the  Duchess  of  Kent,  vice-patroness.  The  committee  of 
management  consists  of  the  Earl  of  Westmoreland,  the  chairmaut 
who  was  mainly  instrumental  in  the  formation  of  the  institution* 
and  to  whom  it  is  deeply  indebted  ;  Sir  G.  Clerk,  chairman,  ad 
interim ;  the  Earls  of  Wilton  and  Fife,  Lord  Saltoun,  the  Hon.  A, 
Macdonald,  Sir  G.  Warrender,  Lieut.- General  Sir  A.  Barnard, 
K.C.B..  Sir  J.  Campbell,  K.C.T.S.  and  the  Rev.  F.  Hamilton, 
A.M. ;  Captain  Bontein  is  the  superintendent,  and  Mrs.  Weiss  the 
governess.  Mr.  Cipriani  Potter  is  the  principal  of  the  musical 
department ;  Mr.  C.  Lucas  the  conductor,  and  M,  Sainton  first 
violin.  Amongst  the  professors  are  Sir  G.  Smart,  Sir  H.  Bishop, 
Signori  Crivelli  and  Negri,  Messrs.  Goss,  Neate,  W.  S.  Bennett, 
W.  L.  Phillipps,  J.  Bennett.  W.  H.  Holmes,  Mrs.  Anderson, 
Madame  Dulcken,  Miss  Kate  Loder,  &c.  There  are  also  pro- 
fessors for  Italian  and  general  literature,  declamation,  &c.  The 
pupils  may  be  either  in-Soor  students,  residing  at  ttie  academy  in 
Tenterden-street,  or  out-door  students  ;  and  all  branches  of  music 
are  taught,  the  selection  being  made  on  entrance.  The  tuition  is 
for  40  weeks  during  the  year,  and  the  students,  when  competent, 
are  appointed  sub-professors.  Certain  advantages  are  given  to  the 
students  who  leave  the  academy,  there  being  three  classes  of  cer- 
tificates to  be  gained  by  study  and  good  conduct.  Four  King's 
scholarships  were  founded  in  1884,  the  gainers  receiving  their 
musical  education  for  two  years  gratuitously,  when  the  late  scholar 
may  compete  a  second  time.  Many  of  our  most  distinguished 
musicians  have  received  ^their  musical  education  at  the  Royal 
Academy.  There  can.  be  no  question,  however,  that  its  advan- 
tages might-  be  materially  increased,  if  the  legislature  could  be 
prevailed  upon  to  extend  its  patronage  by  a  fiiiiancial  support,  so  as 
to  form  a  national  Conservatoife.  At  present  the  Royal  Academy 
is  dependent  on  the  payments  of  the  pupils,  private  donations,  and 
the  annual  proceeds  of  a  fancy  dress  ball. 

We  have  few  remarks  to  offer  on  the  above  programme*  There 
was  only  one  composition  by  a  pupil  of  the  institution,  Mr.  Wylde's 
MS.  chorus.  Mr.  Wylde  is  now  an  associate,  not  a  student  in  the 
institution.  Ho  is  a  very  clever  and  rising  professor,  and  the 
fragment  of  his  Mass  was  so  well  written,  and  so  instinct  with  true 
musical  feeling,  that  we  regretted  not  to  hear  the  whole  of  it.  It 
was  executed  with  care  by  the  chorus,  band,  and  soloists,  and 
exceedingly  well  received.  The  performance  of  M.  A.  Simmons 
on  the  violin,  and  that  of  Mr.  J.  T.  Mew  on  the  pianoforte,  may 
be  commended  as  ambitious  attempts,  arguine  well  for  the  courage 
and  energy  of  the  young  executants.  Miss  Ransford,  the  beauty 
of  whosevoice  we  "have  acknowledged  some  time  ago,  evinced  an 
improvement  in  style  and  execution,  that  demands  special  remark. 
Mws  Stewart  must  also  be  named  as  one  of  the  vocal  students  most 
likely  to  attain  eminence.  She  was  much  and  deservedly  applauded 
In  her  recitative  and  air  from  Weber's  "  Hymn  to  Jehovah."  The 
Funeral  Anthem  of  Handel  was  performed  in  respect  to  the  memory 
of  Sir  William  Curtis.  Bart.,  (lately  deceased)  who  was  an  old  and 
staunch  patron  of  the  Academy.  For  the  same  reason,  all  the 
students  in  the  orchestra  and  chorus  were  attired  in  mourning. 
The  old  custom  of  forming  the  orchestra  out  of  the  actual  pufuls  of 
the  institution  is  now  done  away  with,  we  presume,  from  lack  of 
efficient  talent.  This  is  a  great  pity,  and  shows  that  reform  is 
wanting  somewhere.    We  shall  return  to  the  subject 

Choral  Harmonists,— This  Society  gave  its  fifth  concert  for  the 
season  on  Monday  last.  The  Mass  selected  for  the  occasion  was 
Haydn's  in  C.  Being  generally  well-known,  it  was  performed 
with  admirable  precision.  We  could  not,  however,  but  regret  the 
absence  of  Miss  Lockey,  from  indisposition;  for  although  Miss 
Cubitt  kindly  consented,  at  a  very  short  notice,  to  supply  her  place, 
this  young  lady's  voice  is  not  adapted  to  the  soprano  parts  of  the 
Mass,  In  consequence,  the  Benedictus  was  omitted,  which  we  the 
more  regret,  as  it  is  but  seldom  that  we  have  opportunities  afforded 
us  of  hearing  the  masses  performed  at  all  in  the  stylo  originally 
intended  by  the  composers.    Mis^Dc^lby 


jf.^htyrp^i'e 


208 


THE  MUSICAL  WORLD, 


and  impressive  style,  the  air  from  St  Paul,  '*  Bat  the  Lord  is 
mindful  of  his  own  ;**  and  the  first  part  concluded  with  Spohr's 
Cantata,  '*  The  Christian's  Prayer,**  the  solo  parts  of  which  were 
as  ineffective  as  in  Haydn's  Mass,  from  the  same  reason.  Croce's 
madrigal,  '*  Cynthia,  thy  Song,**  (1590)  commenced  the  second 
part.  No  improvement  seems  to  take  place  in  the  manner  in  which 
the  madrigals  are  sung,  but  on  the  contrary,  there  seems  to  have 
been  a  retrogade  movement  in  this  respect.  Wo  perfectly  well 
remember,  some  years  back,  when  tho  madrigals  were  universally 
encored  for  the  artistic  style  in  which  they  were  sung,  but  now  they 
scarcely  receive  a  mark  of  approval.  If  it  is  a  rule  to  sing  a 
madrigal, surely  it  is  worth  while  to  have  it  rehearsed.  Mendelssohn's 
overture  to  the  "  Isles  of  FingalT  was  well  played.  Mr.  Lockey 
sang  the  cavatina  from  the  Zauberflotet  '*  O  cara  imagine  ;"  and 
Mr.  Machin,  **  The  Mariner's  Song,"  by  Frauz  Keiser.  A  duct  of 
Haydn's,  for  soprano  and  tenor,  was  inserted  in  the  programme, 
but  in  lieu  thereof.  Miss  Cubitt  sang  an  extra  song.  Romberg's 
"  Song  of  the  Bell"  concluded  the  evening's  entertainments,  Miss 
Cubitt,  Mr.  Lockey,  and  Mr.  Machin  singing  the  solo  parts.  The 
band  was  led  by  Mr.  Dando,  and  Mr.  Westrop,  as  conductor, 
showed,  by  the  able  management  of  the  forces  under  his  command, 
what  may  be  done  with  amateurs,  iu  music  like  Spohi^s,  to  which 
they  are  not  accustomed. 

Miss  Dinah  Farmer — This  zealous  young  rtianist  gave  her 
annual  concert  at  the  Hanover  Square  Rooms  on  Monday  evening, 
before  a  crowded  audience.  In  the  true  spirit  of  an  artist.  Miss 
Farmer  had  provided  a  full  orchestra  for  tho  occasion,  and  with  its 
assistance,  sne  ileli^hted  her  friends  with  a  very  spirited  perform- 
ance of  Weber's  Concert  Stuck,  which  was  loudly  applauded 
throughout.  Miss  Farmer  also  gave  a  vigorous  and  effective 
reading  of  a  brilliant  and  showy  duct,  on  airs,?rom  GuiUaume  Tell, 
in  which  she  enjoyed  the  valuable  co-operation  of  Mr.  Blagrove. 
This  performance  was  also  received  with  unanimous  and  well- 
merited  applause.  The  list  of  vocalists  wal  numerous,  .comprising 
Mrs.  A.  Newton,  Mrs.  W.  H.  Weiss,  Misses  Raiuforth,  Sara 
Flower,  M.  A.  Ley,  and  Cubitt;  Messrs.  D.  W.  King,  T.Williams, 
J.  A.  Novello,  and  Mr.  W.  II.  Weiss.  There  were  two  novelties 
in  the  programme,  both  of  which  merit  notice  :— a  scena  by  Mr.  T. 
M.  Jolly,  and  a  very  pleasing  song,  "  The  Minstrel's  return,"  by 
Mr.  Howard  Glover.  These  were  both  cleverly  sung  by  Mrs.  A. 
Newton,  a  clarionet  obligato  part  in  the  former  being  beautifully 
played  by  Mr.  Maycock,  first  clarionet  in  the  Drury  Lane  orchestra. 
£k)th  were  received  with  great  favour.  Miss  M.  A.  Ley  obtained 
much  and  deserved  applause  in  Wallace's  popular  ballad  (from 
MatiUid),  **  A  lowly  youth  ;"  and  Miss  Sara  Flower,  in  an  air 
by  Donizetti,  by  her  fine  voice  and  impressive  style,  created 
quite  a  sensation  among  the  audience.  Fantasias  on  the  concertina 
and  harp  by  Mr.  R.  Blagrove  and  Mr.  F.  Chatterton,  agreeably 
varied  the  entertainments.  The  conductors  were  Mr.  Holmes,  tho 
distinguished  pianist,  his  intelligent  pupil,  Mr.  S.  Noble,  and  Mr. 
Hopkinson.  The  concert  was  very  long,  but  gavo  general  satis- 
faction. 

Amateur  Musical  Socibtt. — The  following  was  the  programme 
of  the  fourth  meetbg  on  the  19th  inst.,  at  the  Music  Hall,  Store- 
street  .• — 

Symphonv,  6  minor,  Moswt.  Overture,  *<Oberon,*'  W^ber,  Operatic  Selec- 
tion, *^Lacia  di  Lammermoor,"  DonUetti.  Overture^  "The  Siere  of  Rochelle," 
Balft.  Symphony,  C  minor,  Beetkoveji.   Overture,  **  La  GazzA  Ladra,*'  Roitini, 

The  band  is  greatly  improving.  The  overture  to  Oberon  was 
capitally  played,  and  encored.  Balfe  does  wonders,  and  b  well 
seconded  by  his  forces.     The  room  was  crowded. 

CaosBY  Hall. — Mr.  W,  Rea  commenced  a  series  of  three  clas- 
sical chamber- concerts  last  night,  in  the  Throne-room.  His  pro- 
gramme was  very  ambitious,  including  some  of  the  most  elaborate 
con^positions  of'  Bach/  Scarlatti,  Beethoven,  Mendelssohn,  and 
Sterndale  Bennett.  Mr.  Rae  is,  as  yet,  but  a  young  pianist, 
though  he  has  evidently  imbibed  good  notions  of  art  from  his 
roaster,  Mr.  Sterndale  Bennett,  and  bids  fair,  with  the  cid  of 
assiduous  study,  to  make  some  figure  in  his  profession.  His  per- 
formance last  night  developed  much  real  excellence  and  consider- 
able promise.  His  fault  was  in  attempting  too  much,  and  not 
always  hitting  the  mark.  He  has  a  firm  touch,  a  full  tone,  and  no 
litde  energy  in  his  style.  In  rapid  passages,  however,  he  is 
fidgetty,  and  is  often  indistinct :  his  cantabile  playing  lacks  sen- 


timent, and  his  phrasing  is  frequently  abrupt  His  best  perfomaneea 
were  Bach's  violin  sonata,  in  E  m^jor,  with  Mr.  Dando,  mod 
Mozart's  grand  duet  for  the  pianoforte,  with  Mr.  Sterndale 
Bennett.  In  these  compositions  he  was  more  at  ease  than  in 
those  which  he  played  alone.  The  Scherzo,  and  Hondo  Piaee^ 
vole  of  Sterndale  Bennett,  the  former  especially,  were  almost 
bevond  his  grasp ;  and  he  would  have  done  mnch  better  to  defer 
till  a  latter  period  the  difficult  Caprice,  in  F  sharp  minor,  of 
Mendelssohn.  All  things  considered,  however,  there  was  much 
promise  and  evidence  of  the  right  feeling  in  what  Mr.  Rea  per- 
formed. Some  vocal  pieces  were  nicely  sung  bv  Miss  Cubitt  and 
Mr.  Williams,  accompanied  on  tho  pianoforte  by  Mr.  Rockstro. 
The  room  was  densely  crowded,  and  Mr.  Rea  was  liberallj 
applauded  in  most  of  his  pieces. 

Madllb.  Rosalie  TuEMAa's  grand  Soiree  Musicale  took  place 
on  Thursday  evening,  at  the  Hanover  Square  Rooms,  before  a 
crowded  and  ftshionable  audience.  The  fair  beneficiaire  performed 
during  the  first  part,  Mayseder's  second  trio,  Op.  52,  for  pianoforte, 
violin,  and  violoncello,  (in  conjunction  with  M.  Steveniers  and 
Signor  Piatti),  a  grand  fantasia  on  themes  from  Lucia  di  Lammer~ 
moor,  by  Prudent,  and  a  selection  of  morceaux  by  Dohler  and 
Prudent,  in  a  highly  creditable  manner.  In  the  second  act,  she 
played  a  grand  duet  with  M.  Bene<lict,  and  a  fantasia  on  a  theme 
of  Emani,  composed  by  herself ;  in  both  morceaux  she  appeared 
to  great  advantage.  The  remainder  of  the  programme  was  inter* 
preted  by  Madame  F.  Lablacbe,  Miss  Eliza  Nelson  (encored  in 
Lavenu's  ballad,  <*  Happ^  Heart"),  and  Signor  F.  Lablache,  as 
vocalists  ;  and  M.  Steveniers  and  Signor  Piatti  as  instiumentalbta. 
We  must  particularly  commend  ALidame  F.  Lablache  for  the 
manner  in  which  she  sung  Morlacchi's  aria,  *<  Notte  Tremenda" 
(by  the  bye,  originally  written  with  a  flute  accompaniment  obligato) ; 
she  was  greatly  applauded.  John  Parrv  was  received  with  great 
favour,  being,  as  usual,  encored  in  both  his  songs.  Mr.  Benedict 
conducted  in  a  highly  effective  manner. 

Mb.  LiMDSAT  Slopbr's  SoiKEES.---The  third  and  last  of  these 
first-rate  entertainments  took  place  in  the  Beethoven  Rooms,  on 
Thursday  the  18th.     The  attendance  was  very  numerous,  and  the 
audience  highly  attentive.    The  programme  was  as  follows  : — 
Part  I. 

Duet  in  F  m^jor,  for  two  performers  on  one  piano- 
forte, Messrs.  Sterndale  Bennett  and  Lindiay  Sloper,      Mozart, 

Recit.  and  Aria,  Miss  Dolby.. Mozart. 

Fantasia  in  F  sharp  minor.  Op.  28,  (pianoforte, 

Mr.  Lindsay  Sloperj Menielmhn, 

Part  II. 

Sonata  in  G  minor.  Op.  5,  No.  2,  for  pianoforte 
and  violoncello,  Messrs.  Lindsay  Sloper  and  Rous^elot,      Beethoven. 

Allemande  and  Gigue,  from   the    *'  Harpsichord 
Lessons" IMi  (anno  I670). 

Caprice  from  the  "  Suites  des  Pieces*' /.  S.  Badu 

Fuga  in  E  minor,  from  the  "  Suites  des  Pi&es," 
(pianoforte,  Mr.  Lindsay  Sloper) Handel. 

Song,  Op.  8.  No.  3,  Miss  Dolby Undtaif  Sloper. 

Study  in  G  minor H^.  S.  Bennett. 

Selection  from  a  Set  of  24  Studies,  (pianoforte. 
Mr.  Lindsay  Sloper) Undsay  Sloper, 

We  have  already  spoken  our  sentiments  fully  of  Mr.  Slopei^s 
refined  and  elegant  tafont.  Ho  delighted  his  audience,  as  usual,  on 
this  occasion,  and  was  greeted  with  liberal  applause.  Mozart's 
duet,  with  Sterndale  Bennett,  was  a  laro  treat.  It  u  seldom  we  can 
hear  two  such  pianists,  and  two  such  musicians  toKOther.  The 
fantasia  by  Mendelssohn,  was  a  fine  performance.  The  last  move- 
meut  was  taken  et  tremendous  speed,  but  Mr.  Sloper  accomplished 
it  to  the  end  without  tiring  cither  himself  or  his  auditors.  Lulli's 
beautiful  old  allemande  was  encored.  The  same  compliment  was 
paid  to  Mr.  Slopcr's  song,  "  Dear  is  my  little  Native  Vale,"  a  very 
elegant  and  charming  trifle,  which  Miss  Dolby  rendered  with  ex- 
quisite feeling.  The  audience  separated  at  an  early  hour,  perfectly 
gratified  with  their  entertainment.  We  are  pleased  to  hear  that 
during  the  season  Mr.  Sloper  will  give  a  grand  concert,  with 
orchestra,  in  the  Hanover  Square  Rooms.  ^ 

Musical  Union.— Mr.  Ella  gave  his  first  meeting  at    Wilis « 
Rooms,  on  Tuesday  afternoon.     H.  R.  H.  the  Duke  of  Cambridge 
was  present,  with  nearly  three  hundred  rank  and  fashion.      The^ 
programme  was  as  follows :—  Digitized  by  V^nOOy  ItT 


THE  MUSICAL  WORLD. 


209 


Quartet  in  C.No.  32.  Hoffdn,  Quintet  in  E,  flat  Op.  92.  Piano,  yiolin 
▼io)a»  violoncello,  and  c.  baaso.  Hummel.  Double  Quartet  E  minor,  No. 
S,  Op.  87— four  violins,  two  violas,  and  two  violncellot,  Spohr. 

Eiccutanta.  First  Violin,  Af.  SainUm,  Second  Violin,  ilf.  Delofre. 
Vi<^  Mr,  HiU.  Violoncello.  Signar  Piatti.  VioUns  extrm  for  double 
quartet,  Herr  QuiJfriaand  Mr.  ThirhDoU.  Viola,  Mr,  R,  Blagrwe,  C. 
Basso*  Mr,  Howell,    Pianoforte,  Herr  Benedict, 

The  performance  gave  general  satisfaction.  M.  Benedict  took 
the  pianoforte  part  in  the  quintet,  which  ho  executed  in  masterly 
style ;  Sainton  a  playing  in  the  double  quintet  was  in  the  highest 
degree  Tigonrosand  spirited  ;  Sig.  Piatti  is  an  exquisite  quartet  player, 
which  is  ;a  rare  distinction  for  solo  performers  on  the  violoneello, 
who  ordinarily  confine  themselves  to  the  interpretation  of  mere 
ftntaaias  and  |it«ces  de  circonstance.  Messrs.  Goflrie,  Thirlwall, 
and  Howell,  proved  of  high  utility  in  the  second  violin  and  double- 
bass  parts,  iJbeit,  by  the  way,  we  hardly  thought  Mr.  Ella  justified 
in  aaaigning  to  a  double-bass  a  part  which  Spohr  intended  for  a 
seeond  violoncello.  Mr.  Hill,  the  tenor,  was,  as  usual,  perfect,  and 
was  well  supported  by  his  junior,  Mr.  R.  Bla^ve,  in  the  second 
tenor.  The  programmes  raisonnies  with  which  Mr.  Ella  supplies 
his  visitors  would  be  more  useful  and  agreeable  were  they  written 
in  a  siile  somewhat  less  smacking  of  the  ex-cathedrd.  Being  fallible 
like  other  mortals,  Mr.  Ella  would  command  more  attention  were 
his  opinions  delivered  with  an  air  of  modesty.  Moreover,  the 
public  having  notlung  to  do  with  Mr.  Ella's  private  opinions  of  the 
Eari  of  Falmouth,  which  are  altogether  out  of  place  in  a  concert 
bill. 

Mk.  Dando>. — The  fiflh  of  this  gentleman's  interesting  quartet 
concerts  took  nlace  on  Tuesday  evening,  in  the  Throne  Room, 
Crosby  Hall.  The  attendance  was  very  good.  The  selection  was 
as  follows :  -— 

Fabt  Iw^Quartett  in  G  m^or.  No.  75,  for  two  violins,  viola,  and 
violoncello,  Messrs.  Dando,  Gattie,  W.  Thomas,  and  Lucas,  Haydn, 
Song,  Mr.  Kencb,  "  When  I  view  thy  form,"  Behrent,  Grand  Septet  In 
D  minor.  Op.  78,  for  pianoforte,  flute,  oboe,  horn,  viola,  violoncello  and 
contra  basso,  Madame  Dulcken.  Messrs.  Ribas,  Nicholson,  Jarrett,  W. 
Thomas,  Lucas,  and  C.  Severn,  Hummel. 

Part  II.— Quartet  in  £  flat  major.  No.  10,  Op.  V4,  for  two  violins 
Tiola,  and  violoncello,  Messrs.  Dando,  Gattie,  W;  Thomas,  and  Lucas, 
Beetht0ven.  Song,  Mr.  Kench,  '*  Repose,"  C.  B.  Czapek.  Ottetto,  in 
C  minor,  for  two  oboes,  two  clarionets,  two  horns,  and  two  bassoons. 
Messrs.  Nicholson,  Horton,  Lazarus,  Key,  Jarrett,  Hooper,  Keating,  and 
Johnstone,  Mozart.  Accompanyist,  Mr.  Walter  G.  Macfanen. 
We  have  only  space  to  commend  the  general  style  of  the  per« 
formance,  and  record  the  entire  satisfaction  of  the  audience. 

Mb.  SrsaNDALs  Bennett's.  At  the  third  and  last  of  those 
intellectual  entertainments  on  Tuesday  evening,  in  the  Hanover 
Square  Rooms,  Mr.  Bennett  providea  his  visitors,  who  mustered 
in  strong  and  brilliant  array,  with  the  following  programme  .  — 

Psrt  first.— Quintett,  in  £  flat,  pianoforte,  oboe,  clarionet,  horn,  and 
bassoon,  composed  March  1784,  Messrs.  W.  S.  Bennett,  Grattan  Cooke, 
Williaros,  Piatt,  and  fiaumann,  Mozart,  Lieder  ohne  Worte,  4th  book 
pianoforte,  Mr.  W.  S. Bennett,  Mendeluohn.  Song. Mr.  Marshall,  "The 
Fin,"  fV.  8,  Bennett,  Grande  Sonate,  "  L'Invocation,"  pianoforte,  Mr. 
W.  S.  Bennett,  Duttek. 

Part  Second. — Sonata  in  C  minor,  No.  2,  Op.  30,  pianoforte  and 
violin,  Mesirs.  W.  S.  Bennett  and  G.  A.  Griesbach,  Beethoven,  Fugue 
in  E  minor,  posthumous,  pianoforte,  Mr.  W.  S.  Bennett,  /.  8.  Bach. 
Part  Songs,  Nos.  1  and  6,  Op.  63,  Mendeluohn,  Misses  Ransford  and 
Salmon,  pupils  of  the  Royal  Academy  of  Music.  Selection  from  the 
pianoforte  works  of  IV,  8,  Bennetl,  Mr.  W.  S.  Bennett.  Accompanyist, 
Mr.  W.  Dorrell. 

The  voUtslied  of  Mendelssohn  and  the  fugue  of  Bach  were 
unanimously  encored.  The  Invocation  of  Dussek  was  a  superb 
performance ;  and  the  selection  from  the  composer's  own  works, 
(consisting  of  his  Allegro  OrazioMo,  Op.  18,  and  three  musical 
sketches  called  the  Lake,  the  Millatream^  and  the  Fountain,)  was 
a  treat  of  uo  ordinary  kind  to  tho  lovers  of  the  highest  oraer  of 
pianoforte  playing.  Mr.  Marshall  sang  "  The  past,"  with  taste  and 
reeling,  and  the  Misses  Ransford  and  Salmon  obtained  a  well 
merited  encore  in  the  first  of  Mendelssohn's  melodious  part-songs — 
"  I  would  that  mv  love."  Mr.  Dorrell's  accompaniment  was  in  his 
Usual  finished  style.  Altogether  the  entertainment  was  as  varied 
and  interesting  as  it  was  refined  and  classical,  and  the  audience 
left  the  room  with  general  regret,  that  it  was  the  last  for  the  season. 
It  is,  however,  a  consolation  that  Mr.  Bennett  has  advertbed  a 


?and  concert,  with  orchestra,  in  the  Hanover  Square  Rooms,  for 
hursdav,  June  10th.    We  shall  then  have  the  pleasure  of  hearing 
some  of  his  more  important  and  elaborate  works. 

MISCELLANEOUS. 

Weippbbt's  Soirsb  Dansantes  —Held  every  Monday 
evening  at  the  Princesses  Concert  Rooniy  continue  to  attract 
crowded  and  elegant  assemblages.  The  soiree  on  Monday 
last,  was  of  the  most  brilliant  of  the  season.  The  dancers 
were  indefatigable ;  the  band  was  excellent,  and  the  music 
the  most  danceable  that  could  be  selected  from  the  repertoire 
of  Weippert.  JuUien,  Coote,  Tolbecque,  Kcsnig,  W.  L. 
Phillips,  Costa,  and  Bosissio,  whose  **  Esmeralda  Waltzes," 
are  gems  in  their  way.  Wbippert's  **  Princesses  Polka," 
and  **  Ethiopian  Quadrilles,*'  are  spirited  and  agreeable 
compositions. 

Illness  ol  Mr.  Macready.— We  regpret  to  be  under  the 
necessity  of  stating  that  Mr.  Macready's  performances,  which 
were  to  have  commenced  last  night,  (Monday),  and  to  which 
the  playgoers  of  Manchester,  have  been  looking  forward  with 
such  interest,  are  deferred  in  consequence  of  sudden  in- 
disposition.— Manchester  Express- 

The  Vocal  Concerts  will  not  be  resumed  this  season, 
Miss  Hawes,  Miss  Birch,  Messrs.  Hobbs,  Lockey  and  H. 
Phillips  having  declined  to  lend  their  assistance ;  or,  to  speak 
more  properly,  as  directors  of  the  Vocal  Concert,  they  have 
thought  fit,  for  reasons  best  known  to  themselves,  to  remit 
them  altogether. 

Death  of  Mr.  Moralt. — This  favourite  and  distinguished 
tenor-player,  died  on  Thursday  week,  at  his  residence  in 
Rowland  Street,  Fitzroy  Square.  He  was  in  his  sixty- third 
year.  Mr.  Moralt  was  for  thirty-seven  years  a  member  of 
the  Royal  Society  of  Musicians;  he  was  for  many  years 
principal  tenor  of  the  Philharmonic  Band,  and  of  the  orchestra 
of  Her  Majesty's  Theatre  ;  and  principal  second  violin  at  the 
Ancient  Concerts. 

Mr.  Krarns's  Concert. — ^We  are  glad  to  hear  that  the 
late  Mr.  Kearns's  widow  and  children  will  benefit  about  210/. 
from  the  concert  which  took  place  on  Wednesday  last. 
Morning  Post, 

Mr.  Wilson  left  London  on  Saturday  for  Aberdeen, 
where  he  is  about  to  give  a  series  of  his  Scotch  entertainments. 
Mr.  Land  accompanied  him.  Mr.  Wilson's  success  in  Paris, 
has  been  unprecedented. 

Salb  op  Musical  Works. — The  valuable  musical  property 
of  Mr.  J.  A.  Stumpff,  late  of  44,  Great  Portland  Street,  will* 
be  sold  by  auction  by  Messrs.  Puttick  and  Simpson,  on 
Tuesday,  March  30th,  and  following  days,  at  their  Rooms, 
Piccadilly.  A  Catalogue  has  been  transmitted  to  us.  The 
musical  collection  is  rich  and  varied.  Among  the  curiosities 
and  varieties  to  be  proffered  for  sale,  we  may  note,  a  portrait 
and  snuff-box  of  Beethoven,  each  with  a  lock  of  his  hair; 
ten  MSS.  in  the  autograph  of  Mozart ;  a  wedding  service  of 
SebasUan  Bach's  in  his  own  hand-writing ;  a  scrap  of  writing 
in  Beethoven's  own  hand,  written  on  his  death  bed  for  Mr. 
Stumpff;  besides  various  autographs  of  other  great  men, 
including  Spohr,  Goethe,  &c.,  &c.  Attention  is  particulariy 
called  to  seven  manuscript  compositions  of  Beethoven,  prC' 
sumed  to  be  unpublished.  Among  these  are  three  overtures. 
We  strongly  recommend  all  musical  amateurs  and  connoisseurs 
to  attend  Messrs.  Puttick  and  Simpson's  sale  on  Tuesday  next. 

Mademoiselle  Marietta  Baderna's  engagement  ter- 
minates this  week  at  Drury  Lane.  The  fair  dansetise,  however, 
remains  in  London  to  fulfil  her  avocations  at  the  Royal  Italian 
Opera. 


Digitized  by 


Google 


210 


THE  MUSICAL  WORLD. 


Mes.  Butler,  a  Manaoee. — The  Observer  states  it  to  be 
more  than  probable  that  Mrs.  Butler  (late  Miss  F.  Kemble, 
for  it  is  necessary  to  make  the  distinction,  as  there  is  another 
Mrs.  Bntler,  who  has  advertised  readings  at  Crosby  Hall), 
will  ere  long  become  lessee  of  one  of  our  metropolitan  theatres ; 
the  present  tenant  of  the  house  being  willing  to  dispose  of  his 
interest  in  it  at  oiily  a  moderate  profit,  namely,  IflOOl.  a  year 
beyond  the  comparatively  low  rent  he  now  pays. — [There  is 
no  truth  in  this  report.  Mrs.  Butler  is  engaged  by  Mr.  Maddox, 
to  give  a  series  of  performances  at  the  Princess's  Theatre, 
immediately  after  Easter. — Ed.] 

Joseph  Joachim. — ^We  have  from  good  authority,  that  it  is 
not  quite  certain  whether  this  young  violinist  will  come  to 
England  during  the  present  season.  If  he  comes,  it  will  not 
be  before  the  middle  of  April. 

Mr.  C.  H.  Adams,  the  celebrated  astronomical  lecturer^ 
will  give  a  Series  of  readings  at  the  Adelphi  Theatre  during 
Passion  Week,  in  which  he  will  introduce  an  account  of  the 
new  planet,  and  explain  its  theory.  These  most  interesting 
lectures  are  exceedingly  worthy  the  notice  of  those  who  would 
wish  to  make  themselves  acquainted  with  the  motions  of  the 
heavenly  bodies,  and  speculations  arising  therefrom.  Mr. 
Adams's  splendid  orrery  will  be  exhibited  as  usual.  The 
lectures  will  treat  at  large  on  the  phenomena  of  the  Sun, 
Moon,  Stars,  Planets,  Satellites,  &c.,  and  will  describe  more 
particularly  the  annular  solar  eclipse  of  the  present  year. 

TO   CORRESPONDENTS. 

Mb.  Pio  CiAKCHETusu—Thanks  for  our  Correspondent* 8   kind  note. 

We  shaUlbeglad  of  hU  Anecdotes  of  Zingarellu 
Ma.  Alfrkd  Wbluon.— ^<?  cannot  recommend  our  Correspondent  any 

course  more  prq/ltable  to  take  than  a  course  qf  Harmony^Lessons  under 

Macfarren,  or  some  competent  instructor. 


ADVERTISEMENTS. 


ROYAL  SOCIETY  OF  MUSICIANS. 
THE   loath   ANNIVERSARY    FESTIVAL 

In  aid  of  the  Fondi  of  tlii»  Charity,  will  take  place 
On  Monday,  April  I9th, 

IN     THE     FREEMASON'S     HALL| 

On  the  aamejerand  icale  as  heretofore.  _^,^  , 

FREJJIDBNT  OF  THB  DAY-LIEUTBNANT-GBNBRAL  LORD  SALTOUN. 

J.  A.  Wood,  See, 

TO    THB    MUSIC    PROFSSBZON. 


•"NASSAU      STEAM      PRES  S," 

AND 

PU  BLISHING      OFFICE^ 

60,    ST.    MARTIN'S    LANE,    CHARING    CROSS. 

Every  description  of  CONCERT  PRINTING,  (Pnblic  or  Private,)  conslitiMf 
of  Pboobaicmks,  Notes,  Tickbts,  Posting  Bills,  &c.,  are  neatly  and 
expeditiously  executed  with  economy  and  taste  by 

W.    B.    JOHNSON, 

PBINTBB    TO    HBR    MAJBSTY'S    THBATBB  21  YBAB8 1 

Where  also  may  be  had  "The  Musical  World,"  and  all  Operas,  Comedies, 
Plays,  Farces,  Burlesques,  and  the  whole  of  Webster's  unique  Acting  Drama. 

DR.    STOLBERG'S   VOICE   LOZENGE 

la  acknowledged  as  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
dergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thioats. 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop:— 

"  Dbab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  Dr.  SroLBERa's  celebrated  Lozenge  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
leveral  of  the  Losenges,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

Barchiy  and  Sons,  Farringdon-street ;  Sutton  and  Ca,  Bow  Churchyard; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Chutchyard ;  Sanger,  and 
Pietrichsen  and  Hannay,  Oxford-street;  and  retail  by  all  respvctable 
Cbymifti  in  the  Kingdom.  , 


MUSICAL  COLLECTIONS  ft  STOCK  IM  TRADE 

OF  THB  LATB  MR.  A.  J.  STUMPFF, 
Of  No.  44,   GRBAT   POKTIJkND    8TBBBT. 


PUTTIOK   &   SIBKPSON^ 

(Successors  to  Mr.  Flbtchbb), 

auctiotteew  of  UiteratB  ^opettg, 

-WtXL  BBIiIi  BY  :aVCTION,  parUsr  at  their  Oreat  Room,  lOl, 
PICCADIIiLY,  and  partly  at  No.  44,  Ghreat  VorUanA  Street, 

The  Residence  of  the  late  Mr.  Stumfff, 

On  TUESDAY,  March  SOth,  andfoUawmg  day, 

At  One  most  punctually,  the  entire  Musical  Collections,  oondsthig  ef  nuBicMai 

MANUSCRIPTS 

OF 

MOZART,    BEETHOVEN, 

And  other  celebrated  composers  (some  unpublished),  Printed  MoaiCy  CurioaitiBi  i 
also  the  valuable  Stock  of 

PIANOFORTES   AND    HARPB, 

Of  improved  and  elegant  construction.     Together  with  the  partly  teiabed 
Instrnmentfi,  well-made  and  seasoned  Materials.  Tools,  Household  Forniture,  ftc. 
May  be  viewed  on  the  Saturday  and  Monday  before  the  sale.    Catalogues  are 
now  ready,  and  will  be  sent  on  application. 


EXTEMSIVE  OOLLEOTIOM  OF  MU8IC» 

Consisting  of  many  Thousand  Pieces^ 
500   ENGRAVED   MUSIC   PLATSS,   «re 


Being  the  greater  part  of  the  Stock  of  Mr.  N.  B.  Cuallonbb,  late 
the  Harp  (retired). 


of 


PUTTICK    X    SIMPSON, 

(Successors  to  Mr.  Flbtchbb), 

gluttiomers  of  Uiterarg  ^topertg, 

Will  Sell  by  Auction  at  tlielr  Great  Room,  IW,  PlccfcdUIy, 

On  THURSDAY,   April  Ibt., 

At  One  most  punctually,  the  valuable  Collection  of  Music,  consUtinff  of  Preceptive 

and  other  works  for  the  Pianoforte,  Vocal  and  Miscellaneous  Music,  more  ftan 

500  Enjfraved  Plates  ot  works  of  high  reputation.  May  be  viewed  two  days  Doore 


the  sale,  and  Catalogues  now  had. 


FAIR      COMPLEXION. 

Under  the  Patronage  of  the  Nobility  and  Gentry. 

TO   THa   IiADIBS. Wonderfol  and  Important  Diecoyery. 


ORIENTAL    BOTANICAL    PREPARATION, 

For  removing  almost  instantaneously  cutaneous  eruptions,  <*«*^«"»Pj"P*^J!EJ*I' 
and  other  ^colorations  of  the  skin.  After  one  appti«»tipn  of  the  ?«?"«  Ertr^ 
which  must  be  used  twice  a  day,  a  wonderfiil  change  wiU  be  p««aved,  and  to  toe 
course  of  a  few  days  the  complexion  wUl  assume  a  l>«^trf"l.^^P?S^*  J?*^ 
hue  appearance.  The  extract  to  apply  is  of  the  most  agreeable  n»!?Sid  wh^ 
first  Implication  will  prove  its  wonderhil  efficacy.  Prepared  only,  and  sola  wnoie- 
sale  and  retail,  by  the  sole  proprietor, 

GBORGB  H.  ^.  COOKBtJRN,  »,  Ald«ate,  iKWadonj 
And  Barclay  and  Sons,  Farringdon-street,  London ;  in  bottles  at  98.9d.  and  M.  (Id. 
SSSrSS  by  Sanger.' 150,  dxford-stKrti  Kiting,  ?*•  P^'^fii.S^^  ^J 
J^nson,  es/^ComEl:  Hknnay  andCo..^  Oxford^Mt;  Buti«  wd  <^ 
Cheapsi(ie;  fedwards,  ^t.  Paul's  Churchyard;  Prout,a»,  Strand;  and  of  aUotii«r 
Chemists  and  Periumers  in  the  kingdom .  ^^^^^ 

MISS    STEELE 

(Professor  of  Singing  at  the  Royal  Academy  ot  Music),  begs  to  anaoimce  a 

^ertonnance  of  Sbacr*  iWusfc, 

ON     WBBNB8DAY,     KA&OR    Slat, 

At  Two  o'clock,  at  the 

CONCERT  ROOM.  71,  MORTIMER  ST.,  CAVENDISH  SQUARE. 

Vocalists-Misses  Rainforth,    Steele,  "d^  »i^S'  H*^»  I  ^'^S^p^^^Sfe 

H,  Alb«iy..t«et,Reg«.t'..park.  ^.^.^.^^^  ^^  ^OO^ ItT 


THE  MUSICAL  WORLD. 


211 


ROYAL    ITALIAN     OPERA, 


COVENT 


GARDEN. 


UNDER    THE    DIRECTION    AND   MANAGEMENT    OF    MR.    BEALE. 


The  Nobility,  Gentry,  SatMoribert,  and  Patrons  of  Muaic  are  respectAdlT 
informed,  that  the  i—       / 

OPEN 


N 


8IGN0R   POLONINI, 

(From  the  Imperial  Theatre,  Vienna), 


:W      THEATRE      WILL      w 
On  Tnesday.  the  6th  of  April, 

WHEN  WILL  B8  PERFORMED  ROSSINI'S  OPERA-SERU  OF 

SEMIRAMIDE, 

MADAME    CRISI  ^"  which 

C^oSn  the  Scala  at  Milan,  her  in!  appm5c?JS  Vhia  coontry), 
8IGN0R   LAVIA,  

(From  the  Imperial  Theatre  of  St 

P«ter»burgh),  AND 

8IGNOR   TAMBURINI, 

(Hia  flrtt  appearance  in  London  for  tovac  yeara)  will  mutain  the  principal  characters. 

In  the  coarse  of  the  evenini^ 

THS   NATIONAI.   ANTHEM 

will  be  performed  by  the  entire  strength  of  the  company, 
lb  conchide  with  a  new  BaUet,  in  two  tableaux,  by  M.  Aiabbt,  entitled 

L' ODALISQUE. 

The  mwic  oompoeed  by  Signor  Ctoim i  (tnm  the  San  Cario,  at  Naples). 

Pbkmikrss  Danskusks  : 

MLLE.   FLEURY,  MLLE.    BERTIN, 

(«ro«  the  Academic  Royale  at  Paris),      (Firom  the  Imperial  Theatre,  Vienna,  and 

from  the  Acad^mie  Royale), 
ilLLE.   NEODOT,         M.   MABILE,  M.   GONTIE, 

(I^rom  Madrid),  (Prom  Madrid),  &c. 

PiKSCTOK  OF  THB  MuSlC,  COMPOSBB,  AND  CONDUOTOB-M.    COSTA. 

Oboakist— MR.  VINCENT  NOVELLO. 
TRS  SCENERY  BY  MESSRS,  GRIEVE  AfiD  TELBIN. 

Artirf3jLiS!?lS*7,  ^y„^/-  ^it°-    Th«  Properties  by  Mr.  Blamire. 
"^SS-Sl^JS^^^o"' ^^y-  ThenewdroptcenebySignoriFerriand Verardi. 
JSS^S^?b  *°**  ^S^  ^'^  "^^^  "•  »«*^n,  to  be  obtained  at  the  Box- 
iJnlL  ^Sl!i*  ?W;  Cr*™«''»  ^^^t  ^^  Co.%  aoi.  Regent-street.    The  doors 
gU^be  opened  at  half-past  Seven  o'clocic,  and  the  performance  to  commence  at 


Just  Published : 

ESSAY  ON  CLASSICAL  CHAMBER  MUSIC 

BY    C.     GUYNEMER. 
X  RICE    1^ 

To  be  had  of  the  Author^  73,  Georce-atreet,  Portman-aquare, 

^^ And  of  all  the  principsl  Mosic  Sellers. 

'Wtfrren's    20   Guinea   Cottage   Piano-Fortes 


ARE  NOW  SELLING  AT  THE 

Maan£ACtory,  71,  LeadenhaU  Street 

(Removed from  1  and  2,  Liverpool  Street,  Bishopsgate  Street) 
-J??!*?"*"'™*'***  •re  well  manufactured  of  the  best  s^soned  wood    Fnnr 
FUIX  TONE  AND  GOOD  TOUCH.  A  two  years  warnanty^  5?th  ^' iSSJ 
S?*-    Kaj^BLISHED  TWENTY-ONE  VeaRS.    The^only  hoS^  to  lSSSJ 

JOHN  WARBEN,  71,  LeadenhaU  St.,  opposite  Aldffate^  Pmp 


HAYMARKET  THEATRE. 

Mr.   AIsEcROFT'S 

a&xnvib  Sbacrcii  and  iRaiscellaneous  (iDonatt, 


On  TUESDAY  NEXT,  March  80th, 
At  which  will  appear  Mesdames  Albertazsl,  Birch,  E.  Birch,  Lablache,  Steele, 
Poole,  Hill,  Novello,  and  Miss  Maria  B.  Hawes :  Messrs.  Harrison,  TraTons. 
H.  Phillips,  F.  Lablache,  Brian,  Goibilei,  and  Mr.  Henry  RnsaeUt  also  the 
original  Ethiopian  Serenaders.  Solo  performers— Madame  Dnlcken,  Richardson, 
ana  Herr  Joachim.  During  the  evening  a  grand  Morseau  de  Concert  for  sixteen 
eminent  pianists  and  eight  celebratea  harpists.  Conductors— Messrs.  Negri, 
Lavenu,  and  T.  G.  Reed.  Leader— Mr.  Roberts.  Boxes  and  Stalls,  5s. :  pit,  Ss.  ( 
sallerv.  2s. ;  upper  gallery,  Is.  Private  boxes,  tickets  and  places  may  be  had  at 
Mr.  Allcroft's  Music  Warehouse,  15,  New  Bond-street. 

SACRED    HARMONIC   SOCIETY, 
EXETER  HALL. 

On    WEDNESDAY    EVENING,    fMAEOH    Slat, 

Win  be  performed  HANDEL'S  ORATORIO, 

THE    HESSaH. 

Principal  Vocal  Performers: Bliss   Birch,   Biiss  Kirkham,   Miss  Dolby, 

Mr.  Lockey,  and  Mr.  H.  Phillips.  The  Band  and  Chorus  will  consist  of  above 
600  performers.  Tickets,  3s.  each.  Reserved  Seats  in  the  Gallerv,  5s. ;  in  the  area, 
10a.  6d.,  may  be  obtained  of  the  principal  Muaicsellers ;  m  Mr.  Bowley,  8$, 
Charing  CroM :  Mr.  Ries,  102,  Strand :  or  of  Mr.  Mitchell.  39,  Chaiing  Cross. 

THOMAS  BREWEfCtion.  Sec. 


PIANOFORTES    FOR   SALE. 

A  very  superior  and  powerful  toned  6}  OcUve  Rosewood  COTTAGE,  by  Zeitter 
and  Co.,  with  meUllic  string  plate,  check  action,  tic,  cost  60  guineas  a  short  time 
since,  and  will  now  be  sold  fbr  half  that  sum ;  an  elegant  Rosewood  Semi-CABINET, 
-.  only  85  ruineasi  a  COTTAGE, 


6|  ocuves,  with  all  the  latest  improvements, 

ARE,byBroi3 

uuijr  X  «o.,  vy»t  gf.  K"'"c»B  i  *  54  DITTO,  4Si.     Also,  a  variety  of  new  an( 
improved  CABINET,  COTTAGE,and  PICCOLO  PIANOFORTBB,lfom25guin( 


umeas ; 
j^l8.. 


a  6  OCTAVE  SQUARfi^byBroedwooi^  with  metallic  spring  plate. 


ao-uuiAVK  SUUARB,  byBroadwm 
cost  52  guineas;  a  54  DITTO,  4^4. 


each.    Packed  free  of  expense. 
C 


SCOTCHER, 

(Arom  Collard  and  Collard*s),  60,  Mortimer-street,  Cavendiah-aqoare* 
Pianofortes  taken  in  Excuanok. 


JUST  PUBLISHED,   No.  II  OF 
WOOD'S    EDITION 

OF  THK 

SONCS    OF    SCOTLAfSiD: 

With   Symphonies  and  Accompaniments  for  the  Pianoforte* 
Edited  bsr  a.  F.  GRAHAM. 

In  addition  to  the  Music  and  Poetry  of  the  Songs,  the  Work  oontaina  brief 
Notices  ot  their  History,  when  these  can  be  derivecT  from  authentic  sources.  To 
be  completed  in  Twxnty  Monthly  Numbbrs,  at  Sixpkncb  each.  Bach 
Number  to  contain  Eight  Songs.  Published  with  the  Ufagazines  on  the  first  oi 
every  month. 

Contents  of  No.  1 1^- 


Flowera  of  tbe  Forest,  old  set 

Ditto      ditto,  modem  set 
Gloomy  Winter 
Bomiie  Wee  Thiiiir* 


Kind  Robin  lo'ea  me 
Ob  wb7  left  I  my  hame 
Bide  ye  yet 
Roelln  Oastle. 
No.  a.— 

How  sweet  tbis  lone  rale 
BSy  lore^s  in  Germany 
Green  crow  tbe  Rnsbes  Ol 
O  troe  lore  is  a  bonny  flower. 

Publisbed  by  WOOD  *  Go.,  Mnsic-sellers,  Ifl,  Waterloo 
Place,  Edinbnrcbi 

Aad  to  be  had  of  Oliver  &  Botd,  Edinburgh ;  J.  Alfred  Notbllo,  60,  Dean 
Street,  Soho,  wd  M,  Poultry ;  and  gw^g^J^MHAi,!^  fc  Co.t  IiOiulOB. 


Tbe  Bvsb  aboon  Traqoair 
Anld  Robin  Gray  (old  air) 
Ditto       ditto  (new  air) 
My  tocber's  tbe  Jewel 


212 


THE  MUSICAL  WORLD. 


THOMAS    BAKER'S 

MODERN    PIANOFORTE   TUTOR. 


mt>  ^"^m^mm 


Has  the  honor  to  announce,  that  he  haspust  published  the  above  work,  which 
he  fiatt^rs  himself  will  be  found  the  desideratum  so  long  sought  after  by  the 
profession.  Notvfithstanding  the  improvements  that  have  taken  place  in 
Pianoforte  Playing  within  the  last  ten  years,  no  deviation  has  been  made  in 
the  system  of  teai^ing  from  Tutors  of  the  Old  School ;  in  consequence,  many 
gifted  with  brjlli^uit  talents  have  been  unable  to  execute  the  music  of  the 
pi-esent  day.     For  this  reason  the 

MODERN    PIANOFORTE   TUTOR 

Has  been  introduced,  and  m^t  with  the  greatest  success  from  the  elite  of  the 
profession,  wlko  have  universally  adopted  it.  The  work  is  divided  into  two 
parts :  the  first  being  a  complete  Tutor  in  itself,  containing  the 

-  RUDIMENTS  OF  MUSIC, 
Iftules  for  ti)e  jpotmation  of  ifte  Hanb,  Jbcales, 

FINGER    BXERCI8BS,    ftc. 

Interspersed  with  Morceaux  from  the  works  of 
Be«tliOT«n,  Mosart,  Spohr,  Weber,  Mesrerbeer,  Rocb- Albert, 
.    RoMlni,  Bellini,  Docisetti,  ftc— Price  8a. 

The  second  part  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
the  most  refined  style  of  Modem  Playing ; 

ZUvfttrated  with  numerotui  Examples  8l  Exercises, 

On  all  the  various  Fingerings  adopted  by  thb  most  eminent  Pianistes  of  the 
Modern  School  :  with  Selections  from  the  Pianoforte  Compositions  of 
Hers,  Dohler,  Tbalbero,  &c  ;  in  fact,  everything  necessary  to  constitute 
a  first-rate  Pianist    Price  8s.,  or  ISs.  the  entire  work. 

Published  by  M.  JUU.IEN  &  Co., 

AT  THE  ROYAL  MUSICAL  CONSERVATORY, 

214.  REGENT  STREET,  and  45,  KING  STREET, 

Where  all  the  Compositions  of  the  above  Author  may  be  had. 


JULLIEN  S  ALBUM  for  1847. 

M.  JuLLiEN  has  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSICAL     /ll^NUAL    FOR    2847 

Is  tiow  Pablished,  and  will  be  found  by  fkr  the  best  work  of  the  kind  that 

has  ever  appeared  ;  containing  no  less  than 
Tlilrty  Pieces  of  Vocal  and  Fourteen  of  Instrumental  Music, 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patron's,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  taken  during  the  brilliant  scene  exhibited  in  that 
spfrBndfd  arena  of  the  occasion  of  M.  JULLIEN*S  GRAND  BAL  MASQUE; 
th^  other  a  VIEW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
CISRT6,  ihe  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  Ijfe-like  ojid  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Albom  vAW  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  thfi  admired  Pas,  La  Castigliani.  An  original  subject, 
"  The  Fortune  Teller,"  illustrating  Baker':}  beautiful  ballad  of  that  name. 

The  whole  of  this  deparlmtnt  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contribtilors,  where  will   be  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  addition  to  tne  latest  compositions  of  the 
best  English  Composers,  the  ALBVM  contains  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c.,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
tbeattention  of  the  Continental  diletantl.    Price  18s.  and  £1  Is. 

ROYAL    CONSERVATORY    OF    MUSIC, 

214,  Regent-Street,  and  45,  King-Street. 


sovc2bk:ign 


No.  5,  St.  JAMES'S  STREET,  LONDON. 


Trustees, 


Directors, 


Henry  Pownall,  Esq. 
Claude  Edward  Scott,  Eiq. 


Henry  Broadwood,  Esq.,  M.P. 
Sir  James  Carmichael,  Bart. 
Cfaarlei  Farebrother,  Esq.,  Aldcmum. 
WiUiam  Tulloh  Fraser»  Esq. 
John  Gardiner,  Esq. 
Aaron  Asher  Goldsmfd,  Esq. 
HenryWilUam  Pownall,  Esq, 
Scott,  Bart.,  and  Co. 


Sir  A.  Brydges  Henniker,  Bart. 
B.  Bond  Cabbell,  Esq.,  M.P. 

Chairman,  Lieutenant  Colonel  Lord 

Arthur  Lennox. 
Deputy-Chairman,  T.  C.  Granger, 

E«q..M.P. 
John  Aahburner,  Esq.,  M.D. 
T.  M.  B.  Batard,  Ksq. 
Philip  P.  Blyth,  Esq. 

BamkerSf  Sir  Claude  kfw»v,  o^.  v..  bhu  vaf. 
Solicitors,  Messrs.  Davies,  Son,  and  Campbell. 

Assurances  on  the  lives  of  persons  in  every  station  of  life  and  every  pait  of  the 
world,  granted  on  a  plan  which  combines  the  utmost  amount  of  benefit  to  the 
families  of  the  assured  at  death,  with  every  attainable  advantage  diariug  lift, 
which  the  system  of  Life  Assurance  is  capable  of  afTordiog. 

It  aifords  perfect  security  in  a  subscribed  Capital,  which  guarantees  the  prompt 
settlement  of  every  clnim,  with  participating  and  non.participatUig  ratet  on  tne 
lowest  scale,  especially  for  tenos  of  years. 

The  Assured  can  anticipate  or  obtain  the  advance  of  the  full  amoant  of  the 
Policy,  on  giving  approved  available  security  for  a  certain  nombeir  of  annual 
payments,  as  explained  by  the  Prospectus. 

Every  facility  is  afforded  to  persons  assuring  the  lives  of  others,  so  as  to  render 
such  Policies  effectual  securities. 

A  new. plan  of  gradual  or  aocnmulattve  Aasurahce,  parttcolarly  adapted  for 
young  lives,  and  for  such  as  cannot,  without  inconvenience,  undertake  the 
payment  of  a  fixed  premium,  securing  at  once  provision  in  case  of  premature 
death,  and  an  accumulating  fund,  available  during  life,  %honld  occasion  require. 

Annuities,  Enoowmbnts,  Advakcbs,  and  Loans,  on  lil>eral  teims. 

Detailed  Prospectuses,  with  forms  of  Proposal,  and  every  infboiiation,  may  be 
had  on  application,  either  personally  or  by  letter^  at  the  Company's  Ofltees. 

The  usual  commission  to  laolicitors  and  Agents. 

H.  D.  Davenport,  Secrttarp, 

THE  PATIKT  HARMOMUM. 


This  beautiful  Instrument  possesses  the  softness  of  the  voice  with  the  tariely  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Oi^n.    It  is  equidly 


daily;  and  where  can  be  inspected 

LUFF  &  SON'S  • 
Elegant  Assortment  of  PIANOFORTES, 

Madeby  experienced  workmen,  and  thoroughly  seasoned  wood^  all  of  Whidi  is 
prepared  on  the  premises.    Tney  are  warranted  to  stand  wdl  m  Tune,  and  are 
prepared  for  extreme  climates :  prices  one-third  less  than  usually  charged. 
Instruments  taiken  in  exchange,  and  a  liberal  allowance  to  dealers. 
IiUFF  and  SON,   103,  Great  RusseU  Street,  Bloomsbtury"  n 

HERR       PISCHEK 

Has  the  honor  to  announce  that  he 

WIUU      ARRIVE      INLONDON 

For  the  Season,  on 

MONDAY,    May  lOth, 

Letters  addressed  to  Herb  Fiscrek,  at  Jdllibn  and  Co.%  314,  Rbosnt 
Street,  will  be  attended  to. 

%  .  — .— B^l— — — — 1^^— ^i» 

Fiinted  and  Publishe«I,  for  the  Proprietors,  at  the  **  Nassau  -Steam  Preas.*' 
by  "William  Spbncer  Johnson,  60,  St.  Martin's  Lane,  in  the  pariah  ot  St- 
Mertifl's  m  the  Fields,  in  the  County  of  Middlesex :  where  all  communications 
for  the  Editor  are  to  be  addressed  post  paid.  To  ne  bad  of  O.  Purkess,  Dean 
Street,  Soho ;  Strange,  Paternoster  Row ;  Wisebeart,  Dublin ;  and  all  BookiellerSf 
—Saturday,  March  27th,  1847. 


Digitized  by  V^^OO 


yfe 


(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

A  RECORD  OF  THE.  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Vtrms  of  Bnbaeiiptioii,  per  Annual,  16«.  Stamped ;  ISs,  Unstamped  ^  to  be  forwarded  b^  Monejr  Order  or  Poataire  Stamps 
to  tbe  Publisher,  W<  8.  Johnson,  '^Nessan  Steem  Press,"  60,  St.  Martin's  Lane,  Oharlnc  Crossa 
4S*Each  Sabscriber  is  entitled  to  an  Admission  to  an  ^nnual  Concert,  and  a  Piece  of  Mnsie,  (resnliLr  Music  siss)  Monthly. 


No.  14,— Vol.  XXir. 


SATURDAY,  APRIL  3,  1847. 


f  PRICE    THREEPENCE 
\  STAMPED,  FOtJRPENCE. 


NOTICE. 
Most  Week,  with  No.  la,  will  be  GIVBPT  to  the  Sub- 
scribers onl7,   a  SO  NO,  composed  expressly  for 
SICNOR  CARbONI. 


THE    PtIILHARMONIC   CONCERTS. 

'  Never  since  these  concerts  were  originated  have  they 
.  been  the  object  of  such  general  attention  as  now ;  aiid 
all  because  an  Italian  musician  is  director  of  the  orchestra, 
and  opinions  are  at  variance  as  to  his  qualifications  for 
the  omce.  Signor  Costa  has  reason  to  feel  flattered  by 
the  importance  which  the  public  and  the  press  attribute 
to  his  movements.  Never  was  such  a  fuss  made  about  a 
conductor.  Applauded  when  he  comes  on,  applauded 
whea  li^  goes  off — at  the  beginning  and  at  the  end  of 
each  marceau,  no  matter  how  played — ^he  would  be  some- 
thing leas  than  human  were  he  to  preserve  his  equilibrium 
Tuider  the  circumstances.  But  Signor  Costa  is  human, 
and  the  puffing  of  his  Mend  in  the  Chronicle  has  succeeded 
in  turning  his  head;  That  .ftLnctionary  has  set  up  a 
golden  cfiSp  in  the  markei>-place,  an  effigy  6{  the  "  her- 
culean*"  conductor,  and  every  one  must  fall  down  and 
wonhip,  at  the  risk,  of  being  peppered  in  the  ChrQnicle. 
No  journal  must  presume  to  hint  that  Michael  Costa, 
who  describes  semi-circles.  aAd  *  diagonal  lines  in  the  air 
with  a  stick,  is  anything  short  of  Julius  CdBsar  in  merit, 
or  the  Chronicle  straightway  addresses  a  broadside  to  its 
disadvairtage.  The  Times  was'  rash  enough  to  ilisiniiate 
something  of  the  kind,  and  fearfial  was  the  punishment  it 
received.  A  paragraph  fipom  'orie  of  its  musical  articles, 
headed  **  T9ie  Times  An  1847,"  was  printed  side  by  side 
with  another  paragraph,  headed  *^  The  Times  in  1844," 
in  the  Chronicle  of  Tuesday !  !  It  is  true,  the  two  articles 
treaited  of  entirely  diflFerent-  matters ;  it  is  true  they  had 
no  kind  of  rdation  to  each  other ;  but  what  a  triumph  for 
the  ,C7Aro5^fe  to  be  able  to  point  to  the  two  and  say, 
•*  Look  upon  this  picture  and  on  tU&U'  A  leader  from 
The  Times  upon  ihQ  Montj^risier  marriage  in  1846,  and 
a  lead^'  upon  Daniel  O'Connell  in  1840,  placed  in  iuxta- 
pos]ti<»i;  would  have  served  just  as  well,  ahd  would  have 
oeen  jlUt  as  beside  tiie  subject.-  But  it  is  the  pride  of  the 
Chronicle  to  be  original,  and  the  musical  department,  in 
this  futility;  beats  all  the  press  hollow.  ,  Tbe  Chronicle^ 
with  a  shortrrightedness  and.a  thickheadedness  for  which 
it  has  been  »reinarkable  since  the  spring  of.  1846,  when 
the  editorship'  of  its  musical  articles  Evolved  upon  the 
present  writer,  insists  npon  making  the  conductorship  of 


Signor  Costa  at  the  Philharmonic  a  party  question 
apropos  of  the  two  Italian  operas.  But  the  mistake  is, 
that  instead  of  doing  good  to  his  idol,  this  unwise  course 
of  proceeding  will  be  likely  to  do  him  injury.  The  golden 
calf  will  probably  be  riven  to  shatters  some  fine  morning, 
like  the  idol  of  Nahucco  in  Verdi's  opera.  Signor  Costa 
has  a  right  to  demand  protection  from  his  friends,  who,  in 
endeavouring  to  establish  for  him  a  reputation  for  what 
he.  is  not,  fiiri  the  chaiice  of  knocking  down  for  him  the 
reputation  for  what  he  is...  We  have  never  been  disposed 
to  underrate  Signor  Costa's  talent,  and  in  his  proper  ' 
sphere  are  ready  to  acknowledge  him  on  all  occasions. 
But  it  is  preposterous  to  insist,  that  beicause  he  is 
admirable  in  the  conduct  of  an  It^ian  opera,  he  should, 
of  necessity,  be  admirable  in  the  conduct  of  a  German  ^ 
symphony.  And  yet  this  is  the  argument  involved  in 
the  rhapsodies  of  the  Chronicle^  with  a  sling  and  a  stone 
for  any  one  who  is  disinclined  to  adiiiit  its  soundness- 
For  our  own  parts,  if  Rossini  himself  were  appointed 
director  of  the  JPhilhamionic  orchestra,  and  were  ready  to 
accept  the  post,  we  should  not  be  satisfied,  and  for  the 
same  reasons  tliat  disincline  us  towards  Signor  Costa  in 
his  present  position.-  Signor  Costa\ is"  an  excellent  con- 
ductor, and  can  make  a  band  go  together,  in  no  matter 
what  music,'  as  well  as  any  man;  and  better  than  many: 
b  utmaking  a  band  go  together  is  not  the  only  duty  pf  a 
conductor.  If  expression  be  of  any  value,  in  orchestral 
performances,  it  will  hardly  be  deiiied  that  the  conductor 
should  be  able  to  give  it  But  the  conductor  cannot 
give  the  expression  Without  a  long  and  intimate  acquaint- 
ance with  the  style  of  music  he  has  to  conduct  He 
must  have  been  educated  in  it.  To*  say  that  it  can  be 
acquired  by  an  adult,  in  an  instant,  is  nothing  short  of 
an  absurdity ;  and  the  Chronicle  itself  will  not  have  the 
hardihood  to  claim  this  distinction  for  Signor  Costa,  whose 
youth  was  nurtured  in  the  frivolities  of  the  Italian  school, 
and  who  till  last  year  has  never  been  accustomed  to.*  the 
kind  of  music  he  is  now  appointed  to  direct  The  fact  is, 
that  Signor  Costa  is  receiving  his  education— 7undergbing 
a  course  of  lectures — learning  the  rudiments  ana  •  the 

Erinciples  of  a  new  art — ^witli  the  assistance  of  the  Phil- 
armonic  orchestra,  and  at  the  expense  of  the  Philhar- 
monic members,  assodiates,  and  subscribers.  It  may  be 
all.  very  agreeable  for  the  writer^ in  the  Chronicle  to 
preside  at  the  lessons  of  his  friend,  Costa,  and  to  puff 
theon,  the  inoming  after,  in  the  pages  of  the  devoted 
.-    ,    Digitized  by  V^OOy  It: 


'214 


THE  MUSICAL  WORLD. 


Chr^ide;  but  {lie  lblt^-gtliIlea  sat>scribers  have  k  ri||llt 
a-^ss^fet  H  tenoMctoi^  #lio  is  ihofoi^My  conversamt  W^ 
the  music  he  has  to  direct.  One  of  Kossini's  overtures 
would  go  splendidly  under  Signer  Costa's  baton — and  we 
expect  a  treat  on  Toesdaj  at  the  Royal  Italian  Opera, 
fix>m  the  Semirdmide — ^but  one  of  Beethoven's  symphonies 
is  quite  a  different  matter. 

Tl»  Secodd  concert  of  the  Philharmonic  Society  took 
place  on  Monday  evening,  when  the  Hanover-square 
rooms  {cn^  rather  room,  as  3ie  ante-chamber  was  closed), 
were  med  by  a  brifliant  company.  The  selection  of  the 
first  part  of  the  programme  was  made  with  reference  to 
the  period — ^Passion-week.  This  is  the  first  time  the 
Fhimarmonic  Society  has  given  a  performance  in  Pas- 
rion-weekf  and  we  trust  the  last  The  step  was  ill-advised, 
saA  told  dgainst  the  sale  of  guinea-tickets,  as  might  have 
been  expected.  But  the  ante-chamber  was  closed  as  a 
precautionary  measure,  lest  the  room  should  appear  less 
crowded  than  at  the  first  concert ;  but  though  the  pre- 
cautionary measure  produced  the  effect  intended,  it  failed 
to  escape  the  observation  of  those  who  were  looking  out 
for  squalls.    The  programme  was  as  foUows : — 

Pakt  I.— Sinfoota  in  C  Minor,  from  the  Last  Judgment,  Spohr. — Air, 
*'  Jeranlem/*  Miss  Birch,  Choras,  "  Oh  I  hippy  and  hlest,"  Song, 
"  Oh  God!  bvre  mercy,"  Mr.  H.  PhiUips,  (St.  Paul)  Mendelnohn  Bar- 
iholdp.^MtM  in  C,  Beethoven. 

Pah*  n.— Choral  Sinfonia  (the  principal  Yoice  parts  by  Miss  Birch, 
MiM  M.  Wmiiaii^  Mr.  Lockey,  and  Mr.  H.  PhUHps)  Beethoten.^Con^ 
ductbr.  Mr.  Costa. 

"Wliy  the  term  smfania  was  applied  to  the  second  over- 
ture in  Spohr's  Last  Judament  we  cannot  guess,  imless  to 
deceive  the  inexperienced  subscribers  into  the  idea  that 
they  were  going  to  have  the  ordinary  two  symphonies 
that  form  part  of  the  Philhannonic  programmes.  The 
Italian  term  sinfoma  applies  to  any  j^iece  of  instrumental 
musicy  and  has  quite  a  different  meanmg  from  the  German 
word  sinfaxie  saad  the  English  symphony.  In  England 
we  term  the  few  bars  of  instrumental  introduction  that 
precede  a  ballad  symphony ^  and  the  Philharmonists  might 
just  as  consistenuy  make  sinfonia  stand  for  the  com- 
mencement to  Mr.  Henry  Russell's  ballad  of  ^^The 
Maniac.''  We  were  not  sorry,  however,  to  hear  Spohr's 
overture,  which  is  a  fine  piece  of  music,  and,  no  less  than 
the  first  sinfonia  in  the  same  Last  Judgment^  should  long 
ago  have  found  its  way  into  the  Philharmonic  programmes. 
Perhaps  the  objection  may  be  urged  that  these  instru- 
meatal  pieces  suffer  from  being  separated  from  the 
oratorio  to  which  they  belong.  This  might  hold  with  the 
one  played  on  Monday  night,  which  is  a  pot-pourri  of 
subjects  afterwards  employed ;  but  there  is  such  a  plea- 
sure in  listening  to  the  gorgeous  instrumentation  of  Spohr, 
that  we  are  never  sorry  to  listen  to  any  composition 
from  his  pen,  es^ially  when  so  satisfactorily  executed 
as  the  "  sinfonia  m  C  minor"  (which,  by  the  way,  has  a 
long  episode  in  E  minor,  that  is  strongly  out  of  sorts  with 
the  rest)  at  the  second  Philharmomc  concert  Signor 
Costa  was  q^uite  correct  in  the  time,  and  conducted  with 
fire  and  decision.  Nevertheless,  the  "  Sinfonia"  produced 
litde  effect  upon  the  audience,  who  scarcely  deigned  to 
give  it  a  hand. 

The  three  pieces  from  St.  Paul  were  injudiciously 
selected.    The  effect  of  the  song  in  B  minor,  after  the 


chorus  in  E  Art,  wai>  by  Ho  means  good.  The  composi- 
ftms  theitfseltes  ftre  beautiful,  but  beirig  all  slow  move- 
ments the  result  of  their  performance  in  immediate  suc- 
cession was  tedious.  Miss  Birch's  voice  is  just  what  is 
demanded  for  the  beautifrd  air  in  B  flat^  and  the  accom- 
paniments were  played  delicately,  which,  as  there  is  so 
much  for  the  wood-instruments,  rather  sun)rised  us. 
The  chorus,  one  of  the  loveliest  things  in  St  Pauly  went 
smoothly;  but  Signor  Costa  rather  exaggerated  the 
teinpOy  which  occasionally  made  it  drag.  The  raUentando 
at  me  end  was  skilfully  managed,  though  rather  over- 
done. The  choristers  were  irreproachable,  both  in  taste 
and  execution.  We  should  have  preferred  hearing  the 
elegant  figure  of  accompaniment,  which  the  violins  sus- 
tain all  through  the  chorus,  a  shade  more  distinctly — 
for,  though  it  ought  not  to  be  obtrusively  prominent, 
Mendelssohn  would  hardly  have  bestowed  such  pains  to 
finish  and  elaborate  it,  unless  he  had  intended  it  to  he 
heard.  Mr.  Phillips's  "  Oh,  God,  have  mercv  1"  is  too 
well-known  and  appreciated  to  need  criticism  here. 

The  performance  of  the  mass  in  C  is  entitled  both  to 
praise  and  blame,  but  as  the  good  predominated  over  the 
bad,  we  shall  not  dwell  upon  me  ddfects  in  detail.  Signor 
Costa's  mistakes  were  chieflv  to  be  traced  to  his  uncertain 
feeling  as  to  the  times,  and  his  undecided  manner  in  indi- 
cating them.  He  frequently  led  the  band  off  at  one  time, 
and  then  feeling  himself  wrong,  dragged  it  back,  or 
hurried  it  forward,  as  occasion  demanded. 

On  the  whole,  the  choral  symphony  was  not  so  well 
performed  as  when  it  was  last  executed  under  the  direc- 
tion of  Mr.  Moscheles.  We  gave  so  long  a  description 
of  it  on  that  occasion,  that  we  have  nothmg  more  to  say 
on  the  subject,  with  Ae  proviso  that  every  new  hearing 
convinces  us  that  the  tnree  instrumental  movements 
exceed,  in  grandeur  and  beauty,  almost  everything 
of  the  kind  that  the  art  has  produced.  With  this 
conviction,  we  cannot  but  feel  regret  that  S^or 
Costa  should  have  suggested,  or  what  is  just  as  oad, 
should  have  tolerated  uie  mutilation  of  the  scherzo^  by 
omitting  the  reprises  of  each  part,  and  the  da  capo  of  the 
entire  movement,  which,  as  it  was  played,  was  des- 
titute of  that  clear  design  for  which,  like  Mozart, 
Beethoven  is  such  a  rigid  stickler.  What  was  worse, 
the  audience  encored  the  scherzo,  and  Signor  Costa, 
true  to  the  standard  of  ill  taste,  declined  to  repeat 
more  than  the  trio  and  the  fraOTient  of  the  coda,  wnich 
is  only  consistent  in  the  position  jBeethoven  has  assigned  it. 
We  agree  entirely  with  the  strictures  bestowed  by  the 
principal  organs  of  Ae  morning  press  upon  Signor 
Costa  for  this  unwarrantable  liberty  with  Beethoven's 
master-piece  It  was  altogether  unworthy  a  musician  of 
his  standing  and  pretensions,  and  would  seem  to  declare, 
beyond  a  doubt,  mat  he  has  no  real  sympathy  with  tiic 
great  school  of  art. 

The  effect  of  this  concert,  good  as  were  all  the  indi- 
vidual pieces,  was  heavy  and  monotonous.  We  were  not 
sorry  to  hear  the  mass,  although  the  Catholic  cathedral  is 
its  proper  place ;  but  few  cathedrals  possess  the  resources, 
YOGal  and  instrumental,  which  are  at  the  dispontion  of 
the  Philharmonic  Society,  and  such  a  noble  composition 


THE  MUSICAL  WORLD. 


215 


makes  its  own  apoloCT  wherever  it  may  be  iotroduced. 
It  iras,  howerer,  too  long  and  too  elaborate  a  work  to 
preisede  the  still  longer  and  more  elaborate  choral 
fljmphonj.  At  the  end  of  the  first  part,  the  audience 
had  nad  enough  of  such  serious  music  for  one  concert, 
and  the  sequel  prored  the  mistake  of  iudgment  which 
had  mduccd  die  performance  of  both  on  tne  same  evening. 
Dming  the  chond  movement  there  was  incessant  moving 
toward  the  door,  on  the  part  of  individuals  who,  caring 
more  for  getting  home  m  good  time  than  for  hearing 
Beethoven^  work  complete,  indulged  their  own  egotism 
at  the  expense  and  to  the  annoyance  of  those  who 
sufficiently  respected  the  great  master  to  wish  to  hear 
him  out  to  the  very  last  note. 


CHAPPELL  ▼•  PURDAY. 

This  WM  AD  tppeal  from  a  decree  of  the  Vice-Chaiicellor  of  England, 
whicfa  iraa  argued  before  bis  Lordship  on  the  20th  of  March*  and  reported 
hi  The  Times  on  the  t2d.    The  ease  stood  over  for  Judgment. 

The  bill  was  filed  by  Mrs.  Chappell  against  Mr.  Purday,  to  restrain  the 
pablitttion  of  the  orerture  to  the  opera  of  Pra  Diavolot  and  for  an  ac- 
ooont;  she  alleging  thai  she  had  the  f  ole  leji^al  right  to  the  publication 
of  the  mane.  The  first  decree  made  by  the  Vtce-Chandlor  was,  that  the 
bUl  shonld  be  retained  for  a  twelvemonth,  with  liberty  to  Mrs.  Chappell 
to  bring  an  action  to  test  the  validity  of  her  alleged  legal  title;  bat,  in 
the  event  of  her  omitting  to  bring  such  action  within  the  specified  time, 
then  the  bill  was  to  be  dismissed  without  costs.  An  action  was,  how- 
ever, brought  in  the  Court  of  Exchequer,  and  eventually  a  verdict  was 
come  to,  negatliingthe  eidusive  right  claimed  by  the  plaintiff.  The  suit 
in  Chancery  was  then  brought  before  the  Court  on  further  directions, 
when  the  vlce-ChaDcellor  made  the  decree  complained  of  by  the  present 
appeal,  namely,  dismissing  the  bill,  but  without  costs.  The  appellant 
conteDded  that  the  bill  ought  to  have  been  dismissed  with  costs; 

The  Lord  Chaoedlor  this  rooming  gave  judgment,  and  said,  after  stat- 
ing the  nature  of  the  proceedings  at  Uw  snd  in  equity,  that  a  party 
coming  to  a  court  of  equ  ity  for  the  protection  of  a  legal  right,  if  he  failed 
in  establishing  such  tefpd  right  at  law,  must  as  a  matter  of  course  also  fail 
liere.  Such  was  the  general  practice  of  this  court ;  and  it  was  founded 
upon  the  prlndpte,  that  if  a  person  brou«:ht  an  action  and  failed  he  was 
in  tlie  same  situation  as  if  he  had  brought  no  action  at  all.  The  two 
orders  made  in  the  court  below  were  totally  distinct  in  tbeir  nature,  and 
could  not  both  stand.  The  first  order  was  that  the  bill  should  be  retained 
for  a  certain  time,  but  that  if  no  action  were  brought  by  the  phiintiff 
within  that  time,  then  the  bill  should  be  dismissed  with  cosU.  It  cer- 
tainly appeared  most  inconsistent  to  say,  that  if  [no  action  shoold  be 
brought,  the  bill  should  be  dismissed  with  costs,  but  if  an  action  were 
broQaht  and  Ihiled,  then  the  bill  should  be  dismissed,  but  without  costs. 
The  nrst  decree  made  by  the  eourt  below  was  the  right  course  to  be  pur- 
soed»  and  must  be  followed  out,  but  the  two  decrees  together^  as  they 
stood,  were  irreconcilable.  It  was  not  possible  to  infer  that  the  costs  of 
Uicsoit  had  been refiised from  any  conduct  on  the  part  of  the  defendant; 
the  coort  bad  watted  the  result  of  the  action  at  law.  Moreover,  if  the 
defendant  had  caused  any  extra  expense  in  the  action  at  law  by  his  mode 
of  pleading  or  otherwise,  It  could  not  affect  his  right  to  the  general 
coats  in  the  suit  in  equity.  The  question  was  one  of  importance, 
both  with  regard  to  the  practice  of  the  court  and  principle  which 
ought  to  guide  it.  There  were  many  cases  in  which  the  costs 
were  in  the  discretion  of  the  judge,  and  from  the  exercise  of 
which  discretion  there  wu  no  appeid;  the  reason  being,  that  the 
Jad^,  on  appeal,  could  not  have  all  the  facts  before  him  which  influ- 
enced the  mind  of  the  judge  below,  unless  there  were  a  re-hearing  of 
the  whole  case,  and  therefSore  the  practice  of  the  Court  had  always  been, 
ia  such  cases,  to  refuse  an  appeal  for  costs  alone.  But  where  there  was 
a  fixed  rule  of  the  Court  with  respect  to  particular  costs*  the  Court  or 
Judge  could  have  no  discretion  in  the  matter;  and  if  it  appeared  on  the 
liice  of  the  decree  that  the  Court  below  had  irregularly  dealt  with  the 
costs*  Ibe  Court,  on  appeal,  would  not  afllrm  such  decree.  That  in  cases 
of  this  kind,  where,  on  the  face  of  the  decree,  costs  had  manifestly  been 
pven  contrary  to  the  rule  of  the  Court,  an  appeal  was  allowed  for  the 
eoats  alone,  was  proved  by  many  cases^"  Cowper  v.  Scott,"  decided  by 
Lord  Northhigton;  "Taylor  v.  Southgate."  and  "  AngeU  v.  Davies." 
both  in  reported  in  4  M.  and  C. ;  and  the  case  of  **  Owen  v.  Griffith," 
Ih  Ambler,  where  Lord  Hardwicke  stated,  that  in  some  cases  the  rule 
tiMt  thereiiioaldbe  no  appeal  for  coats  alone  might,  and  had  been,  dis- 
pensed with.    The  resolt  therefore  was,  that  if  the  Court,  on  appeal 


could  not  decide  the  point  without  a  re-hearing  of  the  cause,  then  there 
could  be  no  appeal  for  the  costs  alone,  but  otherwise  where  the  defect 
appeared  upon  the  face  of  the  decree.  In  this  case  the  Vice-Chancellor 
had  gone  against  the  practice  of  the  Court  in  not  dismissing  the  bill  with 
costs,  and  the  more  so,  as  the  two  decrees  made  by  him  were  inconsistent 
with  each  other.  So  much  of  the  last  decree  as  directed  the  bill  to  be 
(fiimissed  without  oosU  mast  be  varied,  and  the  bill  must  be  dismissed 
with  costs. 

VBB     AFFIHI'FI&a^ 

^rem  t(e  (Setman  of  €r'6t^f. 

Continued  J^om  page  908. 
PART    II CHAPTER  Vlll. 

Thies  are  few  persons  who  know  how  to  employ  thentselves 
with  that  which  has  passed  only  immediately.  Eitner  the  present 
forcibly  holds  us  to  itself,  or  we  lose  ourselves  in  the  past,  and 
seek,  as  hi  as  is  possible,  again  to  evoke  and  restore  what  is 
completely  lost.  Even  in  great  rich  families,  which  are  to  maeh 
indebted  to  their  ancestors,  it  is  generally  found  that  the  grand- 
father is  thought  of  more  than  the  father. 

Our  teacher  was  excited  to  make  reflections  of  this  kind,  when 
on  one  of  those  fine  days  on  which  the  departing  wintor  is  in  the 
habit  of  imitating  spring,  he  had  walked  through  the  large  old 
castle-garden,  and  had  admired  the  avenues  of  loftv  lime  trees  and 
the  regular  method  of  laying  out  the  grounds,  which  had  originiited 
with  Edward's  father.  They  had  thriven  admirably  according  to 
the  intention  of  their  planter,  and  now,  when  for  the  first  time  they 
had  to  be  acknowledged  and  enjoyed,  no  one  said  any  more  about 
them.  They  were  scarcely  visited,  while  taste  and  outlay  had  been 
directed  far  and  wide  towards  another  side. 

On  his  return  he  made  the  remark  to  Charlotte,  who  did  not 
take  it  in  ill  part,  •«  While  life  carries  us  on,"  she  replied,  ^  we 
think  we  are  acting  from  ourselves,  are  choosing  our  own  activity 
and  pleasures,  but  indeed,  if  we  look  closely  into  the  matter,  they 
are  only  the  plans  and  inclinations  of  the  time,  which  we  also  are 
compelled  to  bring  into  execution." 

•*  True,'*  said  the  teacher,  *'  who  can  resist  the  stream  of  circum* 
stances  ?  Time  moves  on  and  with  it  move  views,  opinions,  pre- 
judices, and  tastes.  If  the  youth  of  a  son  fall  exactiy  in  a  period  of 
transition,  we  may  be  assured  that  he  will  have  nothing  in  common 
with  his  father.  If  the  latter  lived  in  a  period  when  pleasure  was 
taken  in  appropriating  much  to  one's  self,  in  securing,  limiting,  and 
concentrating  this  property,  and  in  fortifying  one's  enjoyment  by  a 
retirement  from  the  world,  the  former  will,  in  such  a  case,  en- 
deavour to  extend  himself,  to  communicate,  to  diffuse,  and  to  open 
what  has  been  hitherto  locked  up.** 

"  Whole  periods  of  time,"  observed  Charlotte,  "  are  like  the 
father  and  son,  whom  you  describe.  Of  that  state  of  things,  when 
every  little  town  was  forced  to  have  its  walls  and  moats,  when  every 
noble  mansion  was  built  in  a  marsh,  and  the  smallest  castles  were 
only  approachable  by  a  drawbridge,  we  can  now  scarcelv  form  a 
conception.  Even  greater  cities  now  remove  their  walls,  the  moats 
even  of  princely  castles  are  filled  op,  the  towns  are  onlv  so  many 
large  hamlets,  and  when  we  observe  this  in  our  travels,  we  may 
believe  that  the  universal  place  is  secured,  and  the  golden  age  at 
our  doors.  No  one  ever  thinks  himself  comfortable  in  a  garden 
which  does  not  look  like  an  open  country  ;  nothing  should  remind 
us  of  art  or  confinement,  but  we  wish  to  draw  our  breath  ({uite 
freely  and  unconstraiuedly.  Have  you  a  notion,  my  good  friend, 
that  from  this  state  we  can  return  into  another — into  the  former 
one?" 

"  Why  not?"  said  the  teacher  ;  <«  every  situation  has  its  difii- 
culties,  the  limited  as  well  as  the  firee.  The  latter  presupposes 
superfluity  and  leads  to  prodigality.  Let  ns  keep  to  your  example, 
which  is  strikine  enough.  As  soon  as  want  appears,  self-limitatioa 
is  restored.  People  who  are  compelled  to  make  use  of  their 
ground  and  soil  affain  raise  walls  about  their  gardens  that  their 
produce  may  be  safe ;  hence  a  new  view  of  things  gradnally  arises. 
The  useful  again  gets  the  upperhand,  and  even  he  who  possesses 
much  thinks  he  will  be  forced  to  use  it  all.  Believe  me,  it  ia 
possible  that  your  son  may  neglect  all  the  park  plans,  and  again 
retire  behind  the  solemn  walb  and  under  the  tall  lime  trees  of  his 
grandfather." 

Charlotte  was  secretly  rejoioed  to  hear  a  son  pre^etedi  and, 


216 


THE  MUSICAL  WORLD. 


therefore,  pardoned  the  teacher  for  his  somewhat  unkindly  pro- 
phecjr  as  to  the  possible  fate  of  her  dear  beautiful  park.  Hence, 
she  replied,  quite  good-huniouredly,  **  Wc  are  neither  of  us  old 
enough  often  to  have  seen  contradictions  of  the  kind,  but  if  one 
looks  back  upon  one's  early  youth,  recollects  the  complaints  of 
older  persons,  and  takes  countries  and  towns  into  the  survey,  no 
objection  particularly  could  be  made  to  the  remark.  But,  should 
no  opposition  be  made  to  such  a  natural  course,  should  not  we  be 
able  to  reconcile  father  and  son,  parents  and  children  ?  You  have 
been  kind  enough  to  prophecy  a  son  for  me,  but  must  he  stand  in 
direct  opposition  to  his  father?  Must  he  destroy  what  his  parents 
have  built,  instead  of  completing  it  and  elevating  it  if  he  proceeds 
in  the  same  spirit  ?" 

**  There  is,  indeed,  a  rational  method  to  accomplish  this,"  re- 
plied the  teacher,  *'  but  people  seldom  apply  it.  Let  the  father 
make  his  son  a  part-possessor,  permit  him  to  join  in  building  and 
planting,  and  allow  him  to  have,  like  himself,  a  harmless  fpower  of 
discretion.  One  activity  may  be  woven  into  another,  but  never  can 
be  stuck  on.  A  young  twig  easily  and  readily  unites  itself  with  an 
old  trunk,  to  which  no  mature  branch  can  any  longer  be  joined." 

The  teacher  was  glad  that,  at  the  moment,  when  he  saw  himself 
forced  to  take  leave,  he  had  chanced  to  say  something  pleasant  to 
Charlotte,  and  had  thus  confirmed  her  favour  anew.  He  had 
already  been  too  long  absent  from  home,  but  he  could  not  make  up 
his  mind  to  return  until,  perfectly  convinced  that  he  must  allow  the 
time  of  Charlotte's  confinement  to  pass  over  before  he  could  hope 
for  any  decision  with  respect  to  Ottilia ;  he,  therefore,  submitted 
to  circumstances,  and  with  these  hopes  and  projects  returned  back 
to  the  governess. 

Charlotte's  confinement  approached  ;  she  kept  herself  much  in 
her  chamber  ;  the  ladies  assembled  round  her  formed  her  more 
limited  society.  Ottilia  took  care  of  the  household  afiairs,  while 
she  scarcely  ventured  to  think  on  what  she  did  ;— she  had  fully 
resigned  herself,  she  wished  to  be  even  still  more  serviceable  to 
Charlotte,  to  the  child,  to  Edward — but  she  did  not  see  how  it  was 
possible  ;  nothing  could  save  her  from  the  most  complete  state  of 
mental  perplexity  but  the  daily  performance  of  her  ciuty. 

A  son  came  happily  into  the  world,  and  the  ladies  all  agreed 
that  he  was  the  very  image  of  his  father.  Ottilia  alone  secretly 
dilTered  from  this  opinion,  when  she  congratulated  the  invalid,  and 
greeted  the  child  with  the  warmest  aficction.  While  the  prepa- 
rations were  going  on  for  the  marriage  of  her  daughter,  Charlotte 
felt  much  pained  by  the  absence  of  her  husband,  and  now  the 
father  was  not  to  be  present  at  the  birth  of  his  son,  nor  to  determine 
the  name,  by  which  he  should  in  future  be  called. 

The  first  of  all  the  friends  who  appeared  to  offer  their  con- 
gratulations was  Mittler,  who  had  posted  his  spies  to  bring  him 
immediate  notice  .of  the  event.  He  came  in  very  good  humour. 
Scarcely  concealing  his  triumph  in  the  presence  of  Ottilia,  he  spoke 
aloud  before  Charlotte,  and  was  the  very  man  to  banish  all  cares, 
and  to  set  aside  all  the  obstacles  of  the  moment.  The  christening 
roust  not  be  long  deferred.  The  old  pastor,  with  one  foot  already 
in  the  grave,  was  by  his  blessing  to  connect  the  past  with  the 
future  ;  the  child  was  to  be  named  Otto,  for  it  could  have  no  other 
name  than  that  of  the  father  and  the  friend. 

It  required  all  the  decisive  urgency  of  this  man  to  set  aside  the 
hundred  scruples,  dissuasions,  delays,  hesitations,  suggestions  for 
alteration  or  improvement,  waverings,  opinions,  and  changes  of 
opinion.  In  such  afiairs,  from  a  difficulty  removed  others  generally 
arise,  and  while  one  wishes  to  spare  the  social  relations,  some  are 
sure  to  be  compromised. 

The  office  of  giving  written  notices  of  the  fact,  and  of  inviting 
persons  to  the  christening,  was  undertaken  by  Mittler.  This  was 
to  be  finished  at  once,  aa  he  considered  it  of  the  greatest  conse- 
quence that  a  piece  of  good  fortune,  which  he  deemed  so  important 
to  the  family,  should  be  communicated  to  the  rest  of  the  world, 
which  sometimes  wishes  evil,  and  talks  evil.  Indeed,  the  late 
events,  connected  with  Edward's  passion,  had  not  escaped  the 
public,  which  remains  firm  in  the  conviction  that  wnatever 
happens,  only  happens  that  it  may  have  something  to  talk  about. 

The  ceremony  of  the  christening  was  to  be  solemn  but  short, 
and  limited  to  a  few.  The  party  assembled. — Ottilia  and  Mittler, 
as  sponsors,  were  to  hold  the  child.  The  old  pastor,  supported  by 
the  seryant  of  the  churchy  approached  with  slow  steps.    The 


prayer  being  over,  the  child  was  placed  in  Ottilia's  arms,  and  as 
she  looked  down  upon  it  wi*h  affection,  she  was  not  a  little 
startleil  at  its  open  eyes«  for  she  thought  she  was  looking  into  her 
own,  and  such  a  resemblance  was  enough  to  surprise  ao^r  one. 
Mittler,  who  next  took  the  child,  was  likewise  startled,  as  in  the 
general  formation  of  the  &ce,  he  discerned  such  a  striking  likeness 
of  the  Cantain  as  he  had  never  before  seen. 

The  infirmities  ofthegoddold  pastor  had  prevented  him  from 
accompanying  the  act  of  baptism  with  more  than  the  ordinary 
service.  Mittler,  full  of  the  subject,  remembered  his  early  clerical 
performances,  and  it  was  generally  his  way  to  think  in  every  case 
now  he  should  now  speak  and  express  himself.  On  this  occasion 
ho  could  so  much  the  less  restrain  himself,  as  he  was  only  sur- 
rounded by  a  little  party  of  friends.  Hence,  towards  the  end  of 
the  ceremony,  he  began  readily  to  put  himself  in  the  place  of  the 
pastor,  to  express,  in  a  cheerful  discussion,  his  hopes  and  his  duties 
as  a  god-father,  and  to  continue  this  so  much  |the  longer,  tis  he 
thought  he  could  perceive  Charlotte's  approbation  in  her  satisfied 
air. 

It  escaped  the  observation  of  the  stout  orator,  that  the  good  old 
man  would  have  liked  to  sit  down,  and  still  less  did  he  think  that 
he  was  on  the  way  to  produce  a  greater  evil  ;  since  afVer  he  had 
emphatically  described  the  relation  of  every  party  present  to  the 
child,  and  had  thus  exposed  Ottilia's  self-control  to  a  pretty  severe 
trial,  he  at  last  turned  to  the  old  roan  with  these  words,  ••  Andyon* 
venerable  father,  can  now  say  with  Simeon  t  Lord,  let  thpr  servant 
depart  in  peace,  for  mine  eyes  have  seen  the  saviour  of  this  house." 

He  was  now  in  train  to  make  a  brilliant  conclusion  ;  but  he  re- 
marked that  the  old  man,  for  whom  he  held  the  child,  first  seemed 
to  bend  towards  it,  but  afterwards  sunk  rapidly  back.  Having  been 
scarcely  kept  from  falling,  he  was  carried  to  a  chair,  and  notwith- 
standing all  the  assistance  rendered  at  the  moment,  they  were 
forced  to  pronounce  him  dead. 

So  immediately  to  see  and  think  of  birth  and  death,  the  coffin 
and  the  cradle,  not  merely  with  the  imagination  but  with  the  eyes ; 
to  combine  these  monstrous  contrasts,  was  a  difficult  problem  for 
the  bystanders,  especially  when  so  suddenly  performed.  Ottilia 
alone  looked  with  a  sort  of  envy  on  the  departed  one,  who  still 
retained  a  kind,  engaging  expression.  The  life  |of  her  soul  was 
killed — why  should  the  body  be  still  preserved  ? 

If  in  this  manner  the  melancholy  events  of  the  day  led  her  to  the 
contemplation  of  perisbablcness — of  parting— of  loss,  she  was,  on  the 
other  hand,  consoled  bv  wondrous  nocturnal  visions,  which  assured 
her  of  the  existence  of  her  beloved,  and  confirmed  and  animated 
her  own.  When  in  the  evening  she  had  lain  down  to  rest,  and  was 
still  floatinff  in  the  sweet  sensation,  between  sleeping  and  waking,  it 
seemed  to  her  as  if  she  wan  looking  into  a  space  perfectly  bright,  yet 
softly  illumined.  In  this  she  saw  Edward  quite  plain,  not  dressed 
as  when  she  had  seen  him  before,  but  in  military  uniform,  and 
always  in  a  different  position,  which,  however,  was  perfectly 
natural,  and  had  nothing  fantastic  about  it— thus  he  was  standing, 
going,  lying,  riding.  The  form,  which  was  finished  to  the  minutest 
detail,  moved  voluntarily  before  her,  without  anything  being  done 
cu  her  part — without  her  willing  it,  or  exerting  her  imagination. 
OAen  she  saw  him  surrounded,  especially  by  something  moveable, 
which  was  darker  than  the  bright  ground,  but  she  could  scarcely 
distinguish  the  shadowy  forms,  which  sometimes  appeared  to  her  as 
men,  horses,  trees,  and  mountains.  She  generally  went  to  sleep 
while  the  apparition  was  before  her,  and  when,  after  a  tranquil  night, 
she  woke  in  the  morning,  she  was  refreshed,  consoled,  and  felt 
convinced  that  Edward  was  still  living,  and  that  she  stood  in  the 
closest  relation  to  him. 

(  To  be  continued,) 
V  To  prevent  miranderstanding,  it  may  be  stated  that  the  copyright  of  this 
tianslatlon  belong!  solely  to  the  tnasUitor. 


MADAME  BISHOP  IN  THE  PROVINCES. 

{Fr^m  a  Corrapwd—U)  . 

Seeing  you  were  kind  enough  to  insert  my  notice  of  Madame  Bishop  s 
performances,  and  as  it  chimed  in  to  well  with  my  own  feelings,  I  baie 
attended  both  here  and  in  Bristol  at  the  operatic  entertainments,  and  trouble 
you  with  my  notions  resulting  therefrom.  J  assure  you,  it  requires  no  small 
degree  of  resolution  in  such  doleful  weather  to  quit  one's  cosy  fireside, 
to  venture  three  times  a  week  to  'any  performance,  especially  in  such  a  busy, 
filthy  place  as  Bristol.  1  forget  where  1  leil  off  in  my  last,  and  not  having  a 
numbw  of  the  M%9kai  W^rld  at  hand,  I  shaU  briefly  recapituUte  the  per* 


THE  MUSICAL  WORLD. 


217 


formanees  of  ibe  Prima  Douiia,  and  get  at  1a«t  into  the  right  channel  Ma- 
dame Bishop  commenced  her  engagement  at  Bristol,  on  Mondav,  the  22nd  of 
March,  and  debuted  in  Somnambuta,  The  house  was  not  full,  bnt  it  was 
fuller  than  I  expected.  There  were  many  sufficient  causes  to  keep  the 
visitors  from  the  theatre.  First  of  all  the  increase  of  taxation,  which  has  lately 
been  laid  on  heavily  on  the  inhabitants  of  this  plsce  and  the  surrounding 
neighbourhood  owing  to  the  increased  influx  of  Irish  paupers.  In  addhion 
the  private,  as  well  aa  publie  subscriptions,  liave  positively  (drained  all  the 
better  classes,  and  left  them  scarce  a  doit  to  expend  on  unnecessary  amuse- 
ments. Besides  these  weighty  causes,  the  approximation  of  the  Fast  day  and 
Passion-week  have  disposed  very  many  hohwise,  and  turned  them  entirely 
ftom  profane  indulgences.  These  causes  will  assuredly  more  than  account  for 
the  nncrowded  appearance  of  the  house.  But  what  was  wanting  in  number, 
vras  supplied  by  enthusiasm,  Madame  Bishop's  reception  from  beginning  to 
end  being  such  as  her  most  ardent  admirers  could  have  desired.  1  can  hardly 
remember  whether,  or  no,  I  entered  in  my  last  into  details  on  the  per- 
formance. X  will  merely  mention  here  that  she  repeated  the  finale  three 
times.  By  the  wa^  I  take  leave  to  differ  from  you,  or  a  writer  'in  your 
journal  touching  this  same  Rondo  finale^  as  It  is  sung  by  Madame  Bishop.  1 
have  read  in  an  article  of  the  Musical  Worlds  whether  in  the  leading  co- 
lumes,  or  elsewhere,  I  cannot  now  recall,  a  paragraph  disputing  Madame 
Bishop's  judgment  in  singing  the  finale  to  the  Sonnambula  in  Italian.  Cer- 
tainly it  would  have  been  better  if  it  conid  have  been  avoided.  Other  vo- 
adists  have  given  the  rondo  with  the  English  words,  but  at  vhat  a  sacri- 
fice. Theire  never  were  words  written  to  music  more  inharmonious  than 
thfiK  adapted  to  **  O,  non  giunge."  Can  any  thing  be  more  ridiculous,  as 
far  as  enpnooy  is  concerned,  that  the  substitution  of  '*  Oh !  don't  mingle."  It 
is  almost  impossible  to  find  a  syllable  more  ditficult  to  convey  in  musical 
sound  than  tnat  suae—gle,  more  than  all,  when  it  falls  on  an  accentuated 
note  as  it  does  here.  You  will,  I  am  sure,  on  cogitation,  agree  with  me, 
that  Madame  Bishop  was  entirely  Justified  in  adopting  the  Italian  version  of 
the  rondo.  But  to  return  from  digresuon*  On  Tuesday,  23rd  March,  the 
Sonnambula  was  repeated  at  Bath.  Thursday  following,  the  Maid  qfJrtou* 
The  attendance  was  very  respectable,  though  here  again  another  cause  was 
anperadded  to  those  above-named  for  deterring  visitors  from  the  theatre,  vis., 
the  death  and  funeral  of  our  respected  member  Colonel  Langston.  The 
same  evening  the  Maid  of  Artnit  was  performed  at  Bristol.  Both  per- 
formances were  received  with  great  acclamation,  the  fair  singer  being  in  ad- 
mirable voice,  and  singing  vrith  all  her  accustomed  purity  of  Intonation  and 
fine  artistic  skill.  On  Friday  at  Bristol  again  we  had  an  operatic  entertain- 
ment for  the  benefit  of  Madame  Bishop,  consisting  of  selections  firom  Anna 
BoUnOf  of  the  Love  SptU,  and  the  celebrated  scena  from  Tanctedi,  "  O,  patria 
dolce.**  The  house  was  full  on  this  occasion.  Madame  Bishop  was  labour- 
ing under  the  effects  of  a  cold,  notwithstanding  which  she  was  enoored  in 
**  Di  tanti  nalpiti,"  which  indeed  she  sang  sptendidly.  Her  artistic  jpowera 
are,  beyond  a  shadow  of  disputation,  of  the  very  highest  order.  Madame 
Bi^op  appears  to  follow,  in  the  tempo  and  peculiar  accentuation  of  Rossini's 
l^nd  ana  beautiful  aria,  her  great  predecessor.  Pasta.  Certainly  since  the 
time  of  that  Incomparable  artist,  1  have  heard  no  singer  who  has  pleased  me 
as  much  as  Madame  Bishop  in  *'  Di  tanti  palpiti."  The  same  performances 
were  repeated  at  Bath  for  Madame  Bishop's  benefit  The  house  was  ex- 
tremely full,  particularly  the  dress  circle,  which  was  occupied  by  all  the  rank 
and  faahion  now  at  Bath.  The  performance  went  off  with  great  eclat.  The 
fair  singer  was  not  quite  recovered  from  her  hoarseness.  An  apology  had 
been  made  for  her  previous  to  the  commencement  of  the  perlormance,  but  so 
great  ia  Madame  Bishop's  skill  and  art,  that  her  hoarseness  was  hardly  per- 
ceptible. The  new  rondo  in  the  Love  Spell  was  encored,  as  was  also  the  duet 
with  Dulcamara.  I  understand  Mrs.  Macready  is  so  satisfied  with  the  re- 
Bohs  of  Madwne  Bishop's  engagement,  that  she  has  re-engaged  her  fcr  five 
nighu  more  in  Easter  week.  This  requires  no  comment.  Mr.  T.  Bisliop, 
Mr.  P.  Corri  and  Mr.  Chute  were  the  artists  who  assisted  Madame  Bishop 
in  the  different  opens.  They  did  their  best,  and  on  that  score  they 
are  entitled  to  leniency;  and  to  be  lenient,  I  must  needs  say  very  little 
about  them.  Mr.  T.  Bishop  has  a  sweet  voice,  but  it  lacks  power  and 
dramatic  tone.  Chute,  the  stage-manager,  was  very  good  in  Dulcamara — 
only  I  wish  the  next  time  he  performs  this  character  in  the  Looe  SpeU,  he 
may  not  dance  about  so  much,  and  sins  a  little  more.  Mr.  P.  Corri  haa  an 
effective  bass  voice,  and,  with  study  and  perseverance,  would  become  a  good 
singer.  It  must  certainly  be  of  immense  advantage  to  these  gentlemen,  who 
have  so  much  to  learn,  to  have  such  an  artist  aa  Madame  Bishop  performing 
with  tliem  continuaUy.  They  cannot  fail  to  improve,  unless  tbey  be  the 
veriest  duncea  in  Christendom. 

Addio— I  shall  write  again  on  the  1st  instant. 

Baih,  March  29. 

NICHOLAS  ZINGARELLI. 

I  VISITED  Naples  in  July,  1816,  for  the  purpose  of  studying 
Tocal  composition,  under  Uiis  celebrated  composer,  and  there 
did  I  remain  until  1819.  In  Zingarelli  I  found  not  only  an 
able  and  experienced  instructor*  t»  that  branch  of  the  art^  but 
also  a  warm-hearted  and  most  sincere  friend ;  in  short  he 
treated  me  more  like  an  old  and  highly  valued  friend  than  a 
pupil.     On  my  return  to  England,  at  th^>nd  of  1819>  I  sent 

*  This  waa  even  Rossini's  opinion,  for  my  d^r  and  ever-to-be-laroenied 
Ather  consulted  him  on  the  occasion,  and  mora  Viln.  tooe. 


him,  as  a  small  (but  very  sincere)  token  of  gratitude,  ten  of 
Handel's  best  oratorios,  in  score.  This  he  immediately  ac- 
knowledged, and  with  many  thanks*-/AanA:tn^  me  and  my 
father  for  our  gratitude — and  expressing  himself  better  pleased 
than  ever  with  the  ever  immortal  Handel  (as  he  called  him, 
il  eempre  immortale  Handel).  Indeed  Handel  was  one  of  his 
prime  favourites  and  so  was  Haydn,  then  Gluck  and  Mozart. 
He  valued  Handel  and  Haydn  more  for  their  melodies  and 
Gluck  and  Mozart  for  their  harmony.  Of  the  Italian  com- 
posers, Sacchini  was  his  great  favourite,  tl\en  Guglielmi  and 
Paisiello,  then  Piccini,  Paer,  Tomelli,  and  Cimarosa ;  but  yet, 
above  all  these^  Handel  might  have  been  pronounced  his 
supreme  favourite,  and  so  far  he  showed  his  taste  as  well  as  his 
impartiality.  Zingarelli*s  Masses  and  Stabat  Maier;  for  four 
voices,  will  live  for  ever,  and  so  will  his  oratorios,  The 
Destruction  of  Jerusalem  and  The  'friumph  of  David,  ass  also 
the  third  act  of  his  Romeo  and  Juliet,  his  cantata  of  Orestes 
and  Electra  at  the  Tomb  of  Agamemnon^  and  his  Stanzas  of 
Tasso,  Not  only  his  melodies  may  be  mentioned  with  great 
praise,  but  even,  at  times,  his  orchestral  accompaniments  ;  for, 
if  they  are  not  upon  a  par  with  those  of  a  Rossini,  or  an 
Auber,  they  are  far  superior  to  those  of  most  of  his  con- 
temporaries, this  wiU  readily  be  admitted  by  any  impartial 
judge  of  music.  Zingarelli  was  bom  in  Naples  in  1752,  and 
died  there  in  1837,  at  the  age  of  eighty-five,  universally 
regretted,  not  only  for  his  transcendant  abilities  as  a  vocal 
composer,  but  also  for  his  amiable  qualities  and  various 
accomplishments.  He  had  resided  there  for  a  number  of 
years  and  was  director  of  the  Royal  Academy  (or  Conserva- 
torio,  as  it  is  called)  of  Music.  Amongst  his  pupils  may  be 
mentioned,  Morlacchi,  Mercadaute,  and  the  lamented  Bellini. 
I  have  not  mentioned  '*  Emperor  Beethoven  "  amongst  Zinga- 
relli's  favourite  composers ;  the  fact  is»  at  that  time^  I  do 
believe,  that  he  was  very  little,  if  at  all,  acquainted  with  his 
matchless  masterpieces,  but  since  that  he  got  familiarized  with 
them  and,  from  what  t  have  heard,  appreciated  them  at  their 
full  value ;  in  fact,  he  had  too  much  taste  and  feeling  to 
deprecate  any  man  of  genius  and  much  less  such  a  luminary 
9^^  Beethoven  !  Pio  Cianchettihi. 


SONNET. 

NO.    XXVIII. 

Oh  1  thou  hast  had  compasaion  on  my  heart. 
Waking  it  from  the  dream  of  dark  despair,— 
Pouring  benignantly  a  compound  rare 

Into  its  wounds,  so  that  they  cease  to  smart.— 

A  compound  of  kind  words — of  locks  that  dart 
From  clear,  mild  eyes — of  kisses  sweet  though  rare, 
H'hich  penetrate  the  soul,  and  linger  there 

When  lips  which  made  them  are  compelled  to  part. 

Yea,  thou  hast  said  thou  lov'at  tne,  and  each  sign. 
Each  glance,  each  smile  has  that  sweet  truth  confesiTd 
So  plainly  that  no  room  for  doubt  is  found ; 

And  1  may  freely  say  that  thou  art  mine— > 
And  mad  with  rapture  cUsp  thee  to  my  breast, 
Smiling  upon  the  storm  that  howls  around. 


H.D 


ROYAL  ITALIAN  OPERA. 

No  anticipated  event  connected  with  musical  matters 
within  our  recollection  has  caused  so  great  a  sensation  in  the 
public  mind  as  the  opening  of  the  Royal  Italian  Opera, 
Covent  Garden.  The  causes  which  have  conduced  to  this 
excitement  are  manifold  and  curious.  First  of  all  the  sudden 
revolt  and  segregation  of  the  principal  forces  of  Her  Majesty's 
Theatre,  together  with  their  subsequent  enrolment  under  anew 
gonfalon,  moved  all  connected  with  operatic  matters  to  surpziae 
and  wonden    Next  the  announcement,  that  the  rebel  hyionup 


318 


THE  MUSICAL  WORLD. 


as  the  facetious  Post  facetiously  called  the  seceders,  had 
established  their  Pandemonium  at  Coven t  Garden,  and  were 
about  to  turn  the  temple  of  Shakspere— we  beg  pardon — of 
Jullien,  into  a  rival  Opera  House,  elicited  astonishment.  Then 
other  causes  arose.  The  mysterious  names  and  monies  which 
were  to  make  up  the  means  and  appliances  of  the  new  house, 
driving  to  desperation  conjecture,  wherein  figured  a  Sala- 
mancan  Count,  whose  wealth  was  countless,  and  a  man  of 
Ross,  or  a  child  of  Ross,  or  one  with  some  such  designation, 
whose  benevolence  and  good  intentions  went  hand  in  hand 
with  his  teeming  coffers  to  raise  the  new  Ephesian  dome,  and 
endow  it  with  magnificence  undreamt  cf  before: — ^then,  the 
amount  and  variety  of  the  new  subscribers,  many  of  whom 
came  from  the  ranks  of  the  seceders  themselves  ; — and  anon, 
the  might  and  fame  of  the  leading  powers  of  the  new  cohorts, 
chosen  from,  or  rather  congregating  into  one  band  the 
musical  Titans  of  Europe.  Moreover,  the  immense  patronage 
bestowed  upon  the  new  establishment  threatening  downfall  to 
the  elder  house  was  a  grand  moving  power.  In  addition,  the 
strenuous  exertions  of  the  latter  to  resume  its  pride  of  place, 
and  fill  up  the  vacated  chairs  of  greatness,  and  the  success 
that  to  a  certain  extent  attended  its  endeavours  ;  and  above 
all,  the  championship  arrogated  by  two  morning  journals,  who 
supported  their  respective  parties,  and  girded  their  loins  for 
batUe,  doing  more  justice  to  their  cause  by  their  earnestness 
and  courage  than  by  their  ratiocination  or  grammar.  Here 
were  reasons  multiplied  to  stir  up  the  general  mind.  For  ^ 
long  while  it  was  considered  an  undertaking  preposterous  as 
hewing  Mount  Athos  into  a  statue,  and  arduous  as  melting  the 
Alps  with  vinegar,  to  convert  the  temple  at  Covent  Gioden 
into  a  throne  &at  could  compete  with  the  glories  of  the  old 
Opera.  But  when  the  reformers  went  really  to  work ;  when 
Covent  G^den  was  filled  with  hundreds  of  artizans ;  when, 
after  a  few  brief  moons,  the  rubbish  had  disappeared,  the 
scaffolding  had  fiallen,  and  confusion  had  yielded  to  order  and 
beauty,  t£en,  at  last,  doubt  gave  place  to  astonishment,  and 
credulity  could  no  longer  wink  :  for  lo ! 

"  The  Mcending  pile 
Stood  flz'd  her  stateliest  height;  and  straight  the  doors, 
Opening  their  brazen  folds,  discover,  wide 
Withhi,  her  ample  sptces  o'er  the  smooth 
And  level  pavement ;  from  the  arched  roof, 
Pendent  by  subtle  magic,  many  a  row 
Of  starry  lamps  and  blazing  cresaets,  fed 
With  naphtha  and  aaphaltus,  yielded  light 
As  from  a  sky.    The  hasty  multitude 
Admiring  entered ;  and  the  work  some  praise. 
And  some  the  architect." 

Meanwhile  the  new  Opera  had  issued  a  prospectus  that 
startled  all  Europe.  We  may  assert,  without  fear  of  contra- 
diction»  that  nearly  all  the  first  celebrities  in  the  musical 
world  were  engaged.  No  one  can  doubt  tbis  when  we  name 
Grisi,  Fersiani,  Tamburini,  Mario,  Salvi,  Ronconi,  and 
Marlni.  Not  content  with  this  array  of  unsurpassable  talent, 
any  single  name  belonging  to  which  would  alone  have  filled 
a  continental  theatre,  and  created  a  furore  for  a  whole  season, 
the  Royal  Italian  Opera  projectors  instigated  a  close  search 
throughout  all  Italy,  and  replenished  their  forces  with  vocalists 
of  the  highest  repute-— another  cause  for  wonder.  Was  not 
this  adding  perfume  to  the  violet?  In  the  interim,  the 
alarmists,  as  we  may  well  designate  the  members  of  the 
opposition  stalls,  were  by  no  means  idle  or  dilatory.  They 
procured  the  most  fiunoos  tenor  in  southern  Italy.  But  the 
most  fiimous  tenor  in  southern  Italy  did  not  turn  out  so 
fiunous  in  northern  England.  Fraschini  made  a  hit  certainly, 
and  the  hit  told ;  but  the  impression  it  left  was  feeble.    An 


importation  from  the  Royal  Academy  of  Paris  was  much 
more  successful. .  The  youthful  and  gracious  Gardoni  was 
found  incomparably  greater  than  even  his  partisans  expected. 
Another  matter  for  wonder— the  new  Opera  had  omitted,  in 
its  acute  research,  one  of  the  most  delicious  tenors  in  Europe. 
Gardoni  was  a  hit,  and  has  left  the  impression.  We  now 
come  to  the  greatest  cause  of  wonder.  The  name  of  Jenny 
Lind  had  been  fur  a  long  time  trumpeted  throughout  aU 
Germany  as  the  first  of  all  modern  soprani,  with  one  exception. 
Reader,  mark  the  words  in  italics.  We  have  something  to 
say  thereanent  presently,  that  will  doubtless  astonish  your 
strong  senses.  The  new  Opera  disregarded  the  German 
reputation  of  the  Swedish  nightingale,  and  reposed  their  cpn« 
fidence  in  Grisi  and  Persiani.  The  enemy  sa^  their  oppor* 
tunity  and  seized  it.'  They  engaged  Jenny  Lind.  But, 
another  matter  for  wonder — Jenny  Lind,  after  being  engaged  by 
the  old  house,  was  claimed  by  the  manager  of  Drury  L^ne  on 
the  strength,  or  weakness,  as  it  may  turn  out,  of  a  prior 
engagement.  We  shall  not  recapitulate  matters  with  wMch 
every  reader  is  now  acquainted.  Enough  to  say,  Jenny  Lind 
goes  to  the  Haymarket  Opera  under  violent  protest  from  Mr. 
Bunn.  We  have  said  some  few  lines  above  that  Jenny  Lind 
had  the  greatest  reputation  in  Germany  as  a  singer  with  one 
exception.  That  solitary  exception  is  Pauline  Viardot  Garda, 
the  sister  of  Malibran*  Reader,  dost  thou  remember,  when 
first  the  name  of  Jenny  |^ind  was  bruited  abroad  on  die  winda 
of  controversy,  perusing  m  the  pages  of  th^  "  Musical  World*' 
our  astonishment  that  both  the  Italian  Optras  should  have 
overlooked  a  greater  artist  smd  a  better  singer  tb^  Jenny 
Lind  in  the  person  of  Pauline  Garcia  i  Did  we  not  reiterate 
our  astonishment  and  strongly  advise  the  lessee  of  Her  Ma- 
jesty *s  'theatre  to  give  up  all  claims  to  the  foxv^j,  and  engage 
the  latter?  Did  either  of  the  barrel-organs  of  the  Opera 
houses  take  up  our  counsel,  or  did  either  of  the  Opera  houses 
improve  upon  our  hint  ?  No  I  And  what  is  the  consequence  ? 
We  find  at  the  eleventh  hour  that  both  parties  are  contesting 
for  this  same  artist.  They  have  at  len^  discovered*  O! 
most  dilatory  conclusion  I  that  Pauline  Garcia  is  a  greater 
artist  and  enjoys  a  higher  repute  than  the  far  blazoned  Jenny 
Lind.  O,  wonder  upon  wonders !  our  opinions  ape  chronicIed» 
and  we  now  say,  that  whichever  of  ^  two  Italian  Opera 
houses  possesses  Pauline  Garcia,  it  can  boast  of  a  singer  who 
may  divide  the  Imperial  soprano  <;rown,  ye«i  wiU^  Grisi 
herself. 

We  have  now  to  speak  of  the  opening  of  the  Royal  Italian 
Opera  on  Tuesday  next.  The  excitement  that  pervades  ail 
musical  classes  and  the  opera-going  public  is  indescribable. 
The  opera  selected  for  the  first  night  is  Rossini's  Semiramde^ 
one  of  the  great  maestro's  most  unequal  works,  but  ttn« 
doubtedly  one  which  presents  to  the  three  principal  personages 
of  the  drama  the  highest  scope  for  the  exhibition  of  dramatic 
and  vocal  excellence.  Semiramide  is  one  of  Grisi's  greatest 
efibrts.  Her  acting  is  surpassingly  grand  and  the  music 
finely  adapted  to  display  her  power  and  vocal  graces*  In 
Assur^  Tamburini  will  exhibit  his  high  tragic  capabilities,  but 
the  music  will  hardly  show  the  beauty  and  method  of  his 
style  to  perfection.  If  this  great  artist  be  half  as  good  as  he 
was  four  years  ago  he  must  create  an  immense  sensation. 
Take  him  all  in  all,  he  was,  to  say  the  least  of  him,  one  of 
the  finest  baritones  that  ever  graced  the  boards  of  Her 
Majesty's  Theatre.  To  an  organ  of  power,  sweetness,  great 
expression,  and  amazing  flexibility,  he  adds  dramatic  capabi- 
lities of  the  very  highest  order,  pathos  deep  and  free  from 
exaggeration,  passion  intense  and  varied,  and  action  at  once 
highly  gracefU  and  dignified.    In  comedy  Tamburini  rasy  be 


THE  MUSICAL  WORLD. 


919 


styled  superexcellent.  His  Figaro  and  Dandini  are  perfect 
models  of  bufifo  acting  and  singing.  Of  the  new  debutante, 
Signora  Alboni,  we  know  nothing,  saving  from  report.  The 
Chronicle  speaks  of  her  in  lavish  terms  of  eulogy.  We 
hesitate  before  we  join  anticipations  with  our  enthusiastic  cotem- 
porary.  In  our  next  number  our  readers  may  depend  upon 
hearing  our  truthful  sentiments.  Of  the  band  we  can  record 
our  conviction  that  it  will  prove  the  most  efficient  in  Europe. 
Our  faith  is  hardly  so  strong  in  the  chorus.  On  Tuesday 
night  we  shall  listen  and  adjudicate.  Semiramide^  we  learn, 
will  be  produced  in  a  style  of  magnificence,  commensurate 
with  public  expectation.  To  give  effect  to  the  martial  portions 
of  the  music  a  military  band — the  Coldstream,  we  believe — 
will  be  employed  on  the  stage.  No  expense,  we  are  assured, 
will  be  spared  to  render  the  mise  en  scene  worthy  the  new 
establishment.  A  ballet  by  M.  Albert,  in  which  Mademoiselles 
Fleury,  Bertin,  Neodot,  &c.  will  perform,  conclude  the  en- 
tertainments. The  Chronicle  tells  us  that  ^*  the  first  chord 
struck  will  be  the  national  anthem,  in  which  Grisi,  Persiani, 
Mario,  Salvi,  Tamburini,  Morani,  (meaning,  of  course, 
Marini),  &c.  will  sing  the  verses,  with  the  entire  strength  of 
the  company  and  the  Coldstream  band  in  the  ensemble,** 
This  is  the  first  time  we  have  been  informed,  that  '*  God  save 
the  Queen"  is  a  chord!  Let  that  pass  !  Nathless,  this  may 
be  a  slip  of  the  pen  and  is  scarcely  worth  chronicling  among 
the  grammatical  licenses  of  the  would-be  supporter  of  the 
Royal  Italian  Opera. 

"We  shall  conclude  our  anticipations  vith  some  account 
respecting  the  building  and  decorations  of  the  Royal  Italian 
Opera,  taking  leave  to  quote  Irom  the  enthusiastic  writer  in 
the  Chronicle,  who  seems  to  have  made  himself  thoroughly 
conversant  with  airdoings  within,  as  well  us  w  ithout,  the  walls 
of  Coven t  Garden. 

"  The  proscenium,  coDsisting-  of  two  pair  of  ir.sg-nificent  Corinthian 
coIumnB»  with  entablatures  and  cornice  with  the  supcr^tanding  soffit,  is 
in  the  hands  of  the  decorator.  The  ceiling  over  the  pit  has  been  con- 
structed and  completed  with  strict  regard  to  acoustics ;  it  forms  an 
elliptical  base  of  a  spheroidical  section,  of  which  the  main  axis  is  7U  fret 
by  62  trajiBTersely.  The  arrangement  of  this  ceiling,  in  conjunction 
with  the  proscenium,  has  been  so  contrived  that  the  singers  are  brought 
into  juxta  position  with  the  audience,  and  it  is  calculated  that  owing  to 
this  exquisite  form,  the  singers  will  not  be  obliged  to  strain  their  voices, 
•8  ia  too  frequently  the  case  in  large  theatres,  destroying  so  many  delicate 
orguiv.  The  veteran  Braham,  who  visited  the  former  scene  of  bis 
tijumphs  the  other  day,  complimented  Mr.  Albano  on  his  success  in  the 
theatre  aa  desirable  for  sound.  The  ceiling  has  been  painted  in  Pans, 
by  SJgnori  Ferri  and  Verardi,  and  has  excited  great  admiration  in 
that  capital  of  the  connoisseurs.  The  painting  was  leceived  on  Saturday, 
iD  two  huge  packages  twenty  feet  long.  Signer  Verardi  commences  this 
day  to  fix  the  canvass  to  the  ceiling,  and  in  a  week  or  ten  days  the 
enormous  forest  of  poles  and  spars,  forming  the  scaffolding,  from  the  pit 
floor  to  the  roof)  will  be  removed,  and  the  colossal  proportions  of  the 
interior  will  gloriously  stand  forth  a  monument  of  skill  and  ingenuity. 
The  royal  anna  will  be  in  relief  on  the  proscenium,  which  will  be  in 
hariDcny  with  the  alkgorical  painting  of  the  ceiling.  The  new  road 
under  the  portico,  to  enable  the  visitois  to  descend  fiom  their  carriages 
at  ODce  inside  the  theatre  is  completed.  The  hall,  with  its  gigantic 
columna,  at  the  foot  of  the  grand  staircase,  is  quite  ready.  Everybody  is 
unaxed  at  the  spaee  in  the  corridors,  round  the  tiers  of  boxes ;  a  coach 
and  six  could  4i'ive  around  the  grand  tier.  'Ihe  elevation,  breadth,  and 
depth  of  the  private  boxes,  and  the  seats  for  the  pit  stalls  are  on  a  larger 
iicale  than  has  hitherto  been  allowed  for  the  comfort  of  an  audience,  and 
the  graceful  curve  in  the  form  cf  the  fagadc  of  each  tier  will  be  a  most 
grateful  accommodation,  especially  to  the  long-limbed  sitter.  The  double 
entrances  to  the  pit  for  ingress  and  egress,  to  avoid  opposing  streams,  and 
the  two  separate  entrances  for  the  stalls,  are  everything  that  can  be 
desired.  Nothing  can  be  more  noble  than  the  suite  of  rooms,  on 
ascending  the  grand  staircase,  before  tlie  crush  room  is  reached.  One  of 
the  greatest  dMLOgea  In  the  building  is  in  the  arrangement  for  the  Queen's 
hex  and  the  other  royal  boxes,  From  the  moment  that  her  M  rtjesty  was 
gracioualy  pleased  to  select  the  double  box,  Nos.  5  and  6,  on  the  grand 
tier,  from  the  prosceniuroy  it  was  resolved  that  the  state  and  private 


apartments  connected  with  her  Majesty's  box,  should  be  on  a  acaJe  of 
magnitude  and  magnificence  never  before  attempted  in  any  English 
theatre.  The  royal  boxes  are  quite  separated  from  the  grand  tier.  The 
old  corkscrew  staircase,  long  and  tiresome  to  ascend,  haa  been  removed, 
and  an  entirely  new  and  commodious  staircase,  appropriated  exdoaively 
to  her  Majesty  and  the  members  of  the  royal  family,  has  been  elected. 
The  royal  carriage  will  be  under  cover  on  its  arrival  in  the  court-yard  of 
the  royal  entrance,  and  her  Majesty  will  thus  be  fble  to  aBght  without 
being  exposed  to  the  weather.  Although  the  extent  of  accommodation 
has  not  reached  that  of  the  San  Carlo  for  royalty,  still  for  grandeur, 
comfort,  and  convenience,  her  Majesty's  box  and  suite  of  rooaia  at  the 
Royal  Italian  Opera  are  altogether  unrivalled  in  any  other  house,  and 
Mr.  Albano' s  plan  has  delighted  every  one  who  has  vtaited  the  theatre. 
We  have  stated  that  there  are  six  tiers  of  boxes,  but  audi  la  the 
beautiful  form  of  the  theatre,  that  the  extreme  boxes  on  the  uppermott 
tier  command  an  excellent  view  of  the  stage,  thus  solving  a  problem  In 
the  construction  of  the  interior  that  had  hitherto  been  deemed  im- 
possible. Mr.  Albano,  before  he  began  hia  labours,  aubmitted  three  plans 
for  adoption — ^the  first  would  have  rendered  Covent  Garden  the  largest 
theatre  in  the  world ;  the  second  brings  it  m  aixe  after  the  Scala  of 
Milan  and  the  San  Carlo  at  Naples ;  and  the  third  brought  it  under  the 
dimensions  of  Her  Majesty's  Theatre.  It  was  the  aeoond,  or  medium 
size,  that  the  proprietors  accepted,  and  has  been  carried  out.  The  number 
of  t>oxes  is  as  follows  :— 

Proscenium,  or  stage  boxes  (four  on  each  aide)      8 

Pit  tier         ..:....  30 

Grand  tier •        •  Bit 

First  tier 3^ 

Second  tier  ....•••  28 

Tliird  tier 29 

Fourth  tier  ......        .  2fi 

Total  number  of  private  boxea  •  168 
There  are  eight  rows  cf  stalls,  making  256  seats,  and  24  at  the  aldoa 
280  in  all.  There  arc  ten  rows  of  seats  with  arms  and  hacks  to  them  in 
the  pit,  which,  when  full,  will  hold  nearly  400  persons.  Great  pndae  has 
been  bestowed  on  the  introduction  of  the  two  amphitheatiea  the  Ant, 
which  is  in  the  fourth  tier,  will  be  fitted  up  with  148  atalia,  at  a  price 
between  the  pit- stall  and  a  private  box  for  each  individual.  The  Mcond 
amphitheatre,  level  with  the  fifth  tier,  contains  the  same  number  of 
stalls,  will  be  at  a  lower  price,  and  full  dress  will  not  be  required.  The 
gallery  is  commodious,  but  it  is  not  so  large  as  that  of  Her  Majesty's 
Theatre,  but  elevated  as  it  necessarily  is,  the  stage  can  be  well  aeeo,  and, 
owing  to  the  new  formed  ceiling,  wiU  be  equally  adapted  for  hearing* 

We  have  little  further  to  add.  A  few  nights  mor« — bat 
three — and  the  excitement  consequent  upon  the  opening  of 
the  Royal  Italian  Opera — 

"  Will  melt  in  the  past  like  the  yeast  on  the  wave." 
but  it  will  be  long  ere  the  effects  of  the  introduction  of  a 
new  Italian  Opera  into  the  metropolis  will  have  evaporated. 
Tine  alone,  in  his  rounded  journey,  will  tell  the  consequence. 
We  arc  not  prescient,  or  we  might  augur  the  downfall  of  one 
house  and  the  uprise  of  the  other.  Of  one  thing  we  feel 
soInc\^hat  ns^sured  in  looking  to  the  future,  namety^  that  (yro 
Italian  Operas  cannot  exist  together  in  jLondoii,  and*  ag  a 
natural  consequence  of  the  foregoing,  that  the  theatre  which 
is  cuiulucted  on  the  most  liberal  principles  and  which  devotes 
itself  niLBt  strenuously  to  the  production  of  the  best  music 
in  this  country,  will,  as  sure  as  the  etars  shine  by  night,  in  the 
end  be  predominant.  With  this  prediction  we  dose  our 
remarks  on  the  Royal  Italian  Opera,  wishing  it  every  suoc^s 
at  its  outset. 


HER   MAJESTY'S  THEATRE. 

There  has  been  only  one  representation  since  pur  last, 
but  that  was  a  highly  successful  one.  On  Saturday  Verdi's 
opera  of  Ernani  was  given  with  the  usual  ballet  entertain- 
ments.     The  house  was  inconveniently  crowded. 

Our  opinion  of  Verdi  in  general  and  of  his  Ernani  in  par- 
ticular, has  been  already  given,  and  as  it  affords  us  no 
pleasure  to  say  disagreeable^Wngs  wg  B^jal^|j^^r|£aaJ^em 


'220 


THE  MUSICAL  WORLD. 


For  those  who  are  not  acquainted  with  Victor  Hugo's  fine  play 
on  which  the  libretto  of  this  opera  is  constructed  we  copy  the 
following  from  the  elegant  brochure,  distributed  niglitly  in  the 
place  of  bills,  in  the  boxes  and  stalls  of  Her  Majesty's 
Theatre  :— 

"  The  scene  pastes  in  Spain  in  the  reign  of  Charles  V.  Ruy  Gomez  di 
Silva,  grandee  of  Castile,  although  old,  has  preset ved  the  cliivalric  and 
unbending  principles  derived  from  his  ancestors.  He  wishes  to  merry 
his  niece  Elvira;  but  she  already  loves  Emani,  and  is  by  him  passionately 
beloved.  Emani  (John  of  Arragon)  is  son  and  heir  of  the  Duke  of 
Segorba,  who  fell  a  victim  to  the  royal  displeasure.  John  of  Arragon,  a 
price  set  upon  his  head,  has  fled  to  the  mountains,  changed  his  name, 
become  a  chief  of  brigaiids,  and  the  terror  of  the  country.    The  King  of 

.  Castile,  Don  Carlos,  known  afterwards  as  Charles  V.,  also  loves 
the, beautiful  Castilian ;  and,  while  sighing  beneath  her  window,  sees  a 
youthful  cavalier  introduce  himself  mysteriously  to  her  chamber — it  is 
Ernani.  t*Tbe  King  profits  by  the  signal  he  has  surprised  to  procure  an 
interview  with  the  lady;  he  declares  his  passion,  and  is  about  to  tear  her 
froni'the  protection  of  her  uncle,  when  Ernani  appears  to  defend  her. 
The  scene  which  takes  place  between  the  rivals  attracts  Gomez  by  its 
noise,  when  the  King,  after  hesitating  between  his  dignity  and  his  anger 
and  jealousy,  discovers  his  rank,  and  gives,  as  a  pretext  for  his  di<gu<se, 
his  desire  to  consult  Gomez  relative  to  a  conspiracy  against  his  title  to 
the  empire  and  his  life.  Preparations  for  the  marriage  of  Don  Ruy  with 
Elvira  are  making,  when  Emani,  disguised  as  a  pilgrim,  comes  to  claim 
hospitality  at  the  castle.  He  is  received ;  but  his  love  betrays  itself,  and 
Elvira  throws  herself  into  bis  arms.  Emani,  seized  and  condemntd  to 
death,  reveals  to  Gomez  the  passion  and  attempts  of  the  King.  A 
terrible  pact  is  the  consequence;  Gomez  and  Ernani  agree  to  join  the 
plot  against  Don  Carlos,  and,  as  the  price  of  his  liberty,  Ernani  consents 
to  hold  his  life  at  the  discretion  of  Gromez.  The  conspirators  meet ;  but 
their  proceedings  have  been  discovered,  and  they  are  surprised  and 
arrested    by  the  King.    Proclaimed  emperor,  Charles  V.  forgets  the 

.  wrongs  .of  Don  Carlos.  He  pardons  Ernani,  restores  to  him  his  titles, 
and  .unites  his  hand  to  that  of  Elvira.    But  the  inflexible  Gomez  ad- 

.  vances,  claims  the  life  of  Ernani,  and  summons  him  to  redeem  his  pledge. 
The  sacrifice  is  accomplished,  and  the  lover  kills  himself  in  view  of  the 
felidty  which  awaited  him." 

Such  a  subject  in  the  hands  of  a  composer  of  dramatic 
.  genius  might  have  been  made  much  of,  but  in  the  hands  of 
,  Verdi  it  has  given  birth  to  a  few  sentimental  cantilenas,  one 
or  two  pretty  aUfalettas,  some  unison  choral  snatches,  and 
nothing  else.  The  opera  itself  is  a  caput  mortuum.  Its  chief 
claim  to  notice  rests  in  its  being  Verdi's  dullest  work,  a 
distinction  not  easy  of  acquirement. 

The  opera  was  splendidly  cast  on  Saturday  night.  We  are 
indebted  to  our  liberal  cotemporary,  the  Chronicle,  for  the 
following,  which  includes  the  casts  of  1845  (the  year  of  pro- 
duction in  England)  and  of  the  following  year,  besides  that  of 
the  present  year : — 

1845.  1846.  1847. 

Emani       Mori  ant.        .        Castiglionb.        .  Frascuini. 

Don  Cartoff  BoTKLLi.        •        Bensich.       .        .  SupERChi. 

Ruy  Oomez  FoRHASARi,    .        Fornasari.    .        .  Bouchb. 

Elvira         Signora  Rita  Borio.  Signora  Pasini.  Mde.  Castbllan 

The  first  year  was  tolerable,  the  second  a  failure  altogether, 
(three  debutantes  being  damned  in  one  night).  The  superiority 
of  the  present  cast  needs  no  demonstrations,  a  glance  at  the 
names  is  enough  to  prove  it.  The  performance  on  Saturday 
was  altogether  highly  satisfactory,  and  raised  Mr.  Lumley's 
company  many  per  cent  in  the  estimation  of  his  subscribers. 
Madame  Castellan  sang  exceedingly  well  throughout  the 
opera,  and  accomplished  all  herfioriture  with  unerring  certainty. 
The  '*  Emani  involami"  was  a  brilliant  and  finished  piece  of 
vocalising,  though  it  has  been  so  terribly  hacknied  in  English 
concert  rooms  that  it  lost  all  the  charm  of  freshness — if,  by 
the  way,  any  such  charm  could  belong  to  so  trite  a  com- 
position. Superchi  may  be  said  to  have  made  his  debut  on  this 
occasion*  The  music  of  Don  Carlos»  we  are  told,  was  written 
for  him ;  be  that  as  it  may,  he  sang  and  acted  so  well  as  to 
show  himself  admirably  fitted  for  the  part.    His  great  hit  was 


in  the  air  •*  Vieni  meco**  in  which  his  mezza  voce  was  quite 
charming  and  won  him  a  loud  encore  Bouchb  was  capital  in 
Ruy  Gomez  ;  his  singing  was  artist-like  and  his  acting  im- 
pressive. Fraschini  hardly  came  up  to  the  expectations  of  his 
admirers,  until  the  last  'act,  when  liis  singing  was  really 
energetic  and  beautiful.  In  short  nothing  could  have  gone 
better  than  the  popular  trio  (we  fortrot  the  name,  but  it  is 
Verdi's  best  known  effort,  having  been  heard  in  every  concert 
room  in  the  three  kingdoms)  in  the  hand  s  of  Castellan, 
Fraschini,  and  Bouch6 ;  it  was  loudly  encored^  and,  at  the  fall 
of  the  curtain,  the  artists  were  re-called.  There  were  also 
loud  calls  lor  Superchi,  but  having  nothing  to  do  in  the  last 
act  he  had  most  probably  taken  his  leave.  The  chorus  and 
band  were  admirable;  the  value  of  Balfe's  exertions  is 
gradually  becoming  known  and  appreciated.  On  several 
occasions,  during  the  opera,  there  were  marked  indications  of 
approval  from  the  attentive  part  of  the  audience,  who  are 
aware  of  the  importance  of  the  orchestra  and  are  ready  to 
acknowledge  its  too  often  unappreciated  exertions.^  To 
conclude,  we  have  never  heard  an  opera  at  Her  Majesty's 
Theatre  go  off  more  brilliantly.  Throughout  the  four  acts,  or 
parts  as  they  are  called,  the  encores,  recalls,  and  other  de- 
monstrations of  satisfaction  on  the  part  of  the  audience  were 
more  numerous  than  we  have  time  to  reckon. 

The  ballet  of  Thea,  with  the  admirable  Rosati,  and  2i  diver* 
tissement  from  Coralia,  with  the  delicious  Marie  Taglioni,  made 
up  the  measure  of  enjoyment,  which  was  keenly  relished  by 
all  present. 

Her  Majesty  and  Prince  Albert  attended,  and  all  the  bril- 
liant assembly  that  in  the  morning  had  adorned  the  Queen's 
drawing  room.  The  house  presented  a  most  dazzling  appear- 
ance, and  every  one  felt  that  the  season  had  fairly  begun. 

Next  week  we  intend  to  take  a  retrospective  view  of  the 
doings  of  Her  Majesty's  Theatre  up  to  the  present  epoch  of 
the  season  1847. 

FOREIGN  INTELLIGENCE. 

St.  Pktersburgh.  —  {From  a  local  Journal,) — Musical 
re  -unions  are  varieties  in  the  city  of  the  Czars.  True,  there 
are  some  private  mansions  in  which  certain  evenings  of  each 
week  are  devoted  to  the  best  pur))08es  of  music ;  but  these 
are  merely  exceptions  which  confirm  the  rule.  In  general  the 
public  are  but  little  acquainted  with  the  instrumental  compo- 
sitions of  the  great  masters,  and  their  amount  of  musical 
knowledge  is  gleaned  either  firom  the  Opera  House  or  the 
churches.  Mons.  Vieuxtemps,  during  his  sojourn  in  the 
imperial  city,  peiceived  the  vacuum,  and  at  once  established 
a  musical  re-union,  or  converzasione,  to  fill  up  the  void.  He 
collected  around  him  all  the  musicians  of  note,  he  invited  a 
large  circle  of  friends  and  acquaintances,  and  provided  the 
most  estimable  works  of  Mozart,  Haydn,  Beethoven,  Spohr, 
Mendelssohn,  and  others.  He  established  a  mu&ical  fire-side : 
he  created  a  taste  for  music  where  none  before  ensted  :  the 
benefits  conferred  by  these  re-unions  were  inestimable,  no  less 
in  a  social  than  an  artistic  point  of  view.  Around  him  he 
congregated  members  of  all  classes  and  all  societies.  In  his 
rooms  might  be  seen  the  musician  and  the  amateur — the 
nobleman  and  the  bourgeois— the  lord  and  the  lady — ambas- 
sadors, marshals,  officers,  authors,  churchmen,  poete,  profes- 
sors, and  merchants.  Mons.  Vieuxtemps  gave  three  matinees 
three  successive  Sundays,  at  which  we  had  the  good  fortune 
to  attend.  In  these  concerts  there  were  performed  two  quar- 
tetts  of  Haydn  ;  two  quartetts  of  Beethoven ;  one  quartett  of 
Spohr ;  one  quintctt  of  Mozart ;  two  trios,  one  of  Beethoven, 
the  other  of  Mendelssohn,  and  6jyfflf^<f^^i3^J'i0^®"P" 


I 


THE  MUSICAL  WORLD. 


221 


w  violin  and  piano.  These  nutrceaux  were  most  admirably 
executed  by  M.  Vieuxtemps,  the  brothers  Albrecht,  M.  Gross, 
and  a  young  pianist  (newly  arrived  in  St.  Petersburgh). 
M.  Honore,  who,  by  his  co-operation  at  the  matinees,  has 
already  won  golden  opinions  from  all  classes.  The  last 
matinee  will  take  place  to-morrow,  as  M.  Vieuxtemps  is 
shortly  to  take  his  departure,  when,  as  a  matter  of  course, 
the  re-unions  will  be  broken  up.  This  is  heartily  to  be 
lamented.  To-morrow  we  shall  hear  the  quartett  of  Men- 
delssohn in  D  minor ;  a  sonata  of  Beethoven  for  violin  and 
piano ;  and  the  quartett  in  C  sharp  minor  of  Beethoven — and 
then,  behold  an  end !  Mons.  Vieuxtemps  will  then  repair 
directly  to  Paris,  at  which  capital  he  will  give  a  series  of  con- 
ceits. This  violinist  is  certainly  one  of  the  very  greatest 
artists  on  his  instrument  in  modern  times.  By  combining 
simplicity  with  grandeur  he  has  realised  the  supremacy  of 
art.  He  is  equally  the  master  of  the  classic  and  romantic 
school.  He  unites  the  breadth  and  large  manner  of  Viotti, 
with  the  impetuosity  and  caprices  of  Paganini.  He  has  regu- 
lated the  faults  of  both  styles,  and  amalgamating  them,  has 
proved  that  art  is  not  seperable,  but  is  one,  indivisible  and 
perfect  for  him  who  can  comprehend  it,  and  make  it  available 
prpctically.  Mons.  Vieuxtemps  has  our  best  wishes  and  our 
best  thanks  whithersoever  he  goes.  He  has  proved  himself, 
since  his  sojootn  amongst  us,  not  only  a  great  artist,  but  /»n 
amiable  personage  :  not  only  the  enthusiast,  devoted  heart  and 
hand  to  his  art,  but  the  kind  friend  and  hearty  acquaintance. 
Mons.  Vieuxtemps  has  been  one  of  the  most  favorite  artists 
that  ever  came  to  St.  Petersburgh.  We  repeat,  he  has  our 
best  wishes  whithersoever  he  may  go. 

REVIEWS    ON    MUSIC. 

•*  Wood^s  Edition  of  the   Songs  of  Scotland:'      Edited  hy 
G.  F.  Graham. — Wood  and  Co.,  Edinburgh. 

Wb  have  received  the  first  number  of  a  publication,  pur- 
porting to  supply  a  cheap  and  handsome  edition  of  the 
songs  of  Scotland,  in  a  neat  form,  to  be  completed  in 
twenty  monthly  numbers.  The  number  before  us.  No.  I, 
contains  '*  The  Flowers  of  the  Forest,"  old  and  new  set; 
"  Gloomy  Winter's  now  awa  ; "  **  Bonnie  wee  thing  ;  ** 
"  Kind  Robin  lo'es  me  ;  "  '*  O,  why  left  I  ray  hame  ? " 
"  Bide  ye  yet ; "  and  "  Roslin  Castle."  The  work  is  finely 
printed  on  good  paper,  and  is  of  imperial  quarto  size,  and  the 
music  is  carefully  arranged.  Altogether  the  production  de- 
serves every  support,  and,  we  are  sure,  will  receive  it.  We  are 
delighted  to  find  so  excellent  a  musician  as  Mr.  T.  Mudie, 
of  the  Royal  Academy,  appointed  as  one  of  the  supervisors  of 
the  work,  ills  name  will  be  a  guarantee  for  the  worth  and 
intention  of  Mr.  Wood's  publication.  We  most  strongly 
recommend  the  new  edition  of  the  *<  Songs  of  Scotland,"  to 
all  lovers  of  ballads  in  general,  and  to  lovers  of  Scotch  bal- 
lads in  particular. 

•*  Vakes  Brillanies"  for  the  pianoforte.     Composed  hy  F.  R. 
Vemua. — Leoni  Lee  and  Coxubad. 

A  SET  of  very  pleasing  waltzes  arranged  for  four  hands,  and 
adapted  to  moderate  performers.  We  can  recommend  these 
unpretending  compositions  as  being  the  offspring  of  a  musical 
mind,  and  as  possessing  that  tune  or  melody  so  necessary  to 
works  of  this  dass,  and  without  which  they  neither  live, 
breathe,  nor  have  their  being.  A  dance  of  any  kind  without 
a  tone,  can  scarcely  merit  the  name — and  yet  we  have  lived  to 
hear  such  so  defamed.  Mr.  F.  R.  Venua's  compositions  are 
dances  indeed ! 


ORIGINAL   CORRESPONDENCE. 

PASSACAGLIA. 

To  the  Editor  ^  the  "  Mutical  VTorld." 

Mr  DiAR  Sir, — It  is  no  easy  task  to  trace  out  the  origin  of  some 
words ;  tlie  part  most  essential  to  thoae  who  adopt  words  of  doubtful 
origin  is  to  maintain  their  general  signification  and  application.  A  com- 
poser may,  for  instance,  write  a  good  madrigalt  and  be  unacquainted 
with  the  origin  of  the  word,  which  may  come  from  Madre,  because  it 
was  customary  to  sing  hymns  to  The  Mother,  Passacaglia  very  probably 
comes  from  the  Latin  word  Patricuhu,  which  means  a  light  etep.  But 
of  this,  who  can  be  certain?  For  there  might  have  lived  a  man  of  the 
name  of  Passacaglia,  and  I  should  as  much  rfgret  Uking  away  his  right 
to  the  merit  of  this  species  of  composition  as  I  always  lament  to  read  of 
the  extravagant  praise  of  some  musicians  and  singers,  who  deserve  but 
a  quarter  of  the  eulogiums  past  upon  them ;  for  it  does  injury  to  the  art, 
and,  as  years  roll  by,  will  only  show  the  worthlessness  of  undue  and 
high-flown  criticism.  A  Passacaglia  need  not  be  written  in  three-fourths 
time,  nor  be  "  a  slow  dance."  If  these  conatituted  its  essential  qualities, 
then  the  two  greatest  masters  have  not  preserved  its  original  form  ;  and 
it  is  scarcely  likely  that  they  should  not  have  done  so,  when  we  consider 
the  time  in  which  they  flourished— I  allude  to  S.  Bach's  splendid  Passa- 
caolia  in  three-fourths  time,  in  C  minor,  and  HandeVs  in  common  time, 
in  G  minor.  It  would  puzalc  even  Tiiglloni,  Cento,  &c.,  to  invent 
chance  figures  to  these  compositions.  But  ihe  writers  of  the  press  being 
more  eloquent  on  the  subject  of  dancing,  those  profound  in  their  obser- 
vations on  music,  I  will  hold  silence  on  this— their  favourite  topic — or 
they  may  discover  that  I  am  a  greater  admirer  of  a  homely  eort  of 
dancing  than  that  which  ren^inds  one  of  the  twist  of  a  wooden  leg,  for 
so  dexterously  straight  do  these  gifted  dancers  twist  one  of  their  legs 
round  and  round.  Now,  as  regards  any  further  explanation  of  the 
Passacaglia,  I  must  refer  Mr.  Allen  to  my  essay,  wherein  1  have  written 
all  that  is  required  for  the  construction  of  one.  Should  your  reader*', 
Mr.  Editor,  desire  me,  through  your  journal  to  explain  away  any  other 
part  of  my  work  which  is  not  clear  to  them,  1  shell  be  happy  to  do  so  ; 
for  the  better  it  is  understood,  the  more  It  w.ll  be  approved  ofv  because 
Abh^  Vogler's  system  is  complete  from  the  beginning  to  the  end,  and 
therefore  it  will  bear  the  strictest  examination.  I  will  not  disot*  n  that 
there  is  much  that  is  new  to  be  found  in  my  essay,  and  1  leave  to  others 
the  right  to  scrutinize  all  1  have  introduced  into  the  science  of  music. 
With  great  satisfaction  I  learn  that  eminent  musicians  and  distinguished 
personages  approve  of  my  work  ;  but  as  there  mny  be  some  who  may 
not,  let  me  at  once  observe  that  they  will  carefully  avoid  all  puMie  dis- 
cussion with  wir  respecting  a  syitcm  which  is  known  and,  in  |)ait,  adopted 
by  the  best  German  theorists.  But  are  not  the  prejudices  of  those  n»^n 
always  the  strongest  who  most  decline  calm  investigation,  although  un- 
fortunately they  are  not  always  the  least  severe  in  their  prwaie  opintons 
and  animoeitiesT 

1  am,  truly  yours, 

3,  Keppel-street,  RutseU-square,  French  Flowers. 

P.  S.— Would  it  not  be  much  to  the  advantage  of  all  vocalists  if 
•*  Concert  Pitch"  were  at  least  half  a  tone  lower T  Why  distress 
the  human  voice  for  a  mere  nominal  advantnge  ?  We  are  told  that  a 
change  of  a  semitone  would  materially  effect  the  brilliancy  of  instru- 
mentation!! What  odd  notions  must  be  entertained  concerning  the 
requisites  necessary  to  produce  brilliant  orchestrhl  effects.  It  is  a  pity 
that  this  petty  whim  should  so  injuriously  effect  all  vocal  music ;  if  it 
did  not  do  so,  this  would  be  too  insignificant  a  matter  to  write  about. 


To  the  EdUor  of  the  "  Musical  H'orUi:* 
Mr  DEAR  Mr.  Editor,— If,  by  presuiring  to  ask  you  a  scientific 
question,  I  shall  be  considered  as  having  violated  the  rules  of  decorum, 
you  will,  I  trust,  attribute  it  to  the  proper,  and,  as  I  hope,  pardontUfle 
catt<e— namely,  the  very  high  opinion  I  entertain  of  your  sound  musical 
judgment  above  all  other  scientific  authorities  as  published. 
It  is  a  popular  saying — 

"  Who  shall  decisis  when  doctors  disagree?" 
Now,  the  decision,  in  my  opinion,  upon  such  disagreements  can  only 
be  safely  arrived  at  by  a  knowledge  of  the  compeiemy  of  the  doctors. 

Now,  air,  in  the  present  esse,   you  are  regirded  as  a  physician  in  an 
art,  about  which  at  this  moment  a  slight  musical  question  is  pending. 
Your  reply  will  oblige  beveral  subscribers. 
JlforcA  24,  1847.  Zfero. 

Question.— Has  Corelij,  in  any  passage  known,  violated  in  the 
etightest  degree,  or  departed  from,  the  prescribed  laws  of  HA»iioHi^r 


2&2 


THE  MUSICAL  WORLD. 


To  the  Editor  qf  the  "  Mrmcal  WorW* 

Sib,— If  you  could  inform  me  ^hat  are  the  regulationa  to  be  observed 
In  taking  a  musical  degree  you  would  nqch  oblige 

A  Constant  Reader. 

[Perhaps  our  friend  D.  S.  will  answer  these  questions  for  ui.— £d.] 


n  the  Editor  f^  the  "  Murical  World:* 

[BEAUMONT'S  FEE. 

6 IS,— Can  you  inform  me  the  length  of  time  an  author  is  entitled 
to  the  copffright  of  a  song  t    With  many  thanks  for  past  favours, 

I  remain,  sir,  yours  obediently, 
Ltncoln,  March  22.  A  Subscriber. 

PROVINCIAL. 

DoyiR.— On  Tuesday  the  9th,  the  second  annual  grand  concert  of 
the  Amateur  Sacred  Choral  Society  was  held  at  the  Apollonian  Hall. 
On  this  occasion  it  was  assisted  by  the  vocal  talents  of  Mrs.  and  Miss 
Byers,  Mr.  George  Genge,  and  Mr.  Farquharson  Smith,  who  also  con- 
ducted. Mr.  Doone,  bus  pianist,  conferred  his  gratuitous  services,  and 
also  sang  a  recitative  and  air  by  Neukomm,  "  Speak,  thou  silent  Heavens/' 
Mr.  T.  R.  Morris  was  the  leader  of  the  orchestra.  The  chorusses  were 
executed  with  great  precision.  Miss  Byers  is  a  young  lady  of  great 
promise.  Her  air,  with  chorus,  "  The  marvellous  works,"  met  with  a 
unanimous  encore.  Mr.  Genge,  with  his  pure  treble  voice,  sang  an  air 
from  Mehul,  "  Ere  infancy's  bud  had  expanded/'  and  an  air  of  Handel, 
"  Thou  ahalt  bring  them  in,"  both  of  which  were  encored.  Mr.  F. 
Smith  and  Miss  Byers,  in  the  reciutive  and  duet,  "  Adam  and  Eve," 
^ere  crffective.  Mr.  F.  Smith,  iu  "  Rolling  in  foaming  billows/'  and  iu 
recitative,  and  that  from  Handel,  '*  1  feel  the  Deity  within/'  gave  fuU 
■cope  to  bis  powerful  organ.  Nor  must  we  omit  to  mention  Mr.  Richards 
in  "  He  was  despised/'  As  a  whole,  it  was  the  best  concert  of  this 
society,  which  deseives  all  encouragement.— Dover  Telegraph. 

SA1.IBBURY. — ^This  theatre  closed  on  Thursday  evening  ii^ith  the  **  Pro- 
voked Husband/'  ''  A  Day  in  Paris,"  and  "  A  Day  after  the  Wedding/' 
We  (ear  that  Mr.  Davis  has  had  but  an  unprofitable  season  comparatively 
with  the)a*t;  but  nothing  else  could  be  expected  when  we  compare  the 
two  companies.  iASt  year  there  was  Mrs.  Guiner  and  Mr.  Davis  as 
leading  lady  and  gentleman,  and  we  defy  any  country  town  to  produce 
two  better.  This  there  has  been  no  regular  leading  man,  and  the  first 
ladjf's  business  has  devolved  on  Miss  Maguire  (O'Hara  is  the  theatrical 
name]  ;  and  never  did  any  one  so  mistake  her  profession  as  this  lady. 
She  has  no  ain^  qualification  for  the  stage.  With  light,  thin  sandy 
hair,  and  lean  figure,  she  was  an  awful  contrast  to  Mrs.  Gurner's  Lady 
Townly  of  last  season  both  in  appearance  and  as  an  actress ;  and  how 
Mrs.  Davia  could  allow  the  exhibition  she  did  on  Friday  niglit,  with 
herself  and  Mrs.  Watson  both  in  the  theatre,  and  either  of  whom 
(although  not  in  their  line  of  business j  would  have  played  the  character 
much  better,  we  are  at  a  loss  to  Know.  Well  might  the  Salisbury  paper 
say  on  the  occasion  of  Miss  O'Hara  playing  JtUiana,  "  It  was  here  we 
missed  Mrs.  Gurner/'  No,  no,  Mr.  Manager,  you  must  not  give  us  a 
good  dinner  one  day  and  starve  us  another.  A  Gurner  one  season  and 
an  O'Hara  the  next.  But  we  well  knew  the  difficulty  of  procuring  talent, 
and  that  you  are  always  ready  to  pay  liberally  for  it  when  you  can  get  it. 

Lincoln .•^ffyvm  our  CorrthponaentJ.—  On  Friday,  Match  24,  a  con- 
cert of  aacrcd  music,  given  by  Mr.  G.  Brook,  in  the  County  Assembly 
Kooms,  was  very  numerously  attended,  and  gave  much  satisfaction. 
The  vocalists  were,  Mrs.  Turner,  and  Masters  'ihomas  and  Travis,  Mr. 
Martin,  Mr.  Knowles,  Mr.  Turner,  Mr,  Brook,  and  all  of  the  cathedral 
chpir.  Fart  first  was  a  selection  irom  the  "  Aiessiah;'*  the  second  part 
a  miscelkneous  selection, including  Beethoven's  song,  "The  Quail  Cry/' 
well  sung  by^Mr.  Turner,  and  tastefully  accompanied  by  his  clever  pupil, 
Mr.  V.  W  ard.  Mrs.  Turner,  Mr.  Knowles,  and  Mr.  Martin,  were  much, 
but  not  too  much  applauded.  Mr.  Harmston's  playing  (vio)in)  gained 
him  a  •imiliir  compliment.  Some  of  the  choruses  were  well  sung,  par- 
ticularly "  For  unto  us  a  child  is  born." 

NawBUBGB.— ^^om  our  CorrespondentJ , — Mr.  Frederick  Wright  has 
lately  erected  an  organ  in  the  Newbur^h  Concert  Rooms,  and  opened  it 
on  1  hursday  last,  with  two  sacred  concerts,  or  selections  from  Handel's 
Judas  Maccabeus.  They  were  both  well  and  fashionably  attended,  and 
the  performance  gave  no  much  satisfaction,  that  Mr.  F.  W.  intends 
giving  a  series.  The  singers  were  Miss  Byers,  (who  gained  great  ap- 
l^use)  Miss  Duval,  Mr.  Turner,  and  Mr.  R.  I.  Smith.  Mr.  Sturgea 
was  at  the  organ,  and  Mr  Garman  conducted.  The  choruses  were  ex- 
cetdingly  well  done  by  an  efficient  number  of  singers  from  Exeter  Hall 
and  Brighton  Societies. 

MAinsTOMB.<— >0n  Tuesday  evening  Mr.  Robert  Green,  the  pianist. 
With  ;h{  jyfisse}  \VUliamiy  Mr.  H.  Phillips,  Mr.  Willy^  and  Mr.  W,  H. 


Seguin,  gave  an  entertainment  at  the  Com  Market  Room,  which  fras 
deserving  of  more  patronage  than  it  received;  the  scanty  audience 
affording  another  melancholy  proof  of  the  utter  absence  of  musical  taste 
in  Maidstone,  which,  unfortunately,  pervades  ail  classes.  The  Misaes 
Williams  warbled  in  their  usual  delightful  manner,  and  never,  perfiaps, 
did  their  voices  blend  more  harmoniously  than  in  the  duets  of  "  The 
woodbirds,"  and  "  We  are  two  merry  fairies,"  both  of  which  were  en- 
cored, as  were  the  "  Indian  Maiden's  song,''  by  Miss  A.  Williams,  and 
Knight's  <*  Soldier's  daughter,"  by  Miss  M.  Williama.  They  are  also 
heard  to  great  advantage  with  Mr.  W.  H.  Seguin,  in  Welah's  glee  of 
"The  merry  gypsies/'  and  Bishop's  "Sleep  gentle  lady/'  H^ory 
Phillips  gave  Calcott's  "  lAst  man,"  in  splendid  style ;  nor  was  he  less 
effective  in  his  own  scena  of  *'The  bear  hunt."  His  new  song  of 
"  There's  a  new  year  coming,"  is  a  charming  ballad,  and  was  excellently 
rendered  by  Mr.  Phillips.  Mr.  W.  H.  Seguin  gave  "Nonjriu  andrai" 
very  pleasingly,  as  also  Coder's  "  Philip  the  Falconer."  The  great  treat 
of  the  evening  was  the  Duo  Concertante  for  the  pianoforte  and  violin 
between  Mr.  Robert  Green  and  Mr.  Willy,  upon  favourite  themes  from 
Rossini's  /'  Guillaume  TelL"  Everybody  knows  the  rich  tones  of 
Willy's  violin  and  bis  perfect  mastery  of  the  instrument ;  and  when  we 
say  that  Mr.  Green's  performance  fully  supported  it,  we  need  say  no 
more  to  make  ourselves  comprehended  by  musicians.  It  was  indeed  a 
hi^h  treat,  and  was  duly  appreciated  by  the  audience,  and  so  were  Mr. 
Willy's  solo  on  the  violin  and  Mr.  Green'slfantasia  on  the  pianoforte, 
the  "  March  Marocaine,"  by  Leopold  de  Meyer.  Mr.  Green  it  one  of 
the  best  accompanists  we  have  heard.  He  really  accompanies  the 
singers,  and  not,  as  is  too  frequently  the  fashion,  drowns  their  voices  by 
playing  in  the  fortissimo  style.  We  must  conclude,  as  we  commenced, 
by  pronouncing  this  to  have  been  one  of  the  most  delightful  concerts 
given  here  for  some  time ;  and  we  again  regret  that  there  is  not  suflScient 
taste  in  the  good  old  town  of  Maidstone  to  encourage  musical  talent.— 
Maidstone  Gazette, 

CONCERTS. 

Ma.  ALLCBorr. — This  miscellaneous  musical  entertainment  look 
place  on  Tuesday  evening  at  the  Hay  market  Theatre.  An  we 
gave  a  preliminary  notice,  in  which  we  stated  the  full  particulars 
of  the  concert,  it  is  not  necessary  to  enter  into  any  lengthened 
detail  on  the  present  occasion,  merely  contenting  our  readers  with 
a  brief  allusion  to  the  performances  which  wore  most  favoiirably 
received.  The  sixteen  pianos  and  eight  harps,  it  may  well  be 
imagined,  did  not  greatly  tend  to  enhance  the  performance  of  the 
Stabat'Mater  of  Hossinl.  Though  effectively  given,  both  by  vo- 
calists and  instrumentalists,  it  went  extremely  heavv,and  seemed  by 
no  means  suited  to  the  tastes  of  the  majority  of  the  audience.  It 
was,  however,  patiently  endured ;  more,  we  opine,  on  account  of 
the  sacred  character  of  the  music,  given  at  a  sacred  season,  than  from 
any  beauty  in  itself  made  manifest  to  the  general  comprehension. 
We  are  bv  no  means  of  that  class  who  can  espy  410  merit  in 
Rossini's  Stabat  Mater ;  and  wc  felt  somewhat  aggrieved  at  the 
profane  addition  of  pianos  and  harps  to  the  score.  The  first  part 
altogether  was  sufficiently  dull ;  nor  did  the  prayer  from  the  Mo9i, 
which  closed  this  section  of  the  entertainment,  redeem  lis  monotcny. 
The  second  part  was  of  a  lighter  and  more  amenable  character. 
The  band  played  the  overture  to  the  Gazza LadratolerMy  well, 
and  Madame  Dulcken  executed  9^  fantasia  of  Wallace's,  which  was 
much  applauded.  Then  Sic^ior  F.  Lablache  and  his  cai'a  sposa 
obtained  a  tumultuous  encore  in  "  Dunquo  io  son**  most  deservedly, 
and  Miss  Rainforih  was  equally  complimented  in  a  ballad  of  Balfe's. 
Besides  these,  we  had  a  Miss  Hill,  very  nervous  in  a  song  of 
Flotow's,  whom  (Miss  Hili,  not  Flotow,)  it  would  not  be  fair 
to  criticise  on  this  occasion,  and  a  descriptive  march  on  eight  harps, 
descriptive  of  nothing  but  confusion  and  uncertainty.  Neverthe- 
less, to  make  amends,  the  BamaL  Polka  was  performed  by  the 
full  orchestra,  with  the  addition  of  the  sixteen  pianists  and  eight 
harps,  which  of  course  enraptured  the  audience  beyond  all  that 
went  befoie.  Of  the  third  part  we  did  not  remain  to  hear  much. 
There  was  the  usual  selection  of  native  and  foreign  morceaux,  and 
one  or  two  encores.  Just  before  we  leIl,'.Mr.  Henry  Russell  sang 
his  descriptive  scena, "  The  Ship  on  Fire,"  which  he  repeated 
amid  great  acclamations.  In  the  course  of  the  evening  the 
Ethiopian  Seienaders  from  the  St.  James's  introduced  a  selection 
from  their  popular  entertainment,  and  were  encored.  We  are  obliged 
to  forego  any  special  remarks  on  the  several  singers,  though  we 
would  willingly  bear  testimony  to  the  excellent  assistance  rendered 
to  tbe  evening's  amusement  ^^[Mjfn^^^^^'  ^^^  ^'  ^*  ^^wea. 


THE  MUSICAL  WORLD. 


228 


Mr.  1>»?ei9,  Mr.  H.  Pbillips,  andjotheif .  The  theatre  wu  crowded 
la  ereiy  part. 

^AGBKO  Ha&momic  Socistt.— The  usual  performance  of  the 
Munoh,  during  the  season  of  Lent,  took  place  on  Wednesday. 
The  princ^ld  engaged  were  Mr.  Lockey,  for,  the  tenor,  and  his 
excellent  singiug  of  tne  music  allotted  to  him,  confirmed  the  good 
choice  of  the  iJirectors ;  Miss  Birch  for  the  soprano,  who  sang 
her  music  "  as  usual ;''  Mies  Dolby  for  the  contralto,  whose  chaste 
rendering  of  the  air  '*  He  was  despised,"  brought  it  back  in  all  its 
^sbnesf  to  our  mind ;  and  a  young  lady.  Miss  Kirkham,  a  relative 
a|)d  pupil  of  Mr.  and  Mrs.  Anderson  (we  believe),  sane  the  music 
generall?  given  to  the  second  soprano.  This  young  ladv,  judging 
under  all  the  circumstances  of  a  first  appearance,  and  too  natural 
timidity  consequent  thereon,  has  a  voice  of  good  quality,  and  has 
evidently  been  under  a  strict  course  of  instruction.  She  is  appa- 
rently Tory  youn^  and  we  have  no  doubt  that  in  time  will  prove  a 
valuable  acquisition  to  our  concert  singers.  The  choruses  were 
auflg  better  tiian  usual.  ^  For  unto  us  a  child  is  born''  was  encored, 
ami  the  "  Halleliyah"  was  rendered  as  well,  if  not  better,  than  we 
have  evefr  heard  it.  We  are  bound,  however,  again  to  lift  our 
voice  against  the  so  frequent  use  of  the  organ,  as  not  only  in  -the 
choral  pieces,  but  also  in  the  solo  and  concerted  parts,  points  and 
effiscU  are  frequently  marred  from  its  indiscriminate  use.  We 
would  urge  on  the  organist  the  study  of  the  score  of  Handel,  and 
with  his  knowledge  oforchestral  effects,  he  must  be  aware  of  such 
WtM  where  its  introduction  b  not  needed.  The  Hall  was  well 
filled.  We  observe  that  the  first  performance  of  Ehjah  is 
announced  ^r  the  16th  instant. 

Misf  Stskls's  Sac&sd  Concsrt  took  place  at  Blagrove's 
Rooms,  Mortimer-street,  on  Wednesday  morning.  The  selections 
displayed  taste  an4  judgment,  comprising  some  of  the  best  and 
moat  favorite  nwrceaux  of  Handel,  Himmel,  Purcell,  Haydn, 
Mozart,  Mehiil»  and  Mendelssohn.  The  principal  singers  were 
Mm  fiainforth.  Miss  M.  9.  Hawes,  and  the  Messrs.  Hobbs, 
Locke y,  and  Machin.  Purceirs  anthem,  *'  O,  sing  unto  the  Lord," 
was  v^l  performed,  the  solo  parts  being  entrusted  to  the  efficient 
hands,  or  rather  voices,  of  Miss  Kainforth,  Miss  Steele,  Mr. 
Hobbs,  and  Mr.  Machin.  **  In  native  worth,**  was  given  with 
exceeding  taste  and  feeling  by  Mr.  Lockey.  Miss  Steele  was 
excellent  in  the  air  from  Saul,  "  0  Lord,  whose  mercies  ;**  and  Miss 
Hawes  no  less  so  in  MehiiFs  beautiful  song,  *'  Ere  infancv's  bud." 
Mendelssohn's  quart ett,  **  When  the  West,"  was  capitally  sung, 
without  accompaniments,  by  Miss  Bainfortb,  Miss  Hawes,  Mr. 
Maebin,  and  Mr.  Lockey;  and  a  quartett  and  chorus  from 
Mowfs  Masf,  No.  12,  was  also  rendered  effective  by  the  same 
vocalists,  sttbstitutinsf  Miss  Steele  for  Miss  Rainforth.  This  finished 
the  fixst  part  "^  iTe  was  despised,"  by  Miss  Hawes;  "Froip 
mighty  Kings,"  by  Miss  Steele ;  and  the  choruses,  **  For  unto  us," 
and  **The  Heavens  are  tellinff,"  were  among  the  best  i)erform8ncos 
of  the  second  part.  The  chorus  was  good  considering  its  force, 
and  the  whole  concert  was  excellently  conducted  under  the  offices 
«»fMr.Turle. 

Ms.  Bbvbt  Pbilufs  devoted  the  Tuesdapr  evening  of  Passiop 
week  to  an  entertainment,  in  which  he  gave  illustrations  of  Sacred 
Songs,  taken  from  the  works  of  Handel  and  Haydn.  The  concert, 
or  to  speak  more  properly,  the  illustrated  lecture,  was  belt)  at  the 
Marvlebone  Institution,  Edward  Street,  Port  man  Square.  |Mr. 
Phillins  prefaced  the  entertainment  with  some  verv  pertinent 
remaiKS  on  the  combination  of  music  and  poetry.  Tne  origin  of 
the  term  ^  Oratorio"  was  explained  bv  the  lecturer  thus  :^Tbe 
wofd  was  pot  introduced  until  1720,  wnen  Handel  first  composed 
**  Esther,"  and  being  first  heard  in  the  private  chapel,  or  oratory, 
of  the  Duke  of  Chandos,  suggested  to  him  the  term  Oratorio, 
which  Has  thence  used,  and  nas  been  applied  to  all  Oratorios 
since.  The  life  of  Handel  was  briefly  touched  upon  in  the  intro- 
duetiijii,  and  his  compoation  descanted  upon,  and  the  places  named 
where  they  frere  written.  All  this  afforded  much  interest  to  the 
audience.  In  part  first,  Mr.  H.  Phillips  introduced  songs  from 
*'  Ihc  Messiah,*^  <*  Alexander's  Feast,"  "Samson  and  Joshua;"  in 
the  second  part,  *'  Judas  Maccabeus,"  the  "  Creation,"  and  the 
<*  Messiah  "furnished  the  selection.  Mr.  Phillips  was  greatly  ap- 
plauded during  the  evening,  and  was  encorcu  with  acclamation 
m  the  Rccttatiye  and  ahr  from  Judas  Maccabeus,  **  Tears  such  as 
tepler  fitben  i»^d."    Hifi  pinging  of  this  magnificent  composition 


was  really  admirable.      The  room  was  very  fulL    Mr.  |TurIe, 
organist  of  Westminster  Abbey,  presided  at  the  piano. 


THE  NEW  PHILHARMONIC  CHAMPION. 

Tbb  Philharmonic  Society  has  at  last  discovered,  or  invented 
a  tutelary  genius  for  Itself.  The  shield  of  the  Morning  Chronicle 
has  been  thrown  across  its  hallowed  walls  by  the  great 
Jenkins,  who  is  henceforth  to  be  the  Apollo  of  that  Parnassus, 
it  always  being  pre-understood  that  he  shall  learn  how  to 
write  ^ood  grammar ;  and  that  he  shall  endeavour  to  compre- 
hend now  a  violin  is  tuned.  Mr.  Grattan  Cooke  wished  him 
to  acquire  the  gamut  upon  the  oboe,  but  the  notion  was  over- 
ruled, the  wildest  imagination  never  having  conceived  either 
the  "  golden  haired  Elector,"  or  Jenkins,  playing  upon  such 
an  instrument.  The*  first  act  of  the  new  deity,  in  defence  of 
the  committee  and  members,  has  been  to  tweak  thenoee  of  the 
Thunderer,  i.  e.,  to  beard  the  Tim$s.  '*  Inconsistency."  quoth 
the  new  Apollo,  and  thereanent  did  he  quote  a  paragraph  as 
long  as  our  arm,  and  another  paragraph  still  longer,  having  no 
relation  whatever  to  the  cause,  in  point,  to  prove  that  the  Times 
did  not  always  esteem  Mr.  Macfiuren  a  genius,  or  Mr.  Stern- 
dale  Bennett  a  giant;  as  if  the  aforesaid  Apollo  Jenkins 
thought  that  the  Morning  Chronicle  was  really  an  imma- 
culate journal,  and  had  never  chaunted  the  praise  of 
that  Mr.  Lumley  whom  it  is  now  at  every  moment 
seeking  the  oppor  unity  to  ruin.  Reflect,  Magnus  Apollo^ 
that  there  was  a  time  when  you  wished  to  take  your  budding 
chaplet  and  untuned  lyre  into  the  enemies  camp ;  when  the 
hand  and  the  olive  were  held  out  upon  your  part  by  kindly 
friends,  and  when  you  were  not  quite  so  determined  to  uproot 
the  dynasty  of  Lumley  from  things  theatrical.  Perpend  this 
most  musical  Jenkins,  and  append  unto  thy  reflections — as  a 
species  of  moral  dishclout  to  the  tail  of  thy  conscience — the 
time  hallowed  proverbs,  that  he  who  dwells  in  a  glass-house 
should  not  throw  stones  ;  and  that  it  is  a  bad  joke  on  the  part 
of  the  pot  to  call  the  kettle  black,  even  when  new-scrubbed 
by  the  purifying  entrance  into  a  new  journal.  It  is  in 
serious  soberness  that  we  take  upon  ourselves  to  read  thee 
this  lecture,  for  we  have  a  reverence  for  thy  bad  grammar,  and 
should  be  grievously  disappointed  at  the  day  of  thy  death,  beuig 
^lly  aware  that  oone  could  in  that  respect  at  least  replace  thee. 
In  grammar,  its  use  and  its  abuse  the  unkindest  critic  must 
allow  thee  to  be  unrivalled.  Shall  there  be  no  more  English, 
or  German  music,  because  thou  wilt  only  of  Italian  f  Shall  no 
puppy  dog^  i,  e.  Morning  Paper  bark  because  thou  cboosest  to 
growl  ?  Go  to,  there  be  other  men  in  the  world  and  other 
deities  too  than  thee,  AppoUo  Jenkins,  and  they  will  none  of 
thee  and  thy  Parnassus.  But  in  serious  mood  and  to  tell  the 
truth,  it  is  with  great  difficulty  that  we  can  be  serious  with 
thee  after  thy  exposition  of  Verdi's  genius  two  mornings 
since.  We  have  almost  destroyed  that  great  composer :  do 
thou  praise  him  and  the  work  completes  itself  for,  to  do  thee 
justice,  thou  art  the  most  fatal  champion  to  the  causes  in 
defence  of  which  thou  buck}est  on  thine  own  armour  who  has 
yet  couched  goosequill  in  rest  or  blemished  the  spotless  and 
maiden  face  of  foolscap.  We,  upon  our  own  parts,  swear  to 
give  thee  and  the  Philharmonic  our  blessing  when  they  play 
one  symphony  of  the  great  master  correctly,  and  when  thou 
inditest  twenty-five  lines,  which  Cobbett  and  Lindlay  Murray 
Woul4  propounce  respectable  English, 


MISGELLANEOU8. 

Miss  LucoMBS. — Our  readers  will  be  glad  to  learn  that  this 
lady's  success  on  the  Continent  has  been  very  great.  Private 
letters  from  Florence  speak  in  high  praise  of  her.  ^Hof  voice, 

^  Digitized  by  ^^OOQ  It: 


*224 


THE  MUSICAL  WORLD. 


it  18  said,  has  been  authenticated  as  one  of  the  most  brilliant 
and  promising  in  Italy,  by  the  dictum  of  the  amateur  composer. 
Prince  Joseph  Poniatowski.  Before  she  left  England,  this 
young  lady  had  energy  and  intention,  which,  indeed,  as  many 
returned  travellers  show,  can  hardly  be  taught  by  foreign 
study.  They  may  be  refined  however ;  and  for  art's  sake, 
and  for  the  credit  of  England,  we  trust  that  in  the  present 
instance,  refinement  may  keep  pace  with  development. — 
Birmingham  Journal. 

Thb  PaoYiNciAL  Bishop. — (From  Punch,) — *'  Our  friend 
the  Musical  World  is  in  a  state  of  weekly  excitement  about 
the  progress  of  La  Bishop — as  he  artistically  calls  her — in 
the  provinces.  We  are  told  that  such  was  the  enthusiasm  on 
her  last  appearance  in  Edinburgh,  that  the  audience  began 
pulling  out  their  pencils  and  writing  on  slips  of  paper,  which 
were  sent  round  to  the  stage-door,  requesting  the  performance 
of  various  morceaux  in  addition  to  those  in  the  programme. 
Why  the  dilettanti  preferred  writing  instead  of  speaking  out, 
and  calling  for  what  they  wanted,  our  musical  friend  has  not 
informed  us ;  but  La  Bishop,  in  the  most  obliging  manner, 
consented  not  only  to  sing  the  morceaux  requested,  but  to 
sing  them  every  one  in  character.  When  the  rondo  finale 
from  UElisir  d^Amore  was  requested  by  a  slip  sent  round 
from  the  slips,  La  Bishop  came  forward  in  a  few  minutes 
dressed  in  the  costume  of  Adina^  and  the  tenor  aided  her 
amiability  by  appearing  with  her,  dressed  as  NemorinOy  though 
he  had  not  a  note  to  deliver.  Such  amiability  was  never 
heard  before,  either  in  or  out  of  any  theatre  in  Europe.  It  is 
strange,  that  with  all  the  attraction  of  La  Bishop  everywhere 
out  of  London,  the  manager  of  Drury  Lane  Theatre  should 
have  been  so  self-denying  as  to  exclaim  **  Nolo  episcopari,  I 
will  have  no  more  Bishop  !** 

Mrs.  NisBETT. — This  celebrated  actress  will  make  her  re- 
appearance at  the  Haymarket  Theatre  on  Monday,  April  12, 
in  her  original  character  of  Constance,  in  Slieiidan  Knowles's 
comedy  of  The  Love  Chase, 

Adelphi.  —  A  local  sketch,  called  Jenn^  Lind,  will  be 
performed  at  this  popular  theatre  on  Monday,  April  12. 

Chubch  Music. — A  letter  from  Rome  states  that  the  Pope  is 
about  to  revive  a  project  conceived  by  his  predecessor,  Gregory 
XVI.,  to  reduce  the  church  music  to  its  primitive  simplicity. 

Astronomical  Lectures. — Mr.  C.  Adams  commenced  his 
series  of  these  very  interesting  lectures,  on  Monday  evening  last, 
at  the  Adelphi  Theatre.  We  have  rarely  been  more  pleased  with 
an  entertainment.  The  lecturer  took  great  pains  to  render  his 
explanation  evident  to  the  understanding  of  the  commonest  portion 
of  the  auditory.  He  made  use  of  sundry  diagrams  variously 
coloured,  to  assist  him  in  cxpoundirg  the  inclination  of  the  ecliptic 
and  equator  ;  the  cause  of  the  seasons'  changes  ;  the  parallaxes  of 
the  fixed  stars,  and  the  eccentricity  of  the  orbits  of  the  comets. 
Some  of  the  transparencies  were  very  beautiful,  especially  the 
orrery,  which  was  exhibited  towards  the  end  of  the  lecture.*  Mr. 
Adams  iiitroduced  a  brief  account  of  the  new  planet,  and  contended 
that  the  dbcovcry  thereof  is  as  much  due  to  his  namesake,  Mr. 
Adams,  as  to  the  French  astronomer,  M.  Le  Vivier,  both  having  at 
the  same  time  arrived  at  the  conclusion  that  there  must  be  a  dis- 
turbing body  beyond  the  planet  Uranus,  the  announcement  of 
which  gave  rise  to  observations  that  ultimately  led  to  the  discovery. 
Between  the  parts,  Mr.  and  Mrs.  Johnson  performed  several 
favourite  urs  on  the  musical  glasses,  which  seemed  to  take  the 
audience  mightily,  for  every  morceau  was  encored.  The  house 
was  very  full,  and  the  audience  listened  to  Mr.  Adams  very  at. 
tentively.  The  lectures  were  repeated  during  the  week,  with  the 
exception  of  Friday  night. 

Arrival  of  the  Monster  Troupe  of  Horses,  ELEPHANTg,  &c., 
FOR  Drury-Lane  Theatre.— On  Saturday,  at  half-past  two 
o'clock,  the  grand  equestrian  company  engaged  by  Mr.  Bunn  to 
perform  at  Drury-laue,  arrived  at  the  Euston-square  terminus.  The 
two  Elephants,  who  were  obliged  to  perform  the  journey  from 


Birmingham  on  foot,  owing  to  their  being  no  railway  conveyance 
sufficiently  large  to  contsun  them,  anived  first,  drawing  after  them 
a  huge  and  ricLly  ornamented  carriage,  in  the  shape  of  a  fiery 
dragon,  twenty-one  feet  in  height.  Soon  afler  the  elephants  were 
housed,  the  two  o'clock  train  arrived,  consisting  of  forty-fivo  car- 
riages, with  trucks,  horse-boxes,  &c.,  and  the  debarkation  of  the 
biped  and  quadruped  performers  commenced.  The  entire  company 
of  male  and  female  artists,  musicians,  painters,  and  auxiliaries, 
next  landed.  Fifty-four  horses,  ten  camels,  ten  ponies,  and  a  great 
number  of  new  and  curiously  fashioned  carriages,  of  ancient  and 
modem  architecture,  with  emblematical  devices,  formed  a  portion  of 
the  cortege,  which  occupied  two  hours  in  unpacking. 

Drdry-lanb  Theatbical  Fund  Festival. — Mr.  Harley,  the 
master,  and  Mr.  W.  Bennet,  the  secretary  to  this  ancient  and  most 
benevolent  institution,  have  already  commenced  operations  calcu- 
lated to  give  effect  to  the  anuual  feast,  which  the  perpetual  president, 
his  Royal  Higncss  the  Duke  of  Cambridge,  has  appointed  to  take 
place  m  Frecmasons'-hall,  on  Friday,  the  23rd  of  April.  On  this 
occasion  the  **  Drury -lane,"  takes  precedence  of  tne  ••Covcnl- 
garden  Fund  Festival ;"  not,  however,  invidiouslv.  it  being  an 
arrangement  long  entered  into  that  the  sister  funds  should  celeorate 
their  anniversary  altemstely. —  Observer* 

The  Committee  of  Drurt-lane  Theatre  and  the  Rsnters. 
— A  correspondent  states  that  the  committee  of  this  Theatre  have 
proposed  to  the  renters  to  give  them  proprietors'  shares,  to  bo 
created  to  the  number  of  3,000  as  a  bonus,  instead  of  their  annuities 
and  annual  admissions.  The  original  grant  to  the  renters  was  an 
annuity  of  25/.  a  year,  which  is  at  the  present  time  reduced  to  12/. 
lOs.  The  committee  will  allow  the  renters  three  ''lives,"  instead 
of  their  annual  nominations.  The  sum  of  90/.  is  understood  to  be 
the  worth  of  a  renters'  share  with  its  annual  admission  ;  the  shares 
of  the  proprietors  are  stated  to  be  worth  in  the  market  about  1/.  for 
every  100/.  share  ;  of  these  shares  of  the  proprietors  there  exist 
3,000,  to  which  3,000  more  would  be  added  by  the  new  arrange- 
ment offered  for  acceptance  by  the  committee. —  Observer* 

Curious  Musical  Fact.— The  undisputed  sovereignty  of  Verdi 
over  the  present  composers  of  Italy,  has  produced  the  publication 
of  a  new  lithographic  sketch  at  Milan,  which  may  ^ive  some  idea 
of  the  length  to  which  Italian  infatuation  can  go.  This  print 
represents  the  new  Maestro  crushing  under  his  feet  a  score  or  two 
of  dead  composers  ;  one  of  the  previous  mentioned  feet  being  on 
the  neck  of  the  living  ROSSINI! 

Verdi. — In  an  elaborate  defence  of  this  sublime  composer,  the 
Chronicle  observes  :— *'  Verdi  is  the  Martin  o^  painting;  it  is  the 
melodrame  of  art."  We  always  thought  Martin  a  painter,  and 
Verdi  a  musician,  but  it  appears  to  be  vice  versa.  We  should  like 
to  be  told  what  the  "  it "  means  which  we  have  displayed  in  capi- 
tals.    Will  our  contemporary  enlighten  us  ? 

Mr.  Ella  had  an  interview  with  Tamburini  on  Wednesday  la&t, 
at  Mivart's  hotel.  Nothing  as  yet  has  transpired  of  what  took 
place. 

Royal  Italian  Opera. — It  is  stated  that  the  grand  chandelier 
of  this  theatre  has  cost  nearly  4000/.  In  consequence  of  the  death 
of  Mr.  Moralt,  Mr.  Hill  is  installed  as  premier  tenor  of  the 
orchestra  of  this  establish mcnt.  Mr.  Thomas,  formerly  leader  of 
the  band  at  Covent  Garden  theatre,  supplies  the  vacancy  led  by 
Mr.  Hill's  appointment,  and  Mr.  Westlake  is  also  engaged  as  tenor 
player.  Mr.  John  Loder,  as  one  of  the  second,  violins,  is  also 
retained. 

Grano  Masonic  Ball.— ••  The  old  Concord  Lodge"  of  Free- 
masons held  their  annual  ball  on  Tuesday  evening  last,  at 
Weippcri's  Spacious  Rooms,  in  Davies  Street,  Berkeley  Sjquare, 
and  a  truly  magnificent  affair  it  proved.  The  officers  of  this,  one 
of  the  principal  lodges  of  the  craf^,  appeared  in  their  collars  and 
jewels,  and  the  majority  of  the  ladies  were  adorned  with  a  rich 
rosette,  surmounted  by  a  splendid  masonic  emblem  ^square  and 
compass)  manufactured  in  silver,  from  the  design,  of  the  worship- 
ful master,  for  the  laudable  occasion.  The  ball  was  most 
respectably  and  numerously  attended,  nearly  200  in  number 
having  assembled  at  an  early  hour,  and  the  gay  and  festive  scene 
continued  uninterrupted  until  the  break  of  day.  The  music  was 
excellent,  and  too  much  praise  cannot  be  given  to  the  Master  and 
stewards,  for  the  spirited  manner  in  which  the  ball  was  conducted 
throughout.    The  proceeds  will  be  applied  to  Masonic  charity. 


THE  MUSICAL  WORLD. 


225 


Madame  Anna  Bishop  siogs  next  Monday,  the  6th  of  April,  at 
a  Concert  at  Exeter  ;  on  the  6th,  up  to  the  lOth,  she  is  re-cng-aircd 
by  Mrs.  Macready  to  perform,  alternately  at  Bath  and  Bristol ;  on 
the  12th  she  will  be  at  Leamington  ;  she  returns  aflerwards  to 
Edinburgh  and  Dublin,  and  will  be  back  to  London,  for  the  whole 
season,  on  the  first  of  May  next.  Mr.  Allcrofl  had  offered  an 
engagement  to  Madame  Bishop  for  his  concert,  on  the  30th  of  March, 
as  also  did  the  committee  of  the  Beaumont  Institution  and  that  of 
the  Western  Literary  Institution  for  some  concerts  in  April,  but 
her  provincial  engagements  did^not  allow  her  to  accept  them. 

General  Theatrical  Fund. — The  Second  Festival,  in  com- 
niemoration  of  the  establishment  of  this  society,  was  held  at  the 
Locdon  Tavern  on  Monday.  Mr.  Macready  presided  in  the  chnir, 
and  was  supported  by  Mr*  Charles  Dickens  and  Mr.  Horace  T\\  iss. 
Among  the  company  present  we  noticed  Mr.  J.  Collett,  M.  P., 
Mr.  E.  Brewster,  Mr  Jules  Benedict,  Mr.  T.  P.  Cooke,  Mr. 
Cullingford,  Mr.  8.  Faucit,  Mr.  Landseer,  Mr.  Lyon,  Mr. 
Buckstone,  and  other  theatrical  gentlemen.  A  strong  array  of  talent 
mustered  in  the  music  gallery.  Among  others  we  observed,  the 
Misses  Rainforth,  Dolby,  Sarah  Flower,  M.  Williams,  A.  Williams, 
Lockey,  Kirkham ;  with  Messrs.  Allen,  Francis,  Machin,  Young, 
Rench,  Bruton,  Lockey,  Manvers,  F.  Chatterton,  Carte,  and 
Blewitt.  Mr.  J.  L.  Hatton  conducted.  The  arrangements  were 
excellent.  The  gallery  was  filled  with  ladies  which  gave  great 
animation  to  the  scene.  After  the  health  of  the  Royal  Family  was 
drank  with  honours,  Mr.  Macready  rose  and  proposed  **  Success  to 
the  Fund.^  In  his  speech,  Mr.  Macready  animadverted  seveicly 
on  the  exclusive  system  of  the  Drury  Lane  and  Covent  Garden 
funds,  and  insisted  that  they  neither  merited  nor  required  support. 
His  address  was  received  with  great  applause.  Mr.  Dickens  also 
made  a  short  speech  in  allusion  to  the  system  pursued  by  the  com- 
mittees of  Drury  Lane  and  Covent  Garden  respectively,  regarding 
the  theatrical  funds  of  each  theatre.  Several  other  gentlemen 
made  speeches.  The  chairman  announced  that  Her  Majesty  had 
signifiea  her  intention  of  becoming  patron  of  the  institution  and 
had  sent  a  donation  of  100  guineas.  Among  the  list  of  subscrip- 
tions read  by  Mr.  CuUingford,  the  secretary,  we  can  only  call  to 
mind  those  of  the  Duke  of  Devonshire,  10  guineas ;  Mr.  Macready, 
jeiO ;  Miss  Burdett  Coutt%  £10;  and  Mr.  Strutt,  £10.  The  entire 
subscription  amounted  to  nearly  £400.  The  chairman  and  several 
other  gfentlemen  retired  at  an  earl v  hour  but  the  festivities  did  not 
conclude  until  the  small  morning  hours. 

Melodists — The  Third  Meeting  of  the  Melodists'  Club  was 
held  on  Tuesday,  at  the  Freemason's  Tavern,  where  a  numerous 
party  dined,  £.  Goldsmid,  Esq.,  in  the  chair.  Non  nobis  and 
several  fine  glees  were  well  sung  by  Messrs.  £.  Taylor,  Parry, 
Horn,  Gear,  Kine,  Hatton,  Machin,  Blewitt,  Foord,  Manvers, 
Hill,  Shorebridge.  Young,  Spencer,  &c.,  &c.  Songs  wore  also  sung 
by  Messrs.  Horn,  Hatton,  Young,  Machin,  and  Blewitt.  The 
treat  in  the  instrumental  department  was  one  of  the  very  highest 
order,  for  Mr.  Sterndale  Bennett  performed  two  of  his  charming 
morceaux,  the  Romance  Genevieve  and  Rondo  Placevole,  in  first- 
rate  style.  'Ibere  was  no  rushing  up  and  down  the  finger-board, 
hops,  skips,  and  jumps,  but  a  most  legitimate,  classical  performance, 
which  called  forth  the  rapturous  plaudits  of  the  delighted  com- 

Eany.  Signer  Emiliani  played  an  andante,  with  variations,  of 
is  own,  on  the  violin,  accompanied  by  Mr.  Bennett,  most  ad- 
mirably ;  he  is  a  tasteful  and  a  highly  finished  performer  on  his 
own  instrument ;  he  was  applauded  to  the  echo.  The  honorary 
secretary  announced,  that  three  candidates  had  entered  tie  list  for 
the  prize,  offered  by  Sir  Andrew  Barnard,  for  a  Druidical  ode  and 
chorus,  to  be  sung  by  Mr.  Machin,  accompanied  by  Sir  Henry 
Bishop,  at  the  Meeting  on  the  27th  instant,  when  his  RoyaljHighnens 
the  Duke  of  Cambridge  will  honour  the  club  with  his  presence. 

Concert  rou  the  Late  Mr.  Ksarns's  Family.— Hanover 
Square  Rooms,  March  27,  1847.— At  the  Final  Meeting  of  the 
General  Committee,  this  day,  it  was  unanimously  resolved  :— That 
*'  the  cordial  thanks  of  the  Committee  be  presented  to  the  Editor 
of  The  Mvsical  World  for  his  kind  and  liberal  assistance,  which 
has  tended  so  greatly  towards  the  pecuniary  success  of  the  Con- 
cert." The  Committee  are  happy  to  state  that  the  exertions  and 
good-feeling,  evinced  by  all  concerned  on  this  truly  charitable 
occasion,  will  enable  them  to  transmit  to  the  unfortunate  family 
^287  6«.  Sif.,  of  which  sum  €69  4«.  9d.  has  been  already  received 


in  donations,  per  list,  in  the  possession  of  T.  Chappcll,  Esq.,  the 
honorary  treasurer  ;  additions  are  still  being' received  by  him,  the 
honorary  secretary,  and  the  chairman. — (Signed  )  George  Smart» 
Chairman." 

Jenny  Lind. — The  director  of  the  theatre  Ander-Wien,  at 
Vienna,  has  had  a  medal  struck  in  honour  of  "  The  Swedish 
Nightingale."  It  contains  on  the  one  side  her  portrait,  and  on  the 
other  a  star,  with  the  motto,  *'  Nescii  occasum,**  (It  knows  no 
setting).  The  medal  is  to  be  presented  to  Mdlle  Lind  with  an 
address,  signed  by  the  elite  of  the  society  of  Vienna. 

New  Music— "  The  Sabbath,** — A  very  pleasing  poem  under 
this  title,  written  by  Mr.  D.  Clarke,  of  Liverpool,  has  been  set  to 
music,  the  composition  of  Mr.  William  Henry  Cooke,  who  has 
gallantly  dedicated  his  production  to  a  lady,  in  compliment  to 
her  literary  acquirements.  The  words  and  air  arc  appropriately 
united,  the  solemnity  of  the  former  having  duly  impressed  the 
mind  and  guided  the  instructions  of  the  composer.  The  melody, 
which  is  remarkably  sweet,  is  in  the  key  of  A  fiat,  and  will, doubt- 
less, become  a  great  favourite  by  the  fireside,  where  a  taste  for 
music  is  cultivated. 

ADVERTISEMENTS. 


Warren's    20   Guinea   Cottage   Piano-Fortes 


ARE  NOW  SELLING  AT  THE 

Manufactory,  71,  Leadenhall  Street 

(Removed from  1  and  2,  Liverpool  Street,  Biskopegate  Street,) 
These  Instraments  are  well  manufactured  of  the  best  seasoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  (riven  wtth  etch  inttra- 
ment.  ESTABLISHED  TWENTY-ONE  YEARS.  The  only  house  in  London 
where  a  srood  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only).    SMALL  PROFIT  AND  QUICK  RETURNS! 

JOHN  l^ARRBN^  71^  lieadenluOl  St.^  opposite  Ald«at«  Pump. 

MADAME  ANNA  BISHOP, 

Will  return  from  the  Provinces  to  London,  for  the  whole  season,  the  Jlrtt 
week  in  A/ay.— Professional  applications,  directed  to 

No.    aB,      GREAT    QXTEBN    STREET^    LINCOLN'S    INN, 

will  be  attended  to. 

PIANOFORTES. 

Parties  in  want  of  a  really  good  PIANOFORTE,  at  a  moderate  price,  will  do  well 

to  call  at 

J.  C.  JONES  AND  CO.'s, 
2,  Hanway.ttreet.  Oxford-street,  a  few  doors  on  the  right  from  Tottenham-court- 
road,  who,  from  their  intimate  acquaintance  with  every  kind  of  instrument  made, 
have  endeavoured  to  combine  the  separate  good  qualities  of  each  with  all  th« 
latent  improvements,  therefore  for  tone,  touch,  durability,  and  appearance  these 
Instruments  are  not  to  be  surpassed  at  the  price. 

Instruments  tuned,  repaired,  exchanged,  and  lent  on  hire. 
Tuning  by  the  year,  one  guinea,    second-hand  Pianos,  Arom  8  to  30  guineas. 

MRS.    LIONEL    RODWELL, 

Begs  to  inform  her  Friends  and  Pupils,  that  she  has  removed  from 
No.  66,  Great  Portland  Street,  to  |^ 

No.  9,  Bnmswick  Iiij^e^,' Regent's  Park.^^ 


=i 


226 


THE  MUSICAL  WORLD. 


ROYAL    ITALIAN     OPERA, 

COVENT        ^Ss^felSt        GARDEN. 


UNDCR    THE    DlRCCTION    AND    MANAGEMENT    OT    MR.    BEALE. 


SIGNOR    POLONINL 

(From  the  Imperial  Theatre,  Vienna), 


The  KbbtUtt,  Gentry,  Svbicrlberi,  and  Patrons  of  Mntic  are  reapectAiIlr 
inlbnned,  that  the 

NEW      THEATRE      WILL      OPEN 
On  Tuesday  nezt^  the  6tli  of  April, 

IfUBS  inriLL  BB  PBRFORBfED  ROSSINI'S  OPERA-SBRIA  OF 

8EIVIIRAM1DE, 

IN  WHICH 

MADAME  QRIJIy    ^  „  MJLLE.   ALBONIi 

(Fr«ii  the  Scala  at  Milan,  her  first  appearance  in  thii  oonntrf), 

SIGNOR   LAVIA, 

(From  the  Imperial  Theatre  of  St. 

Pfetersbnrgh),  aisd 

SIGNOR  TAMBURINI, 

(Hia  fint  appeanmee  in  London  fin*  font  years)  will  sustain  the  principal  characters. 

In  the  coarse  of  the  evening 

THE   NATIONAL   ANTHEM 

Will  be  performed  by  the  entire  ttren^h  of  the  company. 
To  conclude  with  a  new  Billet,  iii  two  tableaux,  by  M.  Albbet,  entitled 

L' ODALISQUE. 

The  music  composed  by  Signor  Cubini  (from  the  San  Carlo,  at  Naples). 

Pebmibbbs  Dansbusbs  : 

MLLE.   FLEURY,  MLLE.   BERTIN, 

{¥nm  the  Acad^ie  Eoyale  at  Paris),      (From  the  Imperial  Theatre,  Vienna,  and 

from  the  4cad6nie  Royale), 

MLLE.   NEODOT,        M.  MABILE,  M.  GONTIE, 

(Vnm  Madrid),  (Flpom  Madrid),  &c. 

DiBBCTOB  or  TBB  MtTBlO,  CoMPOSBB,  AND  CONDUCrOB— M.    COSTA. 

Oboanxbt-MR.  VINCENT  NOVCLLO. 

THS  aCMNERT  BY  MS88SS.  GRISVS  AJUD  TBLBJN. 

.^    ''J®  Machinery  by  Mr.  Allen.    The  Properties  by  Mr.  Blamire. 
Artiste  Coatumi^re-Mrs.  Bailey.  The  newdrop  scene  by  Signori  Ferriand  Verardi. 
Tickets,  Stalk,  and  Boxes,  Ibr  the  night  or  season,  to  be  obtained  at  the  Box. 
offlce  5  and  at  Messrs.  Cramer,  Beale.  and  Cb.%  801,  Regent-street.   The  doors 
^nUbe  opened  at  half-past  Seven  o'clock,  and  the  performance  to  commence  at 

FAIR      COMPLEXION. 

Under  the  Patrmage  of  the  NMliiy  and  Gentry. 

TO  TBa   IiADJBS. Wonderfol  and  Importaat  DUeorery. 


ORIENTAL    BOTANICAL    PREPARATION, 


^^^e^SS; 


For  remoTing  almost  instantaneously  cutaneous  . 
and  other  discolorations  of  the  skin.  After  one  application  of  the  Bdtani 
which  must  be  used  twice  a  day,  a  wonderftd  change  wttl  be  perceived,  and  in  the 
course  of  a  few  days  the  complexion  will  assume  a  beautiftil  transparent  roseate 
hue  appearance.  The  extract  to  apply  Is  of  the  most  agreeable  nature,  and  the 
first  application  will  prove  ite  wondernd  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

OEORGE  H.  J.  COCKBXmN,  O,  Aldffata,  London; 
And  Barclavand  Sons,  Fiurinffdon-street,  London ;  in  bottles  at  as.  Od.  and  4s.  6d. 


Chemists  and  Perfumers  in  tiie  kingdioni. 

TO   TBB    MtrSIO    PBOPBBBJOlf. 


'NASSAU 


P  R  E  S  8f 


STEAM 

AND 

PUBLISHING     OFFICE, 

60,    ST.    MARTIN'S    LANE,    CHARING    CROSS. 

Bvwy  description  of  OONCBKT  PRimiNG,  fPubUc  or  Private,)  consisting 
"  •S2°"^'"'""»  NoTBs,  TiCKBTs,  PosTiNo  BILLS,  ftc.,  STB  ncttly  ttld 
expeditiously  executed  with  economy  and  taste  by 

W.    8.    JORMBON^ 

PRINTBB    TO    HBR    M AJBSTV'a    THBATBB  31  TBAB8 1 

Vrhcre  ilK>  nay  be  ted  «<11ie  Hukal  World,"  and  att  OpetBB,  Oomedicf, 
Ptayi,  rivoei,  BnrlCMiues,  and  the  whole  of  Webster's  uni<iue  ActtngEUrima. 


MONS.  VieUXTEMPS 

Btt  tli«  bwor  to  umoanee  that  he 

WILL     ARRIVE     IN     LONDOH 

For  the  concert  season,  from  St  Petenlraif  ,  Ob  Mohoat,  Af  Bit  \% 

All  letters  addresMd  to  Urn  at  M.  JULUBN>S,  114,  Be«ent  StreM;  will  ba 

attended  to* 

DR.   STOLBERGPS   VOICE   LOSffiltftilS 

Is  acknowledged  as  the  best  spedfic  after  three  years'  trial,  for  inprpTipg 
the  voice  and  removing  all  affBCtions  of  the  tbroaL  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  reUzed 
thioats. 

The  Proprietors  have  Just  received  the  following  Testimonial,  afliongst 
many  others,  from  Madame  Anna  Bishop: — 

"  Dbab  Sill,— I  am  happy  to  say  that  all  I  have  heard  rcipecting  tbt 
efficaor  of  Dr.  Stolbbbo^b  celebrated  Loiehgb  is  perfectly  true,  as  yetter* 
day,  feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP.'* 

Barclay  and  Sons,  Farringdon-street  i  Sutton  and  Co.^  Bow  Chor^ywdi 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Chutdiyard ;  Sanger,  And 
Dietrichsen  and  Hannay,  Oxford-street;  and  rettil  by  all  re«pe^ablt 
Cbymists  in  ihe  Kingdom. 

JUST  PUBLISHED,  No.  II  OF 
WOOD'S    EDITION 

OP  TBB 

SONCS    OF    SCOTLAND: 

WUh   Symphonies  and  Accempanimenls  for  the  Pianoforte. 
Sditod  by  O.  F.  GftAHAM . 

In  addition  to  the  Masic  and  Poetry  of  the  Songs,  the  Work  contains  brief 
Notices  ot  their  History,  when  these  can  be  derived  from  authentic  sources.  To 
be  completed  In  Twbnty  Monthly  NuUbbbs.  at  Sxxpbnck  each.  Badi 
Number  to  contain  Eigbt  Songs.  PubUshed  with  the  BCagaxines  on  tbt  drat  of 
every  month. 

CoMTBNTS  or  No.  I:— 


Flowers  of  the  Forest,  old  set 

Ditto      ditto,  modem  set 
Gloomy  Winter 
Bonnie  Wee  Thinff. 


Kind  RoMn  lo'es  me 
Oh  why  left  J  my  heme 
Bide  ye  yet 
Boeiin  Oastle. 


No.  9:- 


Row  sweet  this  lone  Tmls 
>cy  loTO's  in  Oermsny 
Green  vrow  the  Rnshes  O  t 
O  trae  lore  isal 


The  Bush  aboon  TrsatiBir 
AtUd  Bobln  Gray  (old  air) 
Ditto       ditto  (new  air) 
My  toeher's  the  Jewel 

Published  by  l^OOD  dk  Co.,  Mnsie-seUers,  Id,  Waterloo 
Place,  Edlnbnrch  ; 

And  to  be  bad  of  Olitsk  &  Botd,  Edhibunrh ;  J.  Alpbbo  Notbllo,  tt.  Dean 
Street,  Soho,  and  24,  Poultry ;  and  Simpkin,  Mabshall,  h  Co.,  London. 

To  the  Queen's  Most  Bxeellent  Ma'esty,  and  the  British 
Army  and  Mary. 

J.  KOHLER'S  NEW  PATENT  LEVER  INSTRUMENTS. 

J.  Korlbb  having  brought  to  perfection  and  obtafaied  Her  MaleBty*ft  Lrttafs 
Patent  Ibr  the  above  Invention,  which  he  has  unriied  to  the  OOKNOPBAN. 
TRUMPET,  CORNETTO,  TROMBONES,  and  FRENCH  HORNS,  he  can  now 
with  great  conHdence,  after  an  experience  of  Five  years  in  bringing  Hw  aettai  to 
its  present  state  of  perfection,  recommend  them  to  Her  M^es^'a  Anny  asd 
Navy,  and  all  Professors  and  Amateurs.  The  advantages  that  tUa  Patent  ghrai 
to  tiiese  Instruments  are  :^ 

1.  All  the  Tones  and  Semitones  produced  by  the  Patent  Lever  are  quite  as  per* 
feet  aa  the  Natural  Notes  on  the  Instrument. 

2.  The  intervals  on  the  Diatonic  and  Chbonatic  Scales  are  perfeet,  the  ton- 
pass  greater,  and  the  most  rapid  and  dilBcult  passages  aiay  be  perlbrmed  iritk  a 
precision,  freedom,  and  Itelness  of  tone,  and  comparative  ease  to  tiie  perfimer. 

8.  Combinations  in  harmony,  which  never  before  could  be  performed  at  all  by 
any  Brass  Instruments,  may  now  be  executed  with  par«Nt  ease,  and  Ttn  or 
Twelve  Instruments  on  this  principle  can  produce  a  mors  rich  aad  soauisas 
efltect  than  Twenty  Four  could  do  on  the  old  prindplea.  IhehaiBhaesaoftaaela 
the  former  Brass  instruments  is  entirely  done  away  with,  and  a  set  of  tkeae 
Instruments  heard  together,  prodoces  Mflitsry  and  hamontooa  eAela  never 
before  heard. 

Theae  Instruments  are  now  in  uae  in  Hbb  Majesty'b  ParvATB  Baitd,  Fiaer 
LiTB  GUABDf,  Royal  Hobsb  Guards,  Gbbnadibb  GuASDi^  FoituuR 
GuABDS,  Royal  Abtillbby,  eotm  Royal  RiPLsa,  fte. 

Testooaial^  DKwian  aad  Prices,  forwaiM on apettoatlnte  J.KOHUUt'B 
Ifanufiictory^,  Heutttbuitreet,  Covent-gait^ 


THE  MUSICAL  WORLD. 


'm 


THE  FOLI/OWING 


OPERAS,    BALLETS,    SPECTACLES,    &c. 

ABB  PUBLISHED  BY 

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Ik.  Tto  ModMB  Oiphtiu.  I 

Vol.  II. 

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1ft.  Rory  (TMore. 
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a.  Why  did  Tou  Dl«? 
».  Yaldw. 
t4.  Boosal  Tiir«r. 
tfi.  St  Patrick**  \x%. 


H.  PoalB  Boots, 
nr.  Tho  Rtegdovu. 
H.  TlM  Black  Doaloo. 
IS.  Oar  Mary  Ami«. 
at.  Shodiag  RveBta. 


.  le  Calprii 

SI.  Confounded , 

81.  Tke  DaneiBf  Barber. 
84.  All  for  Lore  \  or  tke  Lett 
Pleiad. 


85.  ThoSpHalfleldsWeaTor. 
88.  The  rTso  Brigade. 

87.  Angcllne. 

88.  Truth. 


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OrBBdmother. 

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48.  A  Hasty  Coneladen 
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48.  Weak  Polnti. 
40.  NaTal  BntairenMiita. 
"Legion. 


48.  The  Iriih  Lion. 
4S.  Lyinf  In  Ordinary. 
BOl  One  Hoar  tor  theCaniTal 
BalU 


47.  Britiih  Lq 

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II.  OemlBl.  J  57.  Forty  and  Fifty.  

n.  Tbe  ArtlsTa  Wife.  ]  58.  Sons  and  Syit^s. 

hi.  A  LesBonfar  L«lica.  58.  Printer's  ^dvAV 


\  «S.  Nicholas  Nieklcby. 
68.  Married  Life. 


Vol.  VI. 

With  a  Portrait  of  B.  WEBSTER,  Esq.,  price  7*.  cloth,  contains  :— 

tinr. 
oTOld  PH< 


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OA  Chaos  to  Oone  Ata!n. 

05.  Mr.  OiwnOaeb. 
V.  J^lUle  Adopted 


doTCrotoaey. 


08.  Grace  Dartis 

70.  The  Court  c 

71.  Jaa 
78   *'Qa«ea*B  Horse.** 


71.  Burlington  Arcade. 

74.  Hia  First  Chonp  — 

75.  Isaafc  Walton. 
78.  Swiss  Swains. 


Vol.  VII. 

With  a  Portrait  of  BAYLE  BERNARD,  Esq.,  price  7*.  cloth,  contains !— 

77.  teytan  and  Doings.  I    81  .'Single  Life.  Is.  184.  King  O'Neil. 

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78.  The  Bappy  Mao.                    88.  The  Hall  Porter.  88.  Hto  Last  Legs. 


90.  HearieCt*  the  Fsrsakm  Is.  1 88.  Brian  Borolhme  Is. 


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107.  GarieriHes  of  T 


81.  The  Wrack  Ashore  U. 
08.  Xsabellc.  la. 

Vol.  IX. 

88.  The  Plaee  Rmter. 
98.  llM  Greek  Bor. 

100.  Boarding  School  la. 

101.  The  Woman  Hater. 

Vol.  X. 

109.  Who*s  Tonr  Friend  f 
1  IOl  Caught  In  a  Ttap  Is. 
111.  The  Thimble  Rig. 
1 


UWtmtn  »p  S. XnevlSf,  Inf.? 


1108.  A  Lorer  by  Prosy. 
108.  Peter  and  f*anU  is, 
104.  Locomotloa. 


Ills.  The  Fox  and  the  Ooow. 
lis.  Caaar  de  Baaan. 
114.  ThoMystertoua  Stranger. 


Il5i  The  Chimes,  1st 
lis.  The  Oreen  Bnsheei  or  a 
Hundred  Tears  Ago.  Is. 


Vol.  XI. 

117.  TheHolha«  and  Child  arc  |  Iff.  The  Mth  Dtafoon.' 
Doing  Well.  181.  Clarissa,  Is.       ^^  ^ 

118.  The  Sherin  of  the  County.  |  111.  Deeds  of  DrendM  V 
1 18.  St.  Gcmte  *  the  Dragon,    j  188.  TlM  Mlserks  of  Boi 

VOL  XII. 

^4.  Cricket  on  the  Hearth.  Is  1 1«.  Did  yo«a  cr  send  yoor  Wl*  1 180.  Peter  Wllktna. 
B5.  LlonessoT  tbe  North,  la.  to  Camb-iweU»      .  .  ^fi* J^>**J^.'P?*  ^ 

no.  Taming  a  Tarur.  188.  BeggTon  Horsebafdt  Is.         iSI.Boroagh  Pelltka. 

R7.  The  Cabin  Boy.  |  I 

VoL  XIII. 

us.  Wonderftal  Water  Cotv.    1 185.  Jockey  Club.  f  187.  Look  befere  yea  Leap.  li. 

94    RngenU  Clalrellle  J 188.  Mrs.  Sarah  Gamp.        |  ISO.  Old  Heads  Md  Tounc  Km 

189'  The  Bound  of  Wrong       1 140.  The  School  for  Sahcming,  is   1 141  The  Flofwnt  ol  the 


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2S8 


THE  MUSICAL  WORLD. 


THOMAS    BAKER'S 

MODERN    PIANOFORTE   TUTOR. 


Hm  the  honor  to  announce,  that  he  has  iust  pablished  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratum  so  long  sought  after  by  the 

frofession.  Notwithstanding  the  improvements  that  nave  taken  place  in 
lanoforte  Playing  within  the  last  ten  years,  no  deviation  has  been  made  in 
the  system  of  teaching  from  Tutors  of  the  Old  School ;  in  consequence,  many 
gifted  with  brilliant  talents  have  been  unable  to  execute  the  music  of  the 
present  day.    For  this  reason  the 

MODERN    PIANOFORTE   TUTOR 

Has  been  introduced,  and  met  with  the  greatest  success  from  the  elite  of  the 
profession,  who  have  universally  adopted  it.  The  work  is  divided  into  two 
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RUDIMENTS  OF  MUSIC, 
lSivi\t%  for  tjbe  Jpotmation  of  i^c  f^antr,  ^taks^ 

FINGSR    XSXERCISES,    *e. 

Interspersed  with  Morceaux  frpnythe  works  of 

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Rossini,  BelUnl,  Konisettl,  *e.— Price  8s. 

The  second  part  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
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Xllvstrated  with  nomerons  Examples  So  Exercises, 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Pianistes  of  the 
Modern  School  :  with  Selections  from  the  Pianoforte  Compositions  of 
Herz,  DoAler,  Thalberg,  &c.  ;  in  fact,  everything  necessary  to  constitute 
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PnbUshed  by  M.  JUI.LIEN  &  Co., 

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JULLIENS  ALBUM  for  1847. 

M,  JOLLTEN  has  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSICAL     At^NUAL    FOR    1847 

Is  now  Publbhed,  and  will  be  found  by  far  the  best  work  of  the  kind  that 

has  ever  appeared ;  containing  no  less  than 
Thirty  Pieces  of  Vocal  and  Fourteen  of  Instmmental  Moaic 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
havii^  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  taken  during  the  brilliant  scene  exhibited  in  that 
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theotheraVIEW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
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in  a  manner  at  once  life- like  and  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  liave  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
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A.  splendidly-coloured  Portrait  of  the    celebrated  Danseuse,  Madlle. 

Flora  Fabbri,  in  the  admired  Pas,  La  Castiglianl.    An  original  subject, 

,  "  The  Fortune  Teller,"  illustrating  Baker's  beautiful  ballad  of  that  name. 

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ROYAL    CONSERVATORY   OF    MUSIC, 

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A  new  plan  of  gradual  or  accumulative  Assurance,  particularly  adapted  for 
young  lives,  and  for  such  as  cannot,  without  inconvenience,  undertake  the 

Sayment  of  a  fixed  premium,  securing  at  once  provision  in  case  of  prematare 
eath,  and  an  accumulating  fund,  available  during  life,  should  occasion  require. 
Annuities,  Enoowmbnts,  Advances,  and  Loans,  on  liberal  terma. 
Detailed  Prospectuses,  with  forms  of  Proposal,  and  every  infonnation,  may  be 
had  on  application,  either  personally  or  by  letter,  at  the  Company's  (M&cet. 
The  usual  commission  to  Solicitors  and  Agents. 

H.  D.  Dayknpoiit,  Seereiary, 

THE  PATENT  HARMOKXUM. 


This  beautiful  Instrument  posserses  the  softness  of  the  voice  with  the  variety  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Organ.  It  ia  equally 
suitable  for  Sacred  Music,  or  the  Dance,  and  adapted  for  the  Drawing  Room. 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lvrv  and 
Son,  sole  agents,  where  the  PATENT  HARMONIUM  can  be  heard  firom  10  tiU  4, 
daily;  and  where  can  be  inspected 

LUFF  Jt  SO.\'S 
Elegant  Assortment  of  PIANOFORTES, 

Made  by  experienced  workmen,  and  thoroughly  seasoned  wood,  all  of  wbich  is 
prepared  on  the  premises.    Tney  are  warranted  to  stand  well  in  Tune,  suid  are 
prepared  for  extreme  climates:  prices  one-third  less  than  usually  charged. 
Instruments  taken  in  exchange,  and  a  liberal  allowance  to  dealers. 

LUFF  and  SON,  103,  Oreat  Rnasell  Street,  Bloomabmry. 


N.B.~The  terms  of  Mr.  JULIAN  ADAMS,  tbe  celebvmted 
perforoMT  upon  the  Patent  Harmonium,  can  be  bad  of  MmXJTT 
and  SON. 

Printed  and  Published,  for  the  Proprietors,  at  the  "Nassau  Steam  Press," 
by  William  Spbnckr  Johnson,  60,  St.  Martin's  MQe>  in  the  pariah  ot  St. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex:  where  all communicationa 
for  the  Editor  are  to  be  addressed  post  paid.  To  ne  had  of  G.  Purkeaa,  Dean 
Street,  Soho ;  Strange,  Paternoster  Row ;  Wisebeart,  Dublin ;  and  all  ttooluieUen* 

-s««rd.r.  ApriisM.mT.  ■  Digitized  by  N^UUg ItT 


C|)e  Muiiml 


orlD. 


(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 


A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

Terms  of  Subscription,  per  Annvm,  16«.  Stamped ;  12s.  Unstamped  3  to  be  forwarded  by  Money  Crder  or  Postage  Stamps 
to  the  Publisher,  IV.  S.  Johnson,  '^Kassau  Steam  Press,"  60,  St.  Martin's  Lane,  Charing  Cross< 
fS^Bach  Sabscriber  is  entitled  to  an  Admission  to  an  Annual  Concert,  and  a  Piece  of  Mnslc^(regvilar  Knsic  sise)  Monthly. 


No.  15.— Vol.  XXir. 


SATURDAY,  APRIL  10,  1847. 


5  PRICE    THREEPENCE 
}  STAMPJSP,  FOURPENCE. 


NOTICE. 

Our  Subscribers  are  presented  this  week  with  a 
Romance,  composed  by  Angelo  Finelli  expressly  for 
SICNOR   CARDONI,  of  Her  Majesty  s  Theatre.   ^ 


HER   MAJESTY'S   THEATRE. 

We  promised,  in   our  last,  to  take  a  retrospective  view  o^ 
the  proceedings  at  this  establishment,  up  to  the  present  point 
of  the  season   1847.     When  the   peculiar  difficulties  under 
which  Mr.  Lumley  opened  his  campaign  are  taken  into  con- 
sideration, It  must  be  a  matter  of  surprise  to  every  person  of 
reflection,  not  merely  that  he  should  liave  been   able  to  effect 
what  he  has  eff^'cted,  but  that  he  should  have  contrived  to 
sustain  the  credit  of  his  establishment  at  all.     Shortly  after 
the  conclusicMi  of  last  season  all  the  great  vocali>ts,  with  a 
single  exception,  who  had  for  so  long  constituted  the  main 
attraction  of  the  establishment,  with  the  majority  of  its  band 
and  chorus,  seceded;  and  constituted  the  nucleus  of  a  formi- 
dable opposition.     No  manager  was  ever  placed  in  a  more 
difficult  position  than  Mr.  Lumley.  The  cause  of  the  secession 
of  his  company  is  no  business  of  oUr's.     We  have  refrained, 
and  shall  continue  to  refrain,  from  commenting  on  it.    It  was 
enough  that  the  cloud  of  adversity  lowered  above  his  head — 
big  drops  burst  at  intervals — the  thunder  muttered  restlessly, 
and  an  awful  tempest  threatened  to  explode.     In  his  time  of 
nnabated  prosperity  we  were  not  the  thick  and  thin  adherents 
of  Mr.  Lumley.     Wd  neither  courted  nor  flattered  him.     We 
were  satisfied,  in  criticising  him  fairly,  to  render  our  readers 
and  ouTFekes  justice.     But  as  then  we  were  disposed  to  give 
Mm  credit  for  whatever  we  could  praise  in  his  management, 
niuch  more  do  we  feel  inclined,  now  that  the  monopoly  he 
once  wielded  is  trampled  under  foot,  to  lend  him  a  helping 
tod    In  this  spiiit  we  have  criticised  what  has  already  been 
^^tt:^^  during  the  present    season,  and   in    this   spirit  we 
^-mJMt^  our  present  remarks.     Their  sincerity  may  be  tested  by 
L^^strm,  ination  of  our  past  conduct  in  relation  to  Her  Majesty's 
^^^s3B.-«ro,  and  needs  no  further  pleading. 
'^y^C*  «=^  ^egin  at  the  beginning— Mr.  Lumley;s  first  difficulty 
\k^  to  find  substitutes  for  the  band  and  chorus  tL'>t  had 

H^^^-^-ted  him.  The  old  baud  had  been  trained  to  great 
^f^<^m  ^ncy  by  a  conductor  of  eminent  talent  and  indefatigable 
^^^*-*^  ^=^try— Signer  Costa,  now  director  of  the  orchestra  at  the 
*vc>  ^  3Eml  Italian  Opera,  the  life  arid  soul  of  the  opposing  esta- 
^lis»^  *nent.  Mr.  Lumley  was,  as  it  happened — and  it  might 
^^  "^^  "3^  have  happened  otherwise — very  lucky  in  his  choice  of  a 
^^Bsor  to  Signer  Costa.  Perhaps  no  artist  in  the  country, 
^^^T  qualified  for  the  post  by  education,  taste,  and  ability, 
*^^  have  been  selected  than  Mr.  Balfe,  The  sequel  has 
^^"^^nteed  his  efficiency  no  less  than  his  fidelity  and  zeal. 
*^^     ^lidgment  and  Energy  little  short  of  magical,  in  an  in- 


%uc=c^ 


credibly  brief  time,  Mr.  Balfe  has  filled  the  empty  seats  of 
the  orchestra  with  an  army  of  instrumentalists  more  numerous 
than  their  predecessors,  and,  if  less  used  to  discipline,  scarcely 
less  complete  and  efficient.  It  would  be  preposterous  to  assert 
that  this  new  band  is  faultless.  There  are  defects  that  weaken 
its  power  and  must  be  remedied  to  make  it  worthy  of  the  part 
it  has  to  play.  In  some  points  it  is  first-rate,  in  others  it  is 
second-rate,  in  some  it  is  mediocre,  and,  in  a  very  few,  it  is 
decidedly  bad.  But,  it  is  not  to  be  supposed  that  Mr.  Balfe 
is  blind  to  the  drawbacks  that  tell  against  the  perfect  ensemble 
of  111*  orchestra.  On  the  contrary,  lie  observed  them  at  once, 
and,  since  the  opening  of  the  theatre,  has  been  gradually 
administering  remedies  in  necessary  changes  and  modifications. 
He  has  yet,  however,  much  to  do,  but  he  will  do  it  with  as 
small  delay  as  possible.  Meanwhile  there  are  elements  in  his 
orcliestra  that  make  it  capable  of  reaching  the  highest  pos- 
sible efficiency:  Some  of  the  leading  instrumentalists  of 
Europe  are  enrolled  among  its  members.  We  need  but 
mention  the  names  of  Piatti,  Lavigne,  L'Anglois,  Templini, 
Zeiss,  &c.,  to  show  the  kind  of  artists  who  occupy  the  fore- 
most ranlcs.  Moreover  those  that  remain  from  the  old  set 
number  Tolbecque,  Nadaud,and  other  such  m<»n  among  them. 
It  is  not,  therefore,  unreasonable  to  suppose  that  in  a  short 
time  Mr.  Lundey's  band  will  be  all  that  the  most  fastidious 
connoisseur  could  reasonably  hope  for. 

The  chorus  may  be  disposed  of  in  fewer  words.  Suffice  it 
that  last  season,  and  for  many  years  previous,  it  was  lament- 
ably inefficient,  while,  at  present  (thanks  to  Mr.  Balfe)  it  is 
a  splendid  and  capable  body,  wortliy  of  any  European  esta- 
blishment ;  its  faults  are  so  few  that  it  would  be  mere 
hypercriticism  to  specialize  them.  Those  who  have  heard  the 
operas  of  La  Favor ita^  Lucia  di  Lammermoor,  Nino,  Im 
Sonnamhula,  and  Ernani,  during  the  present  season,  can 
testify  to  its  worth. 

The  band  and  chorus  obtained — essentials  in  an  operatic 
company  more  vitally  important  than  managers  are  apt  to  sup- 
pose, or  managers  to  allow — the  question  of  principal  vocalists 
remained' to  be  solved.  Prima  donnas,  and  tenors,  and  bari- 
tones, and  basses  must  be  hunted  up  from  every  corner  of 
musical  Europe,  to  supply  the  place  of  those  who  had  seceded. 
Where  were  they  to  be  found?  Mr.  Lumley  went  abroad,  and 
others  fn  his  interest  went  abroad,  and  for  some  months  there 
was  a  scouring  of  the  continent  for  singers.  Some  were 
engaged,  others  treated  with,  some  proposed  to,  others 
suggested.  All  the  world  of  London  was  on  tiptoe  with 
anxiety  to  know  what  Mr.  Lumley  had  found,  and  as  the 
coming  season  cast  its  shadow  before,  the  desire  to  see  his 
prospectus  was  unanimous  and  invincible ;  the  guesses,  specu- 
lations, and  reports,  thereupon  were  legion.  Never,  since 
the  birth  of  the  Opera^  had  so  much  curiosity  prevailed  about 
Digitized  by  \^OOy  It: 


230 


THE  MUSICAL  WORLD. 


the  programme  of  the  season's  engagements.  The  press, 
divided  into  cliques  of  Lumleyites  and  Anti-Lumleyites, 
issued  daily  philippics  on  either  side,  and  reports  filled  the 
atmosphere  like  locusts.  At  length  the  prospectus  appeared. 
The  public  was  astonished  by  its  completeness  and  brilliancy. 
There  was  novelty  and  there  was  excellence,  and  an  unusual 
amount  of  both.  We  need  not  recapitulate  its  contents, 
which  are  already  so  familiar  to  our  readers.  The  day  sub- 
sequent to  the  publication  of  this  prospectus,  the  press 
teemed  with  articles  in  which  its  merits  were  discussed.  The 
Lumleyites  lauded  it  to  the  skies.  The  Anti-Lumleyitcs 
(who  could  not  deny  its  superiority)  took  the  very  un- 
usual and  unwarrantable  course  of  declaring  it  to  be  a  sham 
— **  mere  moonshine."  All  these  matters  stand  already 
recorded  in  our  pages,  and  the  consequences  thereof.  At 
length  the  Opera  opened,  on  Tuesday  the  16th  of  February. 
Three  of  the  new  engagements,  Gardoni,  Superchi,  and 
Bouch^,  made  decided  hits — the  first  mentioned,  one  of  the 
most  decided  ever  known  at  the  Opera.  Madame  Sanchioli 
(a  previous  year's  engagement)  was  found  vastly  improved. 
The  quality  of  the  band  and  chorus,  which  Balfe  had  enlisted 
and  trained,  was  tested  by  the  encore  of  an  overture  and  some 
choral  pieces,  an  event  unusual  at  the  Opera.  The  whole 
performance,  in  short,  was  on  such  a  scale  of  efficiency  as  to 
set  all  doubt  at  rest  about  Mr.  Luniley's  chance  of  being  able 
to  weather  through  the  season.  We  heard  some  of  the  oldest 
hdhiluda  of  the  Opera  declare  that  they  never  remembered  so 
brilliant  a  first  night.  La  Favorita  was  repeated  several 
times,  until  the  first  representation  of  Verdi's  Nino  brought 
Coletti,  a  baritone  not  unknown  to  England,  but  so  wonder- 
fully improved  that  it  was  nearly  the  same  thing.  Coletti 
made  an  unquestionable  impression,  and  even  the  adversaries 
of  Her  Majesty's  Theatre  pronounced  him  a  first-rate  artist. 
Not  satisfied  with  this,  Mr.  Lumley  kept  up  the  fire  magna- 
nimously, and  in  a  few  days  he  introduced  to  us  Fraschini, 
a  young  Neapolitan  tenor  of  great  renown,  whom  he  had 
secured  at  a  large  expense.  Fraschini  appeared  in  the  Lucia. 
He  was  received  with  the  utmost  favour,  and  if  the  majority 
preferred  Gardoni's  purer  style  of  singing,  this  did  not  make 
Fraschini's  success  the  less.  Subsequently  Gardoni  appeared  in 
La  Sonnamhula,  and  in  that  opera  thoroughly  fulfilled  all  the 
anticipations  that  had  been  raised  by  his  dehHt.  He  was 
established  a  primo-tenore  of  first-rate  pretensions.  Superchi's 
appearance  in  Ernani  raised  him  also  many  degrees  higher  in 
public  esteem,  while  Fraschini  and  Bouche  added  to  their 
laurels  in  the  same  opera.  Thus  the  strength  of  the  opera 
department  was  tested  before  Easter,  and  proved  to  surpass  ail 
expectations. 

In  the  ballet  Mr.  Lumley *s  management  has  ever  been 
famous.  His  prospectus  this  year  is  more  splendid  and  varied 
even  than  usual.  At  present  we  have  only  to  record  the 
appearance  of  two  stars  in  the  choregraphic  horizon,  whom 
Mr.  Lumley  has  spelled  away  from  sunny  Italy — Carolina 
Rosati  and  Marie  Taglioni.  Our  opinion  of  these  excellent 
and  charming  artists  has  been  given  too  often  to  need  re- 
petition. They  are  the  heralds  of  more  stars  to  come — stars 
that  have  long  twinkled  in  our  hemisphere,  whose  beams 
have  long  been  worshipped — and  they  are  beautiful  heralds, 
worthy  the  honour  of  announcing  the  return  of  their  more 
celebrated  sisters  of  tlxe  dance.  In  a  word,  the  ballet  this 
year  promises  to  surpass  all  that  has  preceded  it,  and  this 
for  Mr.  Lumley's  management  is  a  matter  of  no  small 
significance. 

In  the  scenic  department  Mr.  Lumley  has  wisely  retained 
the  talented  Mr.  Marshall,  and  in  this  and  in  all  particidars  of 


the  mise  en  scene  (with  occasional  exceptions  in  respect  to  the 
dresses  of  the  subordinates,  which  are  not  always  in  the  best 
taste,)  the  theatre  has  manifested  remarkable  improvement. 

Thus  far,  at  least,  every  item  in  the  prospectus  has  been 
fulfilled,  with  the  solitary  reserve  of  Madame  Montenegro, 
who  was  announced  to  appear  before  Easter.  But  Madame 
Montenegro  has  been  here  some  time,  and  will  appear 
this  evening  in  Verdi's  Idua  Foscari.  Are  we  not,  therefore, 
fully  justified  in  remaining  consistent  to  our  frequently  urged 
faith  in  the  whole  letter  and  spirit  of  Mr.Lumley's  programme^? 

The  remainder  has  yet  to  be  fulfilled.  Meanwhile  the 
inimitable  Lablache  will  shortly  appear  in  Donizetti's  sparkling 
opera,  UElisir  D'Amore^  in  which  Gardoni's  Nemorino  will 
not  be  the  least  attraction,  and  Lucille  Grahn  will  add  to 
the  already  great  attractions  of  the  ballet  this  evening. 

So  much  has  been  said  in  disfavour  of  Mr.  Lumley's  pro- 
mises, by  certain  journalists,  that,  as  impartial  '*  chroniclersi" 
we  have  thought  it  just  to  collect  the  facts  as  they  have  occurred, 
up  to  the  present  moment,  and  place  them  before  our  readers 
in  such  order  as  to  enable  them  to  form  their  own  unbiassed 
judgment.  We  should  be  foremost  in  defending  courageous 
criticism;  however  severe,  for  it  is  of  more  importance  to  art 
th!it  truth  should  be  told  than  that  the  interests  of  any 
managers  should  be  served.  But,  when  criticism  is  all  on 
one  side  it  demands  rigid  examination,  in  order  that  so  much 
of  it  as  is  true  may  pass  current,  and  that  what  is  false  may 
be  extracted  and  cast  aside. 

MUSIC  IN  MANCHESTER. 

(From  our  own  Correspondent^  April  3, 1847.) 

The  Theatre  Boyal  here  was  suddenly  closed  on  the  23rd 
ultimo,  by  the  unforeseen  illness  of  Mr.  Macready,  but  has 
been  opened  since  to — first  of  all — a  group  of  imitators  of 
the  original  Ethiopian  Serenaders,  rejoicing  in  the  appellation 
of  Ethiopian  Harmonists,  who  commenced  their  performance 
on  the  25th.  Not  having  much  taste  for  *  nigger*  melodies  in 
general,  *  Ethiopian'  copyists  in  particular,  we  did  not  honour 
them  with  a  hearing  ;  had  it  been  the  original  party  who  first 
appeared  at  the  St.  James's  Theatre,  Messrs.  Pell  and  Co., 
we  might  have  gone  out  of  sheer  curiosity,  as,  in  their  way, 
we  understand  they  were  really  clever ;  but,  as  Punch  says, 
**  we  are  having  a  glut  of  Ethiopians,**  and  the  false  taste 
which  can  give  encouragement  to  such  so  called  '  musical 
entertainments*  well  deserved  Punch's  biting  satire,  wherein 
he  suggests  that  at  the  next  performance  of  *  Otello,'  at  Her 
Majesty's  Theatre,  *  Buflfalo  gals*  should  be  introduced  with 
Lablache  on  the  bones  I  To  crown  the  matter,  we  see  in 
to-day's  Manchester  Guardian^  an  announcement,  for  Easter 
Monday,  of  a  party  of  *  Female  American  Serenaders',  seven 
in  number !  Old  Cobbett,  some  years  ago,  expressed  his 
dread  of  the  influx  of  Bavarian  broom  girls  to  this  country 
but  how  was  his  horror  increased  on  seeing  one  among  the 
swarms  that  then  came  over  about  to  be  a  mother !  *^  The 
vermin  (as  in  his  coarse  style  he  termed  them)  besides  coming 
in  shoals  have  absolutely  begun  to  breed  here !"  This  week 
the  Distin  Family  have  given  a  concert  at  the  Theatre  Royal 
each  evening,  except  Good  Friday,  we  are  sorry  to,  report  to 
thin  audiences.  Very  likely  its  being  Passion  Week  would 
prevent  many  from  attending  the  theatre  even  at  a  concert, 
else  their  unrivalled  talent  would,  no  doubt,  have  had  a  better 
appreciation  in  Manchester.  Their  performances,  especially  in 
quintets,  are  truly  marvellous ;  it  is  the  very  perfection  of 
horn-playing  and  cannot  be  surpassed :  they  make  their  sax- 
horns and  sax-tubas  discourse  most  eloquent  music,  and  a 
most  interesting  group  of  performers  they  appear—the  old 

Digitized  by  \^OOy  It: 


THE  MUSICAL  WORLD. 


22il 


man  and  his  four  sons ;  they  deserve  better  success  than  they 
have  this  time  met  with  in  Manchester.  A  Miss  Moriatt 
0*Connor  varied  the  concert  by  singing  some  ballads  in  a 
pleasing  unaffected  style,  in  the  last  of  which  (an  Irish  one) 
ahe  was  encored.  Macready  is  re-announced  for  the  17th 
instant. 

We  see,  by  this  day's  Guardian,  also,  that  the  Hargreaves 
Choral  Society  have  announced  the  '  El^aV  for  the  20th 
instant.  Principal  vocalists  : — Miss  Birch,  Miss  Dolby,  Mr. 
Lockey,  and  Mr.  H.  Phillips.  Staudigl,  it  appears,  has  an 
engagement  offered  to  him  to  which  he  has  never  deigned  any 
reply.  The  directors  have  even  written  to  Mr.  Lumley  for 
his  permission  for  Staudigl  to  accept  the  engagement ;  the 
foIlowiDg  is  his  reply :— - 

Um-  Mqfott^i  Theatre,  March  25.  1847. 

*'  Sia,— I  im  requeftted»  by  Mr.  Lumley.  to  acknowledge  the  receipt  of 
yoor  letter  of  the  29nd  instant,  and.  in  reply  to  say,  that  however  much 
he  mi^t  feel  inclined  to  grant  the  request  of  the  Hargreaves'  Choral 
Society,  he  is  obliged,  for  the  present,  to  decline  making  any  arrange- 
ments for  the  engagements  of  artistes  at  Her  Migestv's  Theatre.  I  have 
the  honour  to  be  your  most  obedient  servant,         Ch4rli8  Thompson. 

7b  Cbaelbs  Sbvirn,  Esq.,  Hon,  Sec,, 

Hargreaves^  Choral  Society,  Manehesier." 

What  can  we  gather  from  this  ?  Is  Staudigl  coming  to  Her 
Mi^eaty's  Theatre  alter  all— and  when  ?  We  see  that  Phillips 
IS  engaged  in  his  stead  at  Exeter  Hall  also. 

Jnllien  f  Verily  Jullien  is  a  mighty  magician  I  by  the 
mi^c  of  whose  wand  (or  baton)  thousands  are  attracted — so 
as  thousands  never  went  to  any  concerts  before  in  Manchester 
-—the  Distins  w»e  here  last  week  giving  charming  concerts  of 
Aeir  kind,  yet  their  marvellous  Sax-horns  and  then:  won- 
dtiiul  peifoirmance  on  them  drew  only  the  most  meagre 
tndiences— <Aey  had  not  Jullien  to  conduct  for  them  1  On 
Monday  the  6th  instant,  Easter  Monday,  the  Free  Trade 
HaU  was  filled  to  overflowing,  the  only  extra  attraction 
beyond  the  very  name  of  Jullien  was  the  fact  of  his  bringing 
Kerr  Pischek  to  appear,  for  the  first  time,  in  public  here.  He 
has  twice  appeared  in  Manchester  before,  once  each  season  at 
the  Concert  Hall,  but  the  masses  for  whom  Jullien  caters  had 
as  yet  had  no  opportunity  of  hearing  the  great  German 
baritone.  Jullien,  besides  being  a  magician  is  a  toctician, 
and  of  the  first  order.  Who  is  there  can  draw  as  he  does  ? 
Who  can  so  exdte  the  public  mind  ?  With  admirable  tact 
he  took  care,  at  his  last  concert  here  in  February,  that  small 
hand-bills  should  be  fireely  distributed  to  the  thousands  then 
present,  announcnig  in  his  puflF  preliminary,  *•  The  engage- 
ment, at  great  expense,  of  Herr  Pischek  !'*  To  effect  which, 
Jullien — the  great  Jullien  himself  had  to  make  a  special 
journey  to  (Germany  in  the  month  of  December  last-— that  a 
eoM^/had  been  conceded  a  month  earlier  than  usual— which 
would  enable  the  Manchester  puplic  to  hear  "  The  greatest 
nnger  on  the  Lyric  stage  of  Europe,  whose  voice  combines 
all  the  qualities  of  tenor,  baritone,  and  bass,  &c.  &c.  &c., 
early  in  April."  He  next  took  care  to  keep  attention  alive 
to  the  fiEust  that  Herr  Pischek  was  coming  by  preliminary 
advertisements  daring  the  month  of  March — the  consequence 
was  that  when  he  did  come  excitement  was  at  its  height  and 
the  Free  Trade  Hall  was  literally  crammed  at  advanced  prices 
—the  promenade  being  advanced  from  one  shilling  to  eighteen 
penee,  tihe  gallery  from  two  shillings  and  sixpence  to  three 
afailHngs  and  sixpence.  All  this  was  done  too  without  any 
extra  attraction  in  the  band — the  only  names  in  the  pro- 
gramme being  the  usual  ones  of  Kosnig,  Gollinet,  Richardson, 
and  Sonnembexg.  There  were  many  absentees  as  compared 
with  the  band  he  had  with  him  last  time.  Where  were  Barret, 
Baumann,  Cawdani,  Lazarus,  Cioffi,  Ftospcre  t  fcc,  rehearsing 


with  Costa  at  Covent  Garden,  we  presume-    Jullien  had  not 
altogether  omitted  to  replace  these  admirable  artists  and  in 
their  place  secured  some  executants  of  respectability  at  any 
rate  on  such  instruments.    Who  they  were  did  not  appear ; 
very  likely  of  the  new  band  at  the  old  Italian  Opera.    The 
bassoon  we  noticed  as  having  a  remarkably  fine  tone.     The 
oboe  was  well  played  and  then  we  had  three  of  the  first  rank 
who  were  just  as  little  noticed  in  the  programme  as  the 
strangers,  viz.,  Tolbecque,  the  leader  of  the  Italian  Opera  at 
Her  Majesty's  Theatre,  Jarretton  the  horn,  and  Rousselot  on 
the  violoncello.     In  spite  of  these  celebrities,  however,  and 
their  great  conductor,  the  band  did  not  go  so  well  together, 
or  produce  that  effect  which  we  have  been  accustomed  to  look 
for  at  these  concerts.     Some  of  the  music  selected  too  was 
anything  but  good,  two  pieces  especially,  we  are  compelled  to 
find  fault  with  as  far  below  what  the  same  composers  have 
hitherto  given  us,  viz.,  two  waltzes  (valse)  called  a  deux  temps 
—one  "  The  Olga,  or  Princess  Valse,"  by  Jullien,  the  other, 
"  Jenny  Lind,"  by  Kcsnig.    The  first  is  a  sort  of  ugly  copy 
or  imitation  of  the  Bridal  Valse,  but  how  vastly  inferior  I 
they  are  both  short  of  melody  or  beauty  of  any  kind,  to 
our  taste.    We  had  some  few  pieces  of  good  music,  Weber's 
Euryanthe  (spoilt  by  a  tubby  pair  of  drums)  and  Beethoven's 
C  minor  symphony,  the  most  charming  piece  of  the  night, 
only  stinted  of  strings  as  all  Beethoven's  music  is  at  JulUen's 
concerts.    We  had  also  a  selection  firom  Don  Giovanni :  but 
come  we  now  to  the  feature  of  the  night,  Pischek  !  our  ex- 
pectations had  been  raised  perhaps  too  high  by  Jullien's  puffs, 
consequently  they  were  not  fully  realised.     He  is  a  beautiful 
singer  and  has  a  most  exquisitely  finished  delivery,  with  a 
voice  of  amazing  fleidbility  and  compass :  still  we  fancied  we 
detected  a  tendency  to  vibration  or  tremulousncss,  Fomasari's 
besetting  sm,  and  should  have  liked  a  little  more  of  the 
sostenuto,  the  sustained  manner  in  which  Staudigl  as  a  hasso 
and  Donzelli  as  a  Unor,  are  the  finest  exemplars  we  ever 
heard ;  the  songs  he  gave  us  were  one  firom  Spohr's  Faust, 
•'  The  Chimes ; "    "  My  Heart's  on  the  Rhine ;  and  last,  not 
least,  his  celebrated  '•  Standard  Bearer ;"  the  two  last  were 
encored.     He  comes  again  on  Tuesday,  the  13th,  when  he  is 
to  give  •*  Adelaida,"  and  Jullien  is  calling  in  the  assistance  of 
the  band  of  the  First  Royals,  who  axe  stationed  at  our 
barracks,  in  order  to  giv6  effect  to  his  British  Army  Guadrille: 
moreover,  it  is   announced  as    Jullien's   Annual    Benefit. 
Whose  benefit  was  it  on  East6r  Monday*  Monsieur  Jullien  ? 
when  some  five  thousand  persons  were  present  and  when  you 
must  have  netted  a  dear  £300  at,  least,  but  all  conquerors 
must  have  their  reward  and  why  not  so  great  a  general  as 
Jullien  t  _^_____^_«- 

vBfl   AmaiviflBf 

JFrom  tie  €rttm8n  af  ^otiftt. 

OotMHued  firom  pt^f  »0- 
PART    II. CHAPTER  IX. 

Sfrino  had  come  later,  but  more  suddenly  and  joyously  than 
usual.  Ottilia  found  in  the  garden  the  fruit  of  her  foresight ;  aU 
was  budding,  putting  forth  leaves,  and  blossoming  w  the  iiroper 
time.  Much  tW  had  been  prepared  in  weU-arranged  beds  and 
irreen-houBes  now  at  once  advanced  towards  nature,  wbwh  at  last 
worked  from  without,  and  all  that  had  to  be  done  and  tended  was 
now  no  longer,  as  Wtherto,  a  mere  hopeful  toJ,  but  became  a 
cheerfol  enjoyment. 

But  she  had  to  console  the  gardener  on  account  of  many  a  gap 
which  had  arisen  among  the  plants  in  pots  through  Luaanas 
wildness,  and  the  destroyed  symmetry  of  many  a  crown  offolitge. 
She  cheered  him  up  bv  saying  that  all  would  be  speedUy  restored, 
both,  had  too  ^ii^>^^^^l^^^^f^\^^ 


282 


THE  MUSICAL  WOKLD. 


fir  these  grounds  of  consolation  to  profit  him  much.  Little  as  the 
fiti'dener  must  be  distracted  by  tlie  fancies  and  inclinations  of  olhersi 
just  as  little  must  the  quiet  coune  be  interrupted  which  the  plant 
takes  in  attainin^^  permanent  or  transient  perfection.  The  plant 
resembles  wilful  men,  from  whom  any  thing  may  be  got  when  they 
are  treated  after  their  own  fashion  A  calm  survey,  a  quiet  con- 
sistency, the  doiuff  of  what  is  quite  suitable  in  every  season,  in 
everv  hour,  is  pernaps  required  of  no  one  more  than  of  a  gardener. 

The  good  man  promised  these  Qualities  in  a  high  degree,  and 
on  this  account  Ottilia  worked  witn  him  so  readily,  but  for  some 
time  he  hud  not  been  able  to  employ  with  comfort  his  peculiar 
talent.  For  although  he  was  able  to  do  to  perfection  all  that 
belonged  to  the  plantation  and  kitchen-garden,  and  also  all  that 
was  required  for  an  ornamental  garden  in  the  old  style — as  indeed 
one  person  succeeds  more  than  another  in  this  or  that  particular— 
although  in  the  management  of  an  orangery,  of  flower'bulbs,  of 
pink  sr.d  auricula  cuttings  he  might  have  challenged  Nature  herself, 
nevertheless  the  new  ornamental  trees  and  fashionable  flowers  re- 
mained in  some  measure  strange  to  him,  while,  of  the  infinite  field 
of  botany,  wiiich  was  oftening  with  the  time,  and  the  8tranp:c  names 
which  occur  in  tifat  science  and  were  buzzing  about,  he  had  a  sort 
of  dread  which  made  him  cross.  What  his  masters  had  begun  to 
order  the  year  before  he  looked  upon  as  so  much  useless  expense 
and  extravagance/ as  he  saw  many  valuable  plants  leave  the  pre- 
miscs.  and  did  not  stand  on  remarkably  good  terms  .with  the 
market  gardeners,  who  did  not  serve  him  with  sufiicient  honesty. 

After  many  attempts  he  made  a  sort  of  plan,  in  which  he  was  so 
much  the  more  conHrnird  by  Ottilia,  as  it  was  properly  based  on 
the  return  of  Edward,  whose  absence  in  this,  and  in  many  other 
cases,  was  necessarily  considered  daily  more  injurious. 

While  the  plants  went  on  strikmg  root,  and  putting  forth 
branches,  Ottilia  felt  more  and  more  rivetted  to  the  spot  Exactly 
a  year  before  she  had  entered  as  a  stranger,  as  an  unimportant  being. 
How  much  had  she  acquired  since  that  time !  But,  alas,  since  that 
time  how  much  had  she  also  lost !  She  had  never  been  so  rich  and 
so  poor.  The  feelings  of  both  conditions  were  interchanged  in  the 
same  moment,  nay,  intimately  crossed  each  other,  so  that  she  knew 
no  other  resource  than  to  seize  upon  what  was  close  at  hand 
with  iuteresr,  and  even  with  passion. 

All  that  Edward  especially  liked,  it  may  be  imagined,  most 
strongly  attructed  her  care ;  nay,  why  should  she  not  hope  that 
he  himself  would  soon  return,  that  he  would,  when  present,  remark 
with  gratitude  the  careful  attention  which  had  been  paid^  him  while 
absent. 

But  she  was  made  also  to  act  for  him  in  a  very  different  way. 
She  had  especially  undertaken  the  care  of  the  child,  which  she 
could  so  much  the  more  immediately  attend,  as  they  had  resolved 
not  to  give  it  to  any  nurse,  t3ut  to  rear  it  with  milk  and  water.  In 
this  fine  time  of  year,  it  was  to  enjoy  the  open  air,  and  then  she 
herself  liked  but  to  take  it  out,  carrying  the  sleeping  unconscious 
being  between  the  flowers  and  blossoms,  which  would  in  future 
smile  kindly  upon  its  childhood  ;  between  young  shrubs  and  plants, 
which  by  their  youth  seemed  destined  to  firow  up  with  it.  When 
she  looked  around  hor,  she  did  not  conceiu  from  nerself  to  what  a 
wealthy  condition  the  child  was  born,  for  almost  all  that  the  eye 
could  perceive  in  any  direction  was  once  to  belong  to  it.  Hence 
how  dbsirable  it  mas  that  it  should  grow  up  before  the  eyes  of  its 
father  and  mofher,  and  confirm  a  renewed  nappy  union. 

Ottilia  felt  all  this  so  purely,  that  she  thought  of  it  as  decidedly 
real,  and  at  the  same  time  was  not  sensible  for  herself.  Beneath 
this  clear  sky,  in  this  bright  sunshine,  it  became  at  once  plain  to 
her  that  her  love  to  perfect  itself  must  become  completely 
uuselfish.  She  only  desired  the  good  of  her  friend ;  she  believed 
herself  capable  of  renouncing  him,  even  of  never  seeing  him  again, 
if  she  only  knew  that  he  was  happy.  But  she  was  quite  resolved 
that  she  would  never  belong  to  another. 

Care  was  taken  that  the  autumn  should  be  as  magnificent  as  the 
spring.  All  the  so-called  summer  plants,  all  that  do  not  cease 
blooming  in  autumn,  and  that  boldly  unfold  tlemselves  in  spite  of 
the  cold«-especially  china-a8ters-*were  sown  in  the  greatest  variety, 
and  now  transplanted  in  all  directions,  were  to  forma  starry  heaven 
on  the  earth. 

FSOM  OTTIUA'a  DIARY. 

A  good  thought  which  wo  have  read,  something  striking  which 


we  have  heard,  we  put  down  in  our  diary.  But  if,  at  the  same 
time,  wo  take  the  trouble  to  extract  from  the  letter  of  a  friend 
peculiar  remarks,  orminal  views,  passing  ingenious  expressions,  wo 
should  become  very  rich.  We  put  away  letters  never  to  read  them 
again,  destroy  them  at  last  from  motives  of  discretion,  and  thus 
the  purest  and  most  immediate  breath  of  life  vanishes  irreparably 
for  us  and  for  others.     I  propose  to  supply  this  omission. 

So  then  the  story  of  the  year  is  again  repeated  from  the 
beginning.  Again,  thank  God,  wo  are  in  the  prettiest  chapter. 
Violets  and  mayflowers  are  like  the  superscriptions  or  vignettes ; 
they  always  make  a  pleasing  impression  upon  us,  when  we  open 
hem  again  in  the  book  of  life. 

We  blame  the  poor,  especially  those  under  age,  when  they  lie 
about  the  streets  and  beg.  Do  we  not  remark  that  they  are  active 
as  soon  as  something  is  given  them  to  do  ?  Scarcely  does  Nature 
unfold  hor  friendly  stores,  than  the  children  are  at  hand  to  com- 
mence a  trade.  None  of  them  beg;  every  one  offers  you  a 
nosegay,  which  he  plucked  while  you  were  yet  asleep,  and  the 
supplicant  looks  as  kindly  at  you  as  the  gif\.  No  one  looks 
pitiMblo  who  feels  that  he  has  some  right  to  demand. 

Why  is  the  year  oflenso  short,  of\en  so  long?  why  does  it  appear 
so  shurt  and  so  long  in  the  memory  ?  Thus  I  feel  with  respect  to 
the  past,  and  nowhere  more  strikingly  than  in  the  garden,  where 
the  transient  and  durable  are  blended  one  with  another.  And  yet 
there  is  nothing  so  transient  that  it  does  net  leave  a  trace^some- 
thing  of  its  kind. 

We  can  take  pleasure  in  winter.  We  fancy  we  can  extend 
ourselves  more  freely  when  the  trees  stand  before  us  so  spirit-liko^ 
so  transparent.  They  are  nothing,  but  then  they  cover  nothing. 
When  once  buds  ondblossoms  come,  we  are  impatient  until  the 
full  leaf  is  put  forth,  until  the  landscape  embodies  itself,  and  the 
tree  presses  towards  us  as  a  form. 

Everything  perfect  in  its  kind  must  go  beyond  its  kind,  must  be 
something  else  which  ii  incomparable.  In  many  tones  the  nigbtin* 
gale  is  still  a  bird  ;  then  it  rises  above  its  species,  and  seems  as 
though  it  wotild  indicate  to  the  leathered  tribe  what  singings 
properly  is. 

A  life  without  love,  without  the  presence  of  the  beloved  one,  is 
only  a  comSdieu  tiroir—'VL  miserable  collection  of  diy'oioted  scenes. 
We  pull  them  out  and  push  them  in  again,  oue  after  the  other,  and 
hasten  on  to  the  next.  All  that  appears  good  and  important  is  but 
slightly  connected.  We  must  always  begin  anew,  and  might  end 
anywhere. 

{To  be  continued,) 
%*  To  prevent  misonderstandiog,  it  may  be  sUted  that  the  copyright  of  this 
translation  l>elongs  aolt ly  to  the  translator. 

80NNET. 

NO.  XXIX. 

When  I  was  absent  from  thee,  love,  my  mind 

Form'd  for  Itself  strange  visions  of  alarm ; 

Now  trembling,  lest  some  unespected  barm 
Had  smitten  the  dear  treasure  left  behind ; 
Id  dread  now,  lest  returning,  I  should  find 

The  smile  that  used  to  welcome  me  less  warm ; 

Or,  that  those  eyes  had  put  aside  the  charm 
Which  with  such  icagic  all  my  coul  could  bind. 
That  fear  is  gone— it  was  a  childish  fear ; 

And  I  will  e'en  confess  it  was  a  sin 

To  doubt  the  heart  thou  hast  bestowed  on  me. 
But  still  I  know  thou  wilt  forgive  me,  dear. 

Learning  that  ev'ry  anxious  thought  has  been 

Of  thee  alone,  although  unjust  to  thee. 

N.D. 


LOLA   MONTEZ  AND  THE  TIMES. 

The  following  letter  appeared  in  The  Times  of  Thursday, 
which  we  take  the  liberty  of  transferring  to  the  cdamns  of 
our  journal,  as  we  have  no  doubt  it  will  amuse  sundry  of  our 
readers : — 

7b  the  BdUor  of  The  Timee. 

"  Sir— In  consequence  of  the  numerous  reporU  drculated  in  various 
papers  regarding  myself  and  family,  utteriy  void  of  foundation  or  truth,  I 
beg  of  you,  through  the  meOium  of  your  widely  drculated  Journal|  ^ 
insert  the  following :  -  Digitized  by  VnOOV  IC 


THE  MUSICAL  WORLD. 


233 


I  was  bom  at  Seville  in  the  year  18?3 ;  my  father  was  a  Spanish 
offlrer  in  the  service  ol  Don  Carlos ;  my  mother,  a  lady  of  Irish  extraction, 
bom  at  the  Havannah,  and  married  for  the  second  time  to  an  Irish 
gentleman,  which  I  suppose  is  the  cause  of  my  being  called  Irish,  and 
sometimes  English, " Betsy  Watson,"  "Mrs. James,"  &c. 

I  beg  leave  to  say  that  my  name  is  Maria  Dolores  Purris  Montez,  and 
I  have  not  now  changed  that  name. 

As  for  my  theatrical  quali6cations,  I  never  had  the  presumption  to 
think  1  had  any ;  circumstances  obliged  me  to  adopt  the  stage  a«  a  pro- 
fession, which  profession  1  have  now  renounced  for  ever,  having  become 
a  naturalized  Bavarian,  and  intending  in  future  making  Munich  my 
residence. 

Trusting  that  you  will  give  this  inseition,  I  have  the  honor  to  remain, 
sir,  your  obedient  servant,  LOLA  MONTEZ." 

Munich,  March  31. 

This,  if  the  letter  be  authentic,  seems  to  set  at  rest  all 
doubts  concerning  the  famous  dancer's  birth-place,  and  poor 
Ireland  must  resign  all  claims  to  the  honor  of  her  natal 
comer.  There  is  a  chance,  liowever,  that  the  letter  is  a  hoax, 
and  that  Lola  Montez  is  in  reality  thorough-brOd  Irish,  "  kin  to 
the  Callaghans,  Brallaghans,  Nowlans  and  Dowlans  likewise/' 
If  it  be  so,  we  trust  she  may  send  over  some  of  her  Bavarian 
profits  to  her  starving  countrypeople. 


HER  MAJESTY'S  THEATRE. 

(From  the  Family  Timet.) 
A  FoaTiuN  cf  our  srticle  on  Saturday  week,  reprinted  in  a  publication 
distributed  in  her  Majesty's  Theatre  and  to  the  subscribers,  has  given 
dire  offence  to  the  Morning  Chrtmicle,  'J'his  "champion  in  brass" 
takes  up  the  quarrel  with  a  smarting  sense  that  his  own  weapons  have 
been  turned  against  him ;  and  no  greater  or  more  pleasing  proof  of  the 
efficacy  of  some  of  our  wholesome  bints  on  that  cccasion  could  be 
afforded,  than  by  the  restless  readipess  with  which  the  Chronicle  "  hastens 
to  the  rescue."  On  Tbursdsy  last  a  whole  column  was  devoted  to 
coanter  explanation— if  explsnation  were  possible,  or  if  not  better  left 
alone  for  tbe  intecests  of  the  fsction  for  which  the  Chronicie  so  ener- 
getically contends.  Nome  playful  sarcasms  which  we  threw  out,  as  to 
that  gratuitous  stringency  in  disbelief  in  which  the  morning  print 
alluded  to  has  indulged  ever  since  Lmd  was  threatened,  have  told  The 
shot  has  evidently  gone  right  through  Its  mark.  There  is  a  clean  gap 
through  the  Ckronieie  sheet— as  nearly  spherical  as  the  shot-hole  of  a 
long  eighteen,  (if  the  Chronicle  be  nautical  he  will  understand  the 
a  usjon),  in  comparison  with  the  splintering  irreguUrity  of  a  bulky 
a..  J  elephantine  carronade.  If  the  champion  be  hurt,  he  must  thank 
himself  for  his  over-ofliciousness  in  making  himself  so  prominent  in 
upholding  the  impossibility  of  that  which  he  had  determined  should 
not  be  true.  Truth  is  powerful ;  but  surpassing  must  that  power  be 
which  controuls  Truth ! 

'<  Magna  est  Veritas,  et  prevalebit " 

everywhere  (except  through  the  spectacles  of  smoked  glass  with  which 
official  duty  compel"  that  the  sun  of  truth  should  be  viewed)  at  the  head- 
quartera  of  the  Chronicle,  Truth  is  conquered  in  the  person  of  the 
roagniticent  Und — bound  in  chains,  and  fastened  up  to  the  chariot 
wheels  of  the  grim  Morning  Chronicle,  to  l>e  paraded  before  an  indis* 
erectly  tasteful  public,  to  show  that  no  such  being  is  there.  Kather 
Iiish  fhis»  we  will  acknowledge;  but 

«  They  atambie  that  run  fts^" 
and  the  disbelieven  have  proved  too  much-^too  many  negatives  have 
from  time  immemorial,  in  English,  proved  the  affirmative.  The  perti- 
nadty  with  which  the  Chronicle  "clave  to  the  evil  thing."  and  now 
endeavoureth  to  lay  the  hlame  of.  upon  the  poor,  unoffending,  ill-treated 
innocent  Jenny,  may  be  fine  and  devoted ;  but  the  world,  unfortunately, 
seems  to  think  it  was  melo-dramatically  mistaken.  Zeal  is  glorious,  but 
'*  discretion  tempereth  these  things."  Hath  the  Chronicle  critic  ever 
read  Barrow,  or  Tillotson,  or  any  of  our  old  divines  T  If  not,  he  may, 
we  opine,  do  so  with  some  prolit.  Lind,  however,  will  soon  be  in 
lx>ndon,  and  we  can  fancy  the  puzzled  air  with  which  theae  sapient 
old  gentlemen  (be  they  few  or  many,  or,  like  Mrs.  Malaprpp's  notions 
of  Cerberus,  three  gentlemen  in  one)  will  examine,  and  re-examine  her, 
to  see  if  there  really  be  not  something  diaphanous  in  the  phenomenon — 
something  to  fade  away — something  supernatural  conjured  up  by  tiie 
dark  wit  of  that  wi^rd,  Luniley!  We  never  heard  Mr.  Luniley  called  a 
magknan  before ;  but  we  should  not  be  startled  it  some  of  our  Chronicle 
philosophers,  like  the  sceptic  disputants  in  the  fable,  in  "  viewing"  this 
Swedish  "chameleon"  (not  nightingale)  "o'er  by  candlelight,"  were 
with  a  shudder  to  announce  that  Mr.  Lumley 

"  Had  call'd  spiriU  from  the  vasty  deep," 


and  imposed  upon  the  public*- a  spiritual  Und!  not  the  Lind  of  flesh 
and  blood— the  ni::htingale  of  nightingales— the  followed,  the  admired— 
she  who  has  performed  wonders  greater  than  Donna  Lolah,  and  caused 
the  hair  of  the  Morning  Chronicle 

"To  ifrcnv  white 
In  a  siaf  ie  night, 
Ai  Kcn^a  will  do  with  sudden  feant.*' 

but  a  visionary  cantatrice,  exhaling  after  performance,  and  condensing 
at  summons  before,  like  a  musical  mist,  if  there  could  be  such  a  thing! 
If  Jenny  Lind  be  the  Kgeria  visiting  the  rapt  dreams  of  Mr.  Lumlcy,  the 
critic  of  the  Chronicle  is  the  jealous  Faun  behind  the  bush,  determined 
to  make  her  out  to  the  popubice  a  visitant  from  the  devil. 


FOREIGN   INTELLIGENCE. 

Milan,  March 26lh.— The  new  opera  of  Don  Carlos,  composed 
by  tV  Maestro  Bona  (the  libretto  written  by  Signor  GiaccheUt) 
was  performed  on  the  2drd.  instant,  an<l  pleased  Very  much.  The 
Maestro  being  called  before  the  curtain  seven  or  eight  times  to 
receive  the  approbation  of  the  audience.  Tbo  singers  were  Marini, 
Steffenone^  Caligolariy  Soulerga,  and  Coimenghi,  Miss  Hayes  has 
been  singing  in  a  new  opera  of  iiicroV  at  l^enezia,  whtrh  by  the 
bye,  hu8  made  quite  a  furore ;  she  finishes  her  engagement  with 
Merelli  this  autumn,  and  is  afterwards  engaged  to  sing  at  Rome, 
Naples,  and  Florence ;  I  can  safely  say  there  has  been  no  English 
singer  who  has  made  so  great  a  sensation  in  Italy  as  Miss  Hayes. 
We  have  had  a  new  bullet  at  the  Scala  by  ferrot  it  has  pleased 
immensely,  it  is  culled  Odells ;  I  think  it  is  the  best  ballet  that 
Perrot  has  yet  produced ;  no  doubt  it  will  be  broiigiit  out  at  your 
o/c/ Opera  House  this  season. 


ORIGINAL  CORRESPONDENCE. 

(To  the  Editor  rf  the  Musical  World,) 
Sir, — I  am  now  goini;  to  speak  on  the  final  emancipation  of  the  violin 
bow  which  has  hitherto  been  In  fettered  bondage.  The  unstesdinets  of 
the  violin  bow  is  found,  by  all,  a  task  difficult  to  overcome,  to  remedy 
which  many  contrivsnces  have  been  attempted  and  the  best  of  timber 
selected,  and  even,  at  last,  the  steel  bow  made  trial  of,  but  all  of  these 
have  failed  to  produce  the  de^iired  effect.  The  bow  is  still,  like  the  wild 
colt,  hard  to  manage.  There  appeared  one  man,  a  few  years  ago. 
(Paganini)  who  was  generally  acknowledged  as  a  famous  artist  and 
controller  of  the  bow,  but,  I  believe,  there  is  still  room  to  pass  him» 
though  the  thing  has  not  yet  been  done,  nor  by  some  thought  possible 
to  ever  take  place.  I  have  heard  a  few  of  the  first  provincial  leaders  of 
concerts  who  were  considered  flrst-rate  violinists,  but  1  never  much 
admired  any  of  them,  for  1  have  not  found  any  who  were  capable  of 
giving  the  fine  graceful  adagio  in  such  a  style  as  I  have  read  of  Viotti, 
and  a  few  others,  giving  that  sort  ot  movement.  A  few  years  ago  I  had 
the  pleasure  of  being  present  at  a  concert  given  by  a  Gent  an  ;  he  came 
nearest  my  expectation  of  any  one  I  ever  heard.  It  waS  at  the  very  time 
when  Paganini  was  in  this  country.  This  ssid  German  had  heard  Paganini 
several  times  and  profited  much  by  it;  he  declared  that  every  time  he 
heard  him  he  appeared  to  play  better  and  better,  and  that  all  that  ever  he 
heard  besides  were  tiddlers,  himself  included,  but  that  Paganini  was  the  viol- 
inist. I  have  had  a  violin  in  my  use  ai'out  thirty-five  years,  and  have,  in 
coune  of  that  time,  played  country  dancen,  quadrilles,  fcc,  and  likewise  a 
second  in  the  orchestra,  also  sometimes  a  first.  The  master  who  taught 
me  was  aware  that  this  was  as  far  as  I  could  go,  because  of  the  unsteadi- 
ness of  my  bow.  I  now  wish  to  inform  you  that  1  have,  within  the  last 
eight  days,  made  such  an  improvement  in  the  bow  that  I  could,  by  a 
little  perseverance,  play  as  delicately,  forcibly,  brilliantly,  &c.,  as  any 
one  I  ever  heard,  aud  all  this  may  be  done  by  good  players  In  one  hour's 
use  of  this  bow ;  in  fact  the  effort  has  only  to  be  made  and  the  thing  is 
done.  I  am  myself  astonished  at  the  icsuit  of  the  improvement.  Should 
this  bow  be  introduced  to  general  use,  what  a  revolution  would  take  place 
in  violin  music,  and  what  a  field  would  it  open  for  newunthought-of  and 
endless  varieties  of  most  exquisite  compositions.  We  should  soon  have 
a  host  of  Paganinls.  1  have  not  let  any  one  see  the  bow,  aud  have  but 
named  It  to  one,  a  French  gentleman  who  would  feel  great  pleasure  in 
making  it  known  to  his  friends  at  Paris,  whom  he  considers  e^elient 
violinists;  however,  1  wish,  in  the  first  instance,  to  name  it  to  you  and  to 
have  your  advice  respecriog  what  use  might  be  made  of  this  improve- 
ment. A  bow  on  the  old  principle  would  adroit  of  the  improvement, 
only  that  it  is  too  short  from  the  nut  downwards  by  an  inch  or  two.  I 
am«  sir,  yours  most  respectfully, 
Maodeefield,  April  2,  1 8  »7 .  J .  Si  k  w  a  a  d,  Mmic  Dealer. 

Digitized  by  VjOOy  ItT 


234 


THE  MUSICAL  WORLD. 


To  the  EdUor  qf  the  "  Mutical  World." 
GRAND  MUSICAL  FESTIVAL. 

Sib,— Ai  an  amateur  in  mutic,  I  have  latterly  wondered  that  among 
the  many  kindly  schemet  and  efforts  made  to  raiae  funds  in  the  bene- 
volent attempt  to  alleviate  the  distress  and  misery  which  abound  among 
our  fellow  creatures  in  Ireland  and  Scotland,  but  especially  the  former, 
that  it  has  not  occurred  to  ^y  of  the  charitable  elite  of  tlie  musical 
world,  to  put  in  return  measures  for  "  A  Grand  Musical  Festival,"  on 
a  laige  and  extended  scale.-'such  festival  to  be  held  in  Westminster 
Abbey"— that  edifice  being  hett  adapted  for  the  assemblage  of  a  con- 
siderable audience  such  as  would  patronise  a  reunion  of  this  kind,  if  got 
up  in  a  proper  style  and  with  spirit,  as  also  the  character  of  the  building 
itself  would  add  weight  and  importance  to  the  affair,  which  would  tell 
considerably  in  favour  of  the  receipts  at  the  dose  of  such  festival ;  or,  if 
the  abbey  should  be  inaccessible,  some  other  large  building.  I  would 
suggest  one  of  our  principal  churches  for  such  an  object,  the  performance 
to  be  of  course  suitable  to  the  sanctity  of  the  edifice. 

1  think  that  if  a  festival  could  be  got  up  consisting  of  two  or  more 
days  performances,  the  music  to  be  selections  from  the  works  of  our 
great  masten,  and  assisted  by  the  splendid  talent  both  native  and. 
foreign,  with  which  the  town  is  replete  at  the  present  time,  and  which 
offers  such  fair  oppportunity,  I  think  that  a  meeting  of  this  kind  would 
go  off  with  the  greatest  edkt,  if  managed  properly,  affording  the  greatest 
delight  In  our  musical  circles,  and  what  is  more,  furthering  the  objects 
<cf  a  charity,  which  In  claiming  our  sympathy  and  benevolence  has  no 
paralleL 

Trusting  you  will  publish  as  widely  as  possible  the  hint  of  a  philan- 
throphist,  and  that  it  may  have  the  desired  effect. 

I  remain,  yours  obediently, 

April  1th,  1847.  Gio.  F. 


To  th0  EdUor  of  the  Mutical  World. 
ODDS  AMD  ENDS. 

Mt  mar  Sib,— One  of  your  subscribers  asks  this  question  "  Has 
CoreUi,  in  any  passage  known,  violated  in  the  slightest  degree,  or 
departed  from,  the  prescritied  laws  of  harmony?"  Surely  little  expe- 
rience in  musical  science  is  required  to  answer  this  question ;  but  as 
"  eta"  depends  upon  your  sound  musical  judgment,  I  will  not 
presume  to  answer  it.  Is  any  composer  free  from  errors  ?  No,  not  one. 
Now  as  to  vioUting  the  "  prescribed "  laws  of  harmony,  I  for  one, 
shouki  regret  exceedingly  if  great  masters  had  not,  because  some  of 
them  violate  common  sense,  whilst  others  are  so  "  prescribed,"  as  to 
impede  the  progress  of  classical  instruction. 

As  I  am  sure,  Mr.  Editor,  you  wish  to  do  full  justice  to  art  and  artists, 
permit  me  to  aak  whether  the  conclusion  you  come  to  respecting  Mr. 
Costa  is  not  violating  the  prescribed  laws  of  logic,  by  inferring  that  that 
gentleman's  knowle^  and  appreciation  of  Beethoven  is  "  unworthy  a 
musician  of  his  standing  and  pretensions,"  merely,  because  he  appre- 
hended that  repeating  both  the  "  scherzo  and  trio,"  in  Beethoven's 
choral  symphony  would  tire  the  audience.  You  say  "  during  the  choral 
movement  there  was  incessant  moving  towards  the  door."  Mr.  Costa 
has  a  keen  eye,  and  doubtlessly  observed  the  uneasiness  of  the  Phil- 
harmonic audience,  who,  nowj  seem  to  prefer  the  sound  of  a  loud  solo 
instrument  in  the  midst  of  violins,  to  the  flowing  thoughts  of  either  a 
Haydn,  Mozart  or  Beethoven  1  I  may  be  mistaken,  but  I  conceive  it 
natural  to  a  disposition  like  Mr.  Costa's,  added  to  his  knowledge  and 
experience,  to  be  more  capable  of  conducting  the  works  of  the  great 
masters  than  a  man  of  sombre  disposition,  or  the  most  egregious 
master  of  counterpoint.  I  conclude  by  correcting  the  errors  of  my 
last  letter.  I  always  lament  to  read  of  the  extravagant  praise  awarded 
to  some  musicians,  ftc.'*  '*  A  PassacagUa  need  not  be  written  in  three- 
fmr  (tuot  fourth)  time."  It  would  puzzle  even  Tag^oni,  Cerito,  &c.,  to 
invent  dance  (not  chance)  figures,  &c."  But  the  writers  of  the  press 
being  more  eloquent  on  the  subject  of  dancing  than  (not  ihotej  profound 
in  their  observationa  on  music."  Hoping  you  will  pardon  me  for 
expressing  any  opinion  adverse  to  your  own, 

I  remain,  my  dear  sir,  jour's  very  truly 

FaxNCH  Flowsbs. 


To  the  Editor  of  the  Mutical  World. 
SONS  OF  APOLLO  FRIENDLY  SOCIETY  OF  MUSICIANS. 
Dbab  Sib,— Having  had  the  pleasure  last  Friday  of  dining  with  the 
members  of  the  Musical  Society,  entitled  the  Sons  of  Apoik>  Friendly 
Society  of  Musicians,  held  at  the  Bkck  Horse  Tavern  400  Oxfbrd  Street, 
when  sixty  gentlemen  met  to  spend  their  twenty-fourth  anniversary, 
I  think  this  Society  only  requires  to  be  better  known  among  the 
Musical  Profession  to  be  in  a  much  more  iourishing  state  than  it  now 
i^  although,  it  is  improving  and  has  been  ever  since  its  formation.    The 


worthy  Secretary  Mr.  Baird,  stated,  although  but  eighty  members,  we 
had  a  stock  in  hand  of  £1700.  The  object  of  the  Society  is  to  rdiere 
its  members  in  case  of  sickness  or  distress.  The  neatest  praise  is  doe 
to  Mr.  Rippin  the  host,  for  the  superior  manner  in  which  the  dinner 
and  wines  where  served.  By  your  noticing  this  in  your  publication,  you 
will  oblige— Yours  respectfully,  a  Subscbibbb,  AMn  a  Mxmbbe  or  thb 
Sons  of  Apollo. 

OPENING   OF  THE   ROYAL  ITALIAN   OPERA. 

The  long  pending  question  has  at  length  been  solTed: 
the  practicability  of  establishing  a  second  Italian  Opera  in 
London  has  been  guaranteed  by  the  public  fiat.  Covent 
Garden,  the  ancient  temple  of  Shakspere  and  his  interpreters, 
re-opened  its  portals  on  Tuesday  night,  after  a  cessation  of 
some  years  from  the  practice  of  its  legitimate  yocation.  • 

Our  old  friend  has  got  a  new  fioce,  but  he  wears  it  bravely. 
He  has  grown  bigger  and  taller.  The  hand  of  the  mason 
has  been  upon  him.  Those  parts  of  him  that  were  diseased 
and  worn  out  have  been  lopped  off  and  renovated.  He  has 
been  washed  from  head  to  foot,  and  newly  arrayed  in  a  coat 
of  many  colours.  His  garment  is  of  gold  and  silver  and 
blue.  Quaint  and  costly  are  the  devices  thereof.  It  was 
murmured  that  he  would  die  of  the  operation,  like  a  patient 
under  the  knife  of  some  unskilful  chirurgeon.  It  was  stated 
that  an  injunction  would  be  crammed  down  his  throat  and 
choke  him.  But  these  were  fables.  Master-mason  Beale  knew 
his  craft.  He  surveyed  our  old  friend  from  head  to  foot,  and 
found  that  he  was  dirty  and  ill-favored ;  that  parts  of  him 
were  crumbling  into  dust;  that  other  parts  of  him  were 
maimed  and  impotent ;  that  other  parts  of  him  were  inflicted 
with  a  leprosy.  And  Beale  said  *'  Thou  shalt  be  cured.  Oh, 
Convent-Garden !  I  will  cleanse  thee  of  the  filth  that  defiles 
thee.  I  will  lave  thy  aged  Umbs  in  clear  water,  and  thou 
shalt  arise  fresh  and  whole,  and  shalt  leap  for  main  joy.  The 
market  hard  by  shall  ofier  thee  its  fruits,  and  thou  shalt  eat 
thereof  and  be  glad.  I  will  dress  thee  in  a  fine  garment ;  and 
the  men  shall  wonder  at  thy  dignity,  and  the  women  shall 
exult  in  thy  comeliness.  No  more  shall  thy  cheeks  be 
drenched  in  tears  by  the  arts  of  the  sad  Melpomene;  no 
more  shall  thy  sides  be  shook  by  the  frolics  of  the  laughing 
Thalia.  Costa  shall  play  thee  an  overture,  and  Grisi  delight 
with  a  song.  Apollo  shall  henceforth  be  thy  deity,  and  Handel 
shall  stand  erect  in  thy  corridors,  where  Shakspere  towered  of 
yore.  Tragedy,  and  comedy,  and  pantomime,  and  farce,  shalt 
thou  henceforth  abandon.  Jullien  shall  no  more  disturb  thee 
with  the  'sherry  cobbler'  of  his  promenades,  or  the  midnight 
revels  of  his  masquers.  Opera  shall  be  thy  bride — Italian 
opera.  Thou  shalt  take  her  to  thine  arms,  and  thy  progeny 
shall  be  as  the  sands  of  the  sea.  Rossini,  Donizetti,  Bellini^ 
and  Mozart  shall  be  thine  adopted,  until  issue  shall  arise 
from  thy  loins,  bom  in  the  land  of  thy  birth.  Then  shalt  thoa 
be  again  changed,  and  thy  name  shall  be  called  English 
Opbra  !  I  Costa  shall  play  thee  an  overture,  and  Grisi  delight 
thee  with  a  song."  And  so  Master-mason  Beale  set  to  work, 
and  hammered,  and  sawed,  and  whitewashed,  and  plastered* 
and  gilded,  and  painted,  and  fringed,  and  hung  cartains,  and 
suspended  candelabras,  and  what  not.  He  sent  for  men 
cunning  in  these  matters — Albano,  and  Ferri,  and  Yeraidi, 
et  cetera.  And  Costa  agreed  to  play  the  overture,  and  Grisi 
consented  to  sing  the  song ;  and  thus,  one  half  of  Beale's 
prophecy  was  fulfilled.  liie  other  half  is  in  the  womb  of 
Time,  which  will  bear  it  in  due  season. 

On  Tuesday  evening,  at  half-past  six  of  the  dock,  we  pre- 
sented ourselves  at  the  portals  of  the  renovated  temple.  Our 
credentials  were  recognised,  and  the  Chronicle^  arrayed  in  his 
holiday  dress^  signified  the  path  that  we  should  take.  We 
entered,  and  found  our  way  to  a  row  of  seats  in  the  centre  of 


THE  MUSICAL  WORLD. 


235 


the  pit,  amidst  the  glories  of  metropolitan  periodical  literature. 
Avoiding  the  precise  milieu,  we  resigned  the  seat  under  the 
chandelier  (for  special  rea^ns)  to  the  Editor  of  the  3fan  in 
the  Moon,  whose  jihes  and  pleasantries  made  the  half  hours 
glide  jocimdly  along.  The  curtain  was  raised  and  the 
stage  was  dark ;  bands  of  carpenters  and  henchmen  were 
employed  with  hammers  and  nails  and  saws,  hammering, 
nailing,  and  sawing.  Sturdy  decorators  were  carrying  car- 
yatides to  their  destinations,  and  explaining  to  them  tlieir 
position  as  supporters  of  the  first  tier  of  boxes.  The  aspect 
was  dreary  on  the  whole.  A  couple  of  rows  of  candelabras, 
with  wax  lights  attached  to  the  first  and  second  tiers  of  boxes, 
but  half  illuminated  the  vast  area— and  a  couple  of  rows  of  pit 
seats,  occupied  by  the  men  of  letters  who  had  been  favoured 
with  an  injunction  to  be  an  hour  in  advance  of  the  public,  in 
order  that  their  seats  and  necks  might  be  secured,  gave  a 
dreary  first  prospect  of  the  audience  that  should  fill  the 
theatre.  After  a  space,  however,  the  carpenters  ceased  car- 
pentering, the  caryatides  were  firmly  established  in  their 
places,  and  the  curtain  went  down.     The  house  was  built. 

Shortly  before  half-past  seven,  indications  of  the  public's 
arrival  were  manifested  visibly  and  audibly.  Persons  were 
shot  in  through  the  pit  entrance  as  though  they  were  expelled 
from  the  mouth  of  a  cannon.  They  seemed  to  leap  into  their 
places  at  one  bound.  At  half-past  seven  the  pit  was  crammed 
full,  the  stalls  three-parts  full,  the  boxes  half  full,  the  amphi- 
theatres and  gallery  gorged  to  repletion.  Then  arose  a 
murmur,  low  but  audible,  against  the  inefi[icient  manner  in 
which  the  theatre  was  lighted.  All  admired  the  work  of  M. 
Albano  and  his  brethren,  but  they  said  they  should  admire  it 
the  more  for  seeing  it  the  plainer.  On  the  other  hand  there 
were  some  who  defended  the  obscurity,  on  the  ground  that  it 
was  the  continental  principle  of  lighting,  and  tended  to  give 
ten-fold  vividness  to  the  scenic  illusion.  In  the  midst  of  this 
jar  of  opinions  a  sudden  burst  of  light  flooded  the  whole 
interior,  the  huge  chandelier  suspended  from  the  roof  had  been 
fed  with  its  nourishment  of  gas,  and  the  effect  was  as  of  the 
broad  light  of  day  coming  immediately  after  an  eclipse.  It  was 
impossible  for  anything  to  be  more  striking.  The  crowd, 
dazzled  and  astonished,  bellowed  and  vociferated  '*  like  wood 
men."  Shortly  after  the  members  of  the  orchestra  came  in, 
one  by  one,  until  the  whole  '*  eighty"  appeared  in  the  fulness 
of  their  glory.  Of  these,  regardless  of  the  influence  they 
had  exercised  in  the  establishment  of  the  new  Opera,  the 
public,  strange  to  say,  took  no  kind  of  notice.  But  when 
Costa,  the  conductor,  entered,  the  cheers  beat  the  roof  for 
egress,  and  finding  none,  populated  the  entire  space  with 
echoes,  which  begetting  the  likes  of  themselves,  there  was,  as  it 
were,  a  chaos  of  unutterable  noises.  Costa  bowed  courteously 
and  contentedly  in  acknowledgment  of  his  reception,  and 
again  applauded  more  vehemently,  again  bowed  more 
courteously  than  before. 

The  awful  moment  had  arrived.  Costa  raised  his  haton^  the 
overture  to  Semiramide  began.  The  power  of  the  band  was 
soon  felt.  Excepting  —  excepting  nothing  whatever  — 
the  overture  was  played  to  absolute  perfection.  There  was  a 
torrent  of  applause  but  no  encore,  at  least  none  that  Costa 
would  accept,  for  the  last  chord  of  the  overture  was  to  the 
pulling  up  of  the  curtain,  as  the  flash  of  lightning  to  the  clap 
of  thunder — only  to  make  the  simile  hold,  the  parts  must  be 
reversed. 

The  first  tableau  showed  us  the  intentions  of  the  Covent 
Garden  Company  in  respect  to  scenery  and  decorations.  The 
coup  d'oeil  realised  the  conception  of  the  poet  of  Semiramide, 
who  has  indicated  *'  a  magnificent  temple  in  honour  of  Belus," 


in  his  stage  directions.  It  was  superb.  Bi\t  we  recognised 
here,  and  in  the  after  tableaux,  the  ancient  misc  en  scene 
belonging  to  the  short  but  memorable  dynasty  of  the  Kembles, 
when  Semiramide  was  got  up  for  the  gracious  Adelaide. 

It  is  not  our  business  here  to  speak  of  Semiramide.  The 
event  we  are  recording  is  the  opening  of  the  Royal  Italian 
Opera,  not  the  representation  of  a  new  work.  For  those  who 
are  unacquainted  with  the  plot,  we  let  these  few  words  suffice 
to  explain  it : — After  tlie  unnatural  death  of  Ninus,  King  of 
Assyria,  his  widow,  the  famous  Semiramis,  in  orddr  to  satisfy 
the  people,  who  are  impatiently  waiting  the  choice  of  a  suc- 
cessor, tenders  her  hand  in  marriage  to  Arsaces,  in  the  hopes 
of  retaining  the  crown  through  her  nuptials  with  the  young 
warrior ;  but  as  the  event  is  on  the  point  of  being  accom- 
plished, the  shade  of  Ninus  appears  in  the  vestibules  of  the 
palace,  and,  like  the  Dane  of  Shakspere,  calls  for  vengeance 
on  his  murderer,  delegating  Arsaces  as  his  avenger. 

The  sequel  we  borrow  from  the  Royal  Italian  Opera  pro- 
gramme, a  brochure  by  no  means  so  elegant  as  that  issued  at 
Her  Majesty's  Theatre,  but  preferable  on  account  of  its 
abstaining  from  controversy  and  criticism. 

"  The  appearatice  of  the  Royal  Spectre  freezes  with  terror  the  soul  of 
the  guilty  Semiramide,  and  the  perfidious  Assur,  who,  at  the  instigation 
of  the  beautiful  Queen,  and  in  the  hope  of  eventually  ascending  the 
throne  of  Assyria,  had  nefariously  taken  his  Sovereign's  life.  Remorse 
seizes  on  the  soul  of  the  guilty  wife,  and  in  hope  of  expiating  her  crime, 
she  resolves  on  repudiating  Assur,  and  making  choice  of  Arsace ;  but  she 
knows  not  that  the  Arsace,  whom  she  so  passionately  loves,  is  her  son. 
Arsace,  to  whom  the  high  priest  has  confided  the  secret  of  his  birth, 
swears  to  avenge  his  father's  death — he  seeks  out  Assur  to  immolate  him 
to  the  shade  of  Ninius.  In  lieu  Of  Assur,  however,  he  meets  Semiramide, 
and  kills  her  in  mistake." 

The  opera  is  in  two  acts.  It  was  Rossini's  first  essay  at 
opera  seria  on  a  grand  scale,  and  if  it  may  not  rank  among  his 
chiefest  master-pieces,  it  certainly  contains  some  of  his  best 
music.  Its  faults  lie  in  the  redundancy  of  its  style,  exem- 
plified in  the  length  and  frequency  of  uninteresting  recitatives, 
and  the  constant  occurrence  of  pieces  of  a  trivial  character, 
spun  out  to  inordinate  length,  and  utterly  at  variance  with  the 
sentiment  of  the  scene.  Of  these  the  overture,  many  of  the 
airs,  and  the  majority  of  the  duets,  are  instances.  And  yet, 
being  written  in  the  ad  captandum  style,  the  popularity  of  the 
opera  holds  by  these  pieces  as  an  expiring  swimmer  by  the 
straws  that  lie  on  the  surface  of  the  water.  But  the  finest 
and  most  musical  portions  of  Semiramide  are  the  cho- 
ruses, concerted  pieces,  and  finales,  which  are  conceived 
and  executed  in  Rossini's  highest  manner.  In  the  finale 
to  the  first  act,  there  are  parts  to  which  the  name  of 
Mozart  might  have  been  affixed  without  danger  of  suspicion, 
and  many  of  the  orchestral  effects  are  brilliant  and  magnificent. 
It  is  quite  a  mistake  to  suppose  that  the  heaviness  of  which 
Semiramide  has  been  accused,  not  unreasonably,  derives  from 
the  serious  portions  of  the  music.  On  the  contrary,  it  is  the 
abundance  of  the  lighter  pieces,  and  their  dramatic  impro- 
priety, which  induces  a  tedium  that  seldom  fails  to  arise  from 
the  ineffective  and  unnatural  intermixture  of  conflicting  ele- 
ments. Be  that  as  it  may,  Semiramide  is  now  so  well  known 
as  to  be  beyond  the  pale  of  criticism — that  is,  of  periodical 
criticism,  for  we  have  strong  doubts  whether  it  will  survive 
long  enough  to  undergo  the  examination  of  posterity. 

In  the  first  scene,  Oroe,  chief  of  the  Magi,  and  Idreno,  King 
of  India,  introduced  us  to  two  of  the  Royal  Italian  Opera 
troupe,  new  to  this  country — Signor  Lavia  and  Signor 
Tagliafico,  the  first  a  tenor,  the  second  a  bass.  They  are 
neither  of  them  sufficiently  remarkable  to  warrant  a  detailed 
notice,  though  both  of  them,  and  especially  the  latter,  are 


236 


THE  MUSICAL  WORLD. 


likely  to  prove  useful  in  the  subordinate  parts.     It  is  enough 
to  say  that  the  tenor  is  a  tenor,  and  the  bass  a  bass. 

The  part  of  Assur  devolved  upon  Signor  Tamburini,  its 
admirable  representative  at  Her  Majesty's  Theatre  in  tiie 
olden  time.  The  appearance  of  this  great  dramatic  singer, 
after  four  years  absence  from  the  country,  was  the  signal  for 
cheers,  loud,  unanimous,  and  long  lasting — so  generous  and 
warm,  indeed,  that  the  artist  was  sensibly  affected,  and  trem- 
bled with  emotion  as  he  bowed  his  acknowledgments.  As 
by  this  time  the  stalls  and  boxes  were  all  filled,  and  not  a 
vacant  comer  was  to  be  seen  in  the  house,  a  very  impressive 
effect  was  involved  in  this  hearty  recognition  of  an  old  and 
deserving  favourite.  Tamburini's  voice  and  style  have  very 
slightly  changed.  Perhaps  the  extreme  upper  notes  of  his 
register,  the  E  flat,  E  natural,  and  F,  are  obtained  with  less 
ease  than  of  old,  and  are  less  clear  and  full ;  but  all  that 
facility  of  vocalising  for  which  he  was  remarkable  before,  is  as 
remarkable  now  as  ever,  and  in  his  acting  we  cannot  see  the 
slightest  falling  off.  The  Morning  Post,  looking  at  the  great 
artist  through  its  opera  glass,  may  take  a  different  view  from 
ours — but  opinions,  delivered  through  the  medium  of  such  a 
criticism  as  that  on  the  Royal  Italian  Opera,  on  Wednesday 
morning,  will  have  small  weight  with  the  public,  and  will 
do  small  good  to  the  journal.  It  is  enough  for  us  to  state, 
and  the  public  will  believe  us,  that  throughout  his  perform- 
ance on  Tuesday  evening,  Signor  Tamburini  sang  and  acted 
like  himself— and  we  cannot  pay  him  a  higher  compliment. 
We  must  also  tender  him  our  acknowledgments  for  restoring 
one  of  the  finest  scenes  in  the  opera  (the  last  but  one  of  the 
second  act) — that  in  which  Assur,  attempting  to  enter  the 
tomb  of  Ninus,  is  terrified  and  dissuaded  by  the  appearance  of 
the  ghost  of  the  murdered  monarch.  This  scene  oflfers  a  very 
fine  opportunity  for  the  display  of  the  united  qualities  of  the 
actor  and  singer,  of  which  Signor  Tamburini  admirably 
availed  himself.  His  pourtrayal  of  terror,  despair,  and  a 
'stricken  conscience,  was  as  fine  as  consummate  dramatic  art 
could  make  it.  It  told  immensely  with  the  audience,  who 
recalled  him  on  the  stage  with  one  voice. 

It  were  a  hopeless  taste  to  attempt  a  verbal  description  of 
the  enthusiastic  acclamations  that  greeted  the  entree  of  the 
Semiramide,  the  Diva,  the  admirable  Grisi.  Words  cannot 
paint  it,  and  t^e  pen  drops  from  the  hand  in  despair.  Looking 
young,  beautiful,  commanding  and  attractive  as  ever — full  of 
health  and  energy,  and  spirits— -Grisi,  the  inimitable  Grisi, 
who  may  well  disdain  all  rivalry,  while  she  is  her  gracious 
and  incomparable  self— sang  and  acted  the  part  of  the  im- 
perious queen  of  Babylon,  with  the  grandeur,  animation, 
vivacity,  and  consummate  art  which  have  won  for  her  the 
undisputed  and  undisputable  title  of  the  Queen  of  Dramatic 
Song.  Her  great  points  in  this,  one  of  her  greatest  parts,  are 
well  known,  and  we  have  but  to  say  that  she  lost  not  one,  but 
rather  endowed  them  all  with  threefold  force  and  expression. 
She  was  rapturously  applauded  throughout,  and  recalled  by 
the  audience  on  several  occasions.  In  a  word,  Grisi  was 
Grisi.     Can  we  say  more  }     No  ! 

We  have  now  to  speak  of  Mademoiselle  Alboni,  the  great 
novelty  of  the  night.  The  debut  of  this  lady  was  as  brilliant 
as  that  of  Rubini  in  the  Pirata,  many  years  ago,  which  we 
always  count  as  one  of  the  most  exciting  scenes  our  memory 
has  packed  up  to  be  recalled  when  required.  Mdlle.  Alboni 
is  a  legitimate  contralto.  Her  voice,  which  extends  in 
compass  from  G  below  the  stave  to  B  flat  in  alt,,  has  the 
honeyed  mellowness  of  quality  that  appertains  to  the  contralto 
character  to  an  extraordinary  degree.  Her  tones  are  ripe, 
full,   and  sonorous.      A   group   of  notes  falling  from  her 


throat  has  upon  the  ear  much  the  effect  that  a  bunch  of  heavy, 
drooping,  juicy  grapes  would  have  upon  the  eye.  The  mouth 
waters  for  their  very  lusciousness.  Her  execution  is  mar- 
vellous for  a  contralto,  and  her  command  of  the  upper  notes, 
which  hav6  the  same  6ffect  as  the  falsetto  of  a  tenor,  is  really 
astonisliing.  Her  style  is  overflowing  with  passionate  ex- 
pression, which,  in  th6  cantnhile,  sometimes  leads  her  into 
exaggeration — particularly  exemplified  by  her  excessive  use  of 
the  legato  and  the  glissando  (a  term  we  use  for  the  want  of  a 
better)  method  of  taking  the  more  distant  intervals — but  in 
the  cabalettay  where  she  has  no  time  to  hyperbolize,  her  correct 
expression,  energetic  manner,  and  faultless  execution,  her 
chaste  and  exquisite  use  of  ornament,  her  finished  method  of 
rounding  and  completing  the  cadences,  are  worthy  of  the 
highest  admiration.  In  her  air,  *•  In  hi  barbara  sciagura,"  we 
observed  the  redundancy  of  expression  w6  have  noted  ;  but 
in  the  famous  duet,  "  Giorno  d'orrore,"  with  Grisi,  we  never 
heard  more  perfect  vocalisation,  or  more  irreproachable  taste. 
The  former  was  encored  tumultuously,  and  the  cabaietta  of 
the  latter,  in  which  Grisi's  inimitable  mezza  voce  singing  was 
worth  a  whole  opera  in  itself,  received  a  similar  compliment. 
Mdlle.  Alboni  was  recalled  after  both  pieces,  amidst  deafening 
applause.  No  hit  could  have  been  more  decided.  The  first 
few  notes  that  commence  the  recitative,  **  Eccomi  alfine  in 
Babylonia,*'  on  her  entry,  gave  indications  of  her  rare  physical 
qualities,  and  before  the  end  of  the  recitative,  the  grandeur 
and  finish  of  her  style  w6re  made  manifest.  That  at  the 
end  of  the  opera  she  had  established  her  right  to  a  place 
among  the  first  mistresses  of  Italian  song,  was  the  unanimous 
opinion  of  all  present. 

Our  general  impression  of  the  performance  of  Semiramide 
was  highly  favorable.  The  band  was  in  almost  all  respects 
admirable.  Signor  Costa,  here  in  hia  proper  element,  proved 
his  supremacy  by  the  absolute  control  he  exercised  over  his 
forces,  ensuring  every  nuance  of  expression  from  fortissimo 
to  pianissimo,  in  crescendo  or  in  rallentando,  in  affretando  or  in 
diminuendo,  as  though  the  entire  orchestra  were  but  one 
instrument  on  which  he  performed  himself  alone.  The  chorus, 
too,  which  was  powerful,  numerous  and  efidcient,  was  equally 
under  his  control,  and  conjoined  its  efforts  to  those  of  the 
band,  as  though  there  were  not  two  parties,  but  one.  The 
accompaniments  to  the  vocal  solos  were  distinguished  alike 
for  their  delicacy  and  decisive  accentuation.  Another  thing 
to  be  eulogised,  and  for  this  Signor  Costa  is  entitled  to  the 
credit,  is  the  restoration  of  almost  all  that  belongs  to  Rossini's 
score,  there  being  nothing  omitted  except  some  scenes  in 
which  Azema,  a  third  female  character  (the  mistress  of 
Arsace)of  very  subordinate  interest,  is  conspicuous.  The  cur- 
tailment of  all  that  relates  to  Azema,  has,  by  custom,  become 
traditional,  and  the  interest  attached  to  her  share  of  the  music 
is  so  small,  that  few  will  complain  of  the  loss  of  it.  In  con- 
clusion, we  have  seldom  witnessed,  perhaps  never,  a  more 
satisfactory  musical  and  dramatic  performance  Uian  that  of 
Semiramide  on  Tuesday  night — satisfactory  no  less  on 
account  of  its  completeness  than  of  its  minute  attention  to 
detail.  The  opera  concluded,  the  three  great  artists,  Alboni, 
Tamburini,  and  Grisi,  were  re-called  before  the  curtain  and 
enthusiasticall)'^  cheered,  a  profusion  of  bouquets  being  ad- 
ministered to  the  ladies. 

After  the  opera,  which  was  not  over  till  nearly  twelve 
o'clock,  a  ballet  in  two  tableaux,  the  composition  of  M.  Albert, 
a  gentleman  of  high  repute  in  his  profes.sion,  was  produced,  but 
did  not  make  so  great  a  hit  as  the  opera.  The  materials  arc 
slender  enough.  The  caprices  of  Cora,  the  favourite  slave 
of  Prince  Mirkan,  who,  like  all  oriental  potentates,  keeps  lIC 


THE  MUSICAL  WORLD. 


237 


harem — her  infringement  upon  the  etiquette  of  the  harem, 
going  so  far  as  to  break  the  meerschvm  pipe  of  the  Prince — 
the  anger  of  the  latter — the  disdain  of  Cora — the  pretended 
iaOdelit^  of  Prince  Mirkan — the  purchase  of  four  new  slavee 
for  his  harera — the  dancing  of  these  for  his  delight — his 
undelight  at  tlicir  dancing — the  appearance  of  a  fifth,  veiled— 
the  dancing  of  the  fifth  for  his  delight — his  delight  at  her 
dancing — the  unveiling  of  the  unknown  dancer — the  dis- 
covery that  it  is  Cora — the  reconciliation  of  the  Prince  and 
his  favourite— the  purchase  by  Cora,  and  liberation  by  Cora 
of  the  four  slaves — and  the  usual  end  of  such  matters.  This 
ballet  has  no  f  retensions,  but  it  is  elegantly  put  upon  the 
stage,  and  the  dancing  of  Madlle.  Fleury,  in  Cora,  is  ex- 
quisitely graceful  and  characteristic.  Madlle.  Fleury  does 
not  please  so  much  by  the  wonders  of  agility  as  by  elegance 
of  manner  and  charming  unafFectedness  of  deportment.  She 
was  greatly  applauded,  and  with  reason.  Madlle.  Neodot, 
who,  like  Madlle.  Fleury,  is  already  known  to  this  country 
through  the  enterprise  of  Mr.  Bunn,  also  distinguished 
herself  highly  in  a  pas  de  deux  ^^ith  Madlle.  Berlin  (we 
believe),  and  the  cor;?*  of  odalisques.  A  pas  de  quatre,  by 
Madlles.  Auriol,  Delechaux,  Stephan,  and  Demelisse,  attracted 
some  attention.  But  the  gem  of  the  ballet  was  Madlle. 
Fleury*s  Seviliana,  a  spirited  national  dance,  performed 
with  the  utmost  naivete  and  abandon. 

M.  M.  Gontier  and  Mobile,  dancers  of  some  pretension, 
also  added  to  the  attractions  of  the  evening.  M.  O'Bryan, 
as  Caleb  the  pirate  and  slave  merchant,  acted  with  great 
truth  and  intelligence,  and  showed  himself  a  thorough  master 
of  the  exigencies  of  the  scene.  The  music,  by  M.  Curmi,  is 
light  and  sparkling  enough,  and  the  scenery,  by  Messrs. 
Grieve  a^d  Telbin,  is  worthy  of  their  experienced  brushes. 
On  the  whole,  however,  the  ballet  was  not  on  a  par  with  the 
musical  department ;  but  we  expect  much  from  a  new  one, 
announced  for  the  debut  of  Dumilatre,  who  is  well-known  to 
us,  and  will  receive  a  hearty  welcome. 

It  was  long  past  one  before  the  performances  had  con- 
cluded, and  half  the  audience  had  departed  ere  the  ter- 
mination of  the  ballet.  But  all  exceptions  made  that  can 
possibly  be  made,  the  opening  of  the  Royal  Italian  Opera 
was  an  event  that  will  long  be  fresh  in  the  memory  of  the 
pubHc.  The  novelty  and  splendour  of  the  theatre  itself, 
designed  and  completed  in  so  bhort  a  space  of  time,  and  the 
perfection  of  the  operatic  representation  in  almost  every  respect 
constituted  a  theme  for  comment  which  is  likely  to  endure  for 
the  life  time  of  each  individual  member  of  the  mighty  crowd 
assembled. 

On  Thursday  the  same  performances  were  repeated,  with 
increased  effect,  the  same  reception  and  the  same  applause 
being  awarded  to  the  artists.  To-night  there  will  be  no 
change,  but  on  Tuesday  the  Lncia  di  Lammermoor,  with 
Persian!,  Salvi,  and  Ronconi,  will  be  given,  and  a  second 
batch  of  the  company  \^ill  be  tested.  The //a/iana  of  Rossini 
is  announced,  a  piece  of  news  that  will  gratify  every  lover  of 
the  early  compositions  of  the  "  Swan  of  Pesaro.*'  Mario  will 
make  his  first  appearance  in  Puritani  on  Saturday  next, 
with  Grisi,  Ronconi,  and  Tamburini. 

Ere   concluding,  we  may   state,    that   the   death   of    Mr. 
Moralt  has  raised  Mr.  H  ill,  our  best  tenor-player,  to  the  part 
of  first  tenor  in  the  orchestra,  Mr.  Hill's  place  being  taken 
by  Mr.  Thomas. 
• —  » 

CONCERTS. 

Madame  Dolckbn's  Matinee  Musicals. — The  third  of  these 
eotert^nments  took  place  on   Wednesday  last,  when   Madame 


Dulcken  performed  a  selection  of  pieces  remarkable  for  their 
variety  and  their  excellence.  There  was  a  Quartet  of  Ries, 
Hummers  Quintet  in  E  flat  minor,  Weber's  Invitation  pour  la 
Valse,  a  study  of  Thalberg,  and  Beethoven's  Sonata  in  B  flat,  one 
of  the  least  generally  known,  but  one  of  the  most  melodious  and 
beautiful  he  ever  wn.tc.  In  all  of  these  she  displayed  her  great 
command  of  the  instrument  to  advantage,  and  her  playing  wanted 
on  this  occasion  none  of  that  finish  for  which  it  has  cften  been  so 
justly  praised,  while  it  had  enough  of  style  to  prove  her  a  first 
rate  artist.  In  the  concerted  pieces,  Mr.  Blugrove  on  the  violin.Mr. 
Westlake  on  the  tenor,  Mr.  Hausmann  on  the  violoncello,  and  Mr. 
C  Severn  on  the  double-bass  pl>fyed  with  their  accustomed  success. 
Mr.  L  Schulz  executed  a  fanta.«ia  on  the  guitar,  as  only  he  could 
execute  it,  and  it  is  happy  frr  the  art  that  he  stands  thus  unrivalled, 
for  were  there  many  who  could  do  on  the  guitar  what  he  doess,  wo 
fear  it  would  be  before  long  forced  into  the  bit  of  musical  instruments 
to  which  we  cannot  at  present  think  it  legitimatelv  belongs.  The 
vocal  music  was  supported  by  Mr.  Manvers,  ^lr.  Kncipel,  and 
Madame  G.  A.  Macfarrcn,and  was  all  accompanied  by  Mr.  Kuhe, 
with  the  exception  of  a  "  Wintcrlied**  of  Mendelssohn,  in  which 
Madame  Macfarreu  accompanied  herself.  This  was  a  perfect 
goni,  brimful  of  character,  and  to  us  quite  a  novelty  :  this  fair 
vocalist  deserves  our  i  hanks  for  bringing  it  lo  light,  and  she  owes 
no  less  to  the  song  than  we  owe  to  her,  for  it  gave  her  a  great 
opportunity  for  the  display  of  her  beautiful  voice  and  Irue  musi- 
cal feeling.  We  must  not  omit  to  mention  one  of  Mr.  Macfieirrcn's 
MS.  German  canzonets,  which  produced  mote  effect  than  any 
other  vocal  piece  of  tho  morning,  which  was  chiefly  attributed  to 
his  wife's  excellent  singing.  The  matinee  was  most  iashionably 
attended. 

Classical  Concerts,  Greenwich.— The  fourth  meeting  of  the 
third  annual  scries  of  these  entertainff.ents.  took  place  at  the  Lecture 
Hall  on  Wednesday  evening,  under  the  direction  of  Mr.  C*arte. 
The  concert  consisted  of  a  selection  from  the  w  orks  of  Sir  Henry 
Bishop,  and  was  conducted  by  the  composer.  The  principal 
vocalists  were  Miss  Birch,  Miss  M.  B.  Hawes,  Miss  Thornton  ; 
and  the  Messrs.  Lockov,  Machiu,  Barnby,  Wetherbee  and 
Soubridge.  Between  the  parts,  Mr.  Rockstro  peribrmed  a 
fantasia  on  the  pianoibrte,  and  Mr.  Henry  Blagrove  a  solo  on  the 
violin.  Mr.  Carte,  who  is  the  head  and  front  of  these  eatertain- 
menls,  is  deserving  of  much  commendation  for  tho  care  and  time 
he  has  expended  on  them. 

Ma.  Frederick  Cuaitkrton's  "First  Grand  Concert  this  season," 
— so  entitled  in  the  bills— was  given  at  the  Sadler's  \^'ell8  Theatre 
last  week.  The  Concert  M^as  certainly  a  Grand  Concert  for  that 
neighbourhood,  and  must  have  startled  the  unaccustomed  communities 
of  the  Islington  whereabouts  by  the  novelty  of  the  entertainment,  as 
well  as  by  the  importation  of  so  many  vocal  celebrities.  Verily  Sadler's 
Wells  is  treading  closely  on  the  steps  of  the  aristocratic  districts,  and  if 
it  KC>C8on  progressing  in  the  same  ratio,  we  oiay  augur  of  its  galling  the 
kibes  of  May  Fair  or  St.  James's  before  many  seasons  have  run  their 
rounds.  The  Concert  was  divided  into  three  parts.  This  seems  to 
have  settled  down  into  the  proper  allotment  of  portions  in  a  concert  by 
the  modern  benfficiaires,  and  certainly  the  extent  of  most  programmes 
warrants  or  rather  necessitates  such  a  division.  Formerly  quality  was 
the  moving  power  of  all  entertainments,  both  musical  and  theatrical : 
now  it  would  seem  that  qiuintUy  rather  than  quatUy  is  the  requisite,  or 
deHdetatum,  especially  in  entertainments  of  music.  Her  Majesty's 
Theatre  first  set  the  example,  having  the  first  necessity,  and  with  so 
infallible  an  authority  staring  us  in  the  face,  «e  do  not  feel  ourselves 
inclined  to  quarrel  with  the  introduction  of  1.OMO  mights.  Well,  then, 
Mr.  Frederick  Chatterton'a  Concert  was  a  very  long  one,  and  was  very 
properly  apportioned  into  three  sections ;  but  it  was  also  a  very  good  con- 
cert; though  so  long,  it  did  not  weary  the  audience.  The  chief  vocalists 
as  Miss  Birch,  Ma^lame  F.  tablache,  The  Braham,  Mr.  Harrison.  Signor  F. 
Lablache  and  John  Parry,  to  which  we  may  add  the  lesser  lights,  though 
not  unshining,  of  the  Misses.  Allen,  Steele,  Moriatt  O'Connor,  and  Mary 
Rose  J  with  Messrs.  Henry  Smith,  Genge,  N.  J.  Sporle,  and  Furtodo. 
The  solo  instrumentalisU  were  Herr  Kcenig,  (Cornet);  Miss  Kate  Loder, 
(piano);  Miss  Day,  (piano);  Mr.  Carte  (Flutf)j  Mr.  Willy,  (violin); 
Mr.  Sedgwick,  (concertina);  and  Mr.  Frederick  Chatterton,  (harp). 
The  conductors  were  Mr.  Louis  Leo  and  Mr.  J.  H.  Willy.  The  Concert 
containing  upwards  of  forty  morceata,  our  readers  will  perceive  at  once 
the  inutility  of  giving  more  than  a  few  selections  from  the  performances. 
In  the  first  part,  we  admired  most  Xhejantasia  on  the  Gothic  harp,  very 
finely  played  by  Mr.   Chattciton;  the  "Casta  Diva"  of  Miss  Birch; 


S38 


THE  MUSICAL  WORLD. 


Rossini's  Tarentella,  an  admirable  performance  by  F.  Lablache,  and  a 
Scoth  Ballad  by  Madame  F.  Lablache.  We  must  not  omit  recording 
our  gratification  on  hearing  Miss  Mary  Rose  a  second  time  In  Meyer- 
beer's very  difficult  cavatina,  "  Robert  toi  que  j'aime."  We,  however, 
cannot  help  feeling  that  the  choice  of  this  aria  for  a  debutante  is  some- 
what yenturesome ;  nevertheless,  we  would  not  presume  to  dictate  to  so 
good  a  supervisor  as  Mr.  Louis  Leo.  In  part  second,  a  duet  of  Doni- 
zetti's by  Madame  and  Signor  F.  Lablache,  a  solo  on  the  Boehm  Flute, 
"  The  Return"  from  Roch-Albert's  Maritime  Melodies,  for  voice  and 
comet,  performed  by  Miss  Birch  and  Herr  Koenig ;  a  grand  duet  for  two 
pianofortes,  by  the  Misses  Kate  Loder  and  Day,  and  an  aria  buifa  from 
Cenerentola,  by  F.  Lablache,  were  among  theperforcrances  most  favorably 
received.  We  must  not  forget  the  patriarch  Braham,  who  was  received 
with  thunders  of  applause  in  "  The  Bay  of  Biscay,"  and  a  duet  with  Miss 
Birch.  The  third  part,  consisting  entirely  of  performances  by  the  Lantum 
Ethiopian  Serenaders,  calls  for  no  particular  notice. 

DRAMATIC  INTEtUGENCE. 
Drurt  Lane.— This  theatre  was  crowded  to  excess  in 
every  part  on  Monday  night,  the  attraction  being  Wallace's 
favourite  opera,  Mariiana^  and  the  new  grand  oriental  spec- 
tacle, The  Desert ;  or,  the  Imaun's  Daughter,  The  extraor- 
dinary preparation  for  the  spectacle,  so  widely  circulated  and 
made  known  through  various  channels  to  the  public,  excited 
great  expectation  among  the  spectators.  Although  great 
attention  was  paid  to  the  opera  and  several  encores  honoured 
the  singers,  it  was  apparent  each  anxious  eye  looked  for  the 
great  event  of  the  evening.  Accordingly,  when  the  curtain 
rose  on  the  first  scene,  the  feelings  of  anxiety  and  suspense, 
so  long  circumscribed,  found  a  vent  for  their  escape  in 
tumultuous  cheers  for  a  very  splendid  scenic  representation 
of  the  exterior  of  the  Grand  Temple  of  Mecca,  illuminated  by 
hundreds  of  lamps.  The  next  scene,  the  Ruins  of  an  Ancient 
Egyptian  Tower,  was  equally  applauded.  The  Desert  scene 
was  the  grand  coup  of  the  first  act.  Here  was  observed 
the  arrival  of  the  caravan,  escorted  by  troops  of  mounted 
guards,  with  twelve  camels,  conducting  the  litter  of  Princess 
Ipomaye,  (Miss  Messent)  and  other  attendants  and  followers, 
till  the  stage  was  literally  covered.  The  effect  of  this  scene 
was  brilliant  and  imposing,  and  was  received  with  tremendous 
applause  by  the  audience.  The  caravan  halts  and  is  attacked 
by  Bedouin  Arabs,  the  troops  resist,  and  in  the  midst  of  the 
meUe  the  Simoon,  or  Wind  of  Fire,  rises,  and  threatens  all 
with  destruction.  The  rising  of  the  sand  was  managed  with 
extraordinary  effect.  In  the  second  act,  the  Desert  (by  star- 
light) presented  one  of  the  most  beautiful  scenes  we  have  ever 
witnessed  at  old  Drury,  and  is  entirely  worthy  of  this  great 
establishment.  A  dance,  of  an  Arabian  character,  called  '*  La 
Fantasia  Araba  and  Dansa  delle  Almee"  was  introduced 
here,  the  music  being  selected  from  Felicien  David's  Le 
Desert.  The  executants  comprised  nearly  the  whole  female 
department  of  the  Drury  Lane  ballet  company,  including  the 
Mesdemoiselles  Louise,  Adele,  Giubilei,  Les  Soeurs  St.  Louin, 
&c.  &c.  The  dance  was  greatly  applauded.  Last  scene  of  all 
represented  the  Arch  of  Triumph  conducting  to  the  Euphrates, 
through  which  passed  a  grand  procession,  accompanied  by  a 
brass  band,  escorting  the  Prince  of  Persia,  (Mr.  Rafter)  in  a 
gorgeous  nuptial  chariot,  drawn  by  two  elephants,  and 
attended  by  more  than  fifty  horses,  in  conjunction  with  all  the 
camels,  formbg  altogether,  as  the  bills  truthfully  indicated, 
one  of  the  most  magnificent  cavalcades  ever  presented  to  the 
public.  The  principal  portion  of  the  music  was  taken  from 
Le  Desertf  the  chief  vocalists  being  Miss  Messent,  Mr. 
Rafter,  and  Miss  Rebecca  Isaacs.  Miss  Messent  was  very 
happy  in  the  cavatina,  "  Sweet  Charity,"  which  she  delivered 
with  much  taste  and  feeling.  She  was  also  excellent  in  the 
aria,  "  Nearer  as  we  approach."  Mr.  Rafter  deserves 
honourable  mention  for  his  share  in  the  vocal  department.  We 


must  not  forget  Miss  Rebecca  Isaacs,  who  sang  a  **  Lament " 
very  charmingly.  The  chorus  was  numerous  and  efficient.  The 
story  to  which  Monsieur  David's  music  is  wedded,  and  to 
which  all  the  horses,  the  twelve  camels,  the  two  gigantic 
elephants,  (by  the  way,  two  small  elephants  would  be  a  greater 
curiosity)  and  the  retinue,  ad  infinitum,  have  been  appended, 
is  taken  from  Lalla  Rookh,  Miss  Messent  performing  the  tulip- 
cheek  princess  under  another  appellation,  and  Mr.  Rafter 
taking  the  prince  minstrel,  Feramorz,  with  merely  a  differente 
cognomen,  while  Harley's  Fuzzel  Oola  is  no  less  a  personag 
than  our  dearly* beloved  Fadladeenin  disguise.  We  must  not 
forget  to  name  the  inimitable  acting  of  Harley  in  the  old  tom- 
fool courtier.  The  audience  roared  with  laughter  every  time 
he  appeared.  His  self-important  look  and  swagger  were  ex- 
quisitely comic.  We  do  not  remember  any  production  of  this 
kind  involving  such  complication  of  scenery,  machinery,  and 
so  many  intricacies  of  stage  tactics,  which  went  so  smoothly 
on  its  first  representation.  Every  credit  is  due  to  the  manager 
for  the  care  and  money  he  has  expended  in  getting  up  this 
really  Elephantine  Spectacle.  We  hope  such  liberality  will 
meet  with  all  the  favour  it  deserves  fr6m  the  public. 

Haymarket. — The  Easter  entertainment  of  this  theatre 
is  an  entirely  new  and  original,  classical,  astronomical, 
quizzical,  polytechnical,  experimental,  operatical  and  panto- 
mimical  extravaganza,  rejoicing  in  the  title  of  The  New  Planet^ 
or  Harlequin  out  oj  Place.  It  was  produced  on  Monday 
night  with  great  splendour  in  the  scenery,  decorations,  and 
appointments,  and  was  very  successful.  The  New  Planet  is 
indited  by  Mr.  Planch^,  author  of  Fortunio  and  The  Invisible 
Prince.  The  entire  fable  of  the  piece  is  grounded  on  an 
invitation  given  by  the  New  Planet  to  all  her  brotherhood 
and  sisterhood  of  the  Solar  System,  and  when  they  arrive, 
instead  of  partaking  of  refreshment,  or  amusement,  Mother 
Earth  invites  them  to  see  her  territories,  which,  without  any 
reason,  they  all  accept,  omitting  Jupiter  and  Juno  for  classical 
reasons  assigned,  and  Vesta  for  an  obvious  one.  They  all 
depart,  and  Mercury,  transformed  into  Harlequin,  shows 
them  the  London  sights.  This  is  the  whole  construction 
and  interest  of  the  New  Planet.  It  is  interspersed  with 
considerably  too  great  a  quantity  of  music.  In  regard 
to  the  writing,  we  remember  no  production  of  Mr.  Flanch^*s 
more  full  of  good  things.  It  is  quite  overstocked  with  new 
and  happy  hits,  which  told  very  well  with  the  audience. 
Several  of  the  scenes  received  great  applause,  especially 
the  view  of  London  by  moonlight  at  the  Colosseum,  which 
was  an  admirable  specimen  of  scenic  painting.  The  intro* 
duction  of  the  Spirits  of  the  two  rival  Opera  houses  was  a 
happy  idea,  but  much  of  its  point  was  lost  by  being 
put  to  music.  Miss  Reynolds  is  much  improved,  sung  wiUi 
great  taste,  and  was  deservedly  encored  in  her  scena  from 
Norma.  Miss  P.  Horton  introduced  a  ballad,  a  burlesque 
on  "  Molly  Bawn,"  "  O,  Jenny  Lind!  why  lave  me  pinin  ?" 
which  this  lady  gave  with  careful  enunciation,  though  we 
hardly  say  so  much  for  her  in  all  her  music  This  ballad 
was  deservedly  encored,  being  exceedingly  well  sung,  and 
having  so  nicely  seized  on  one  of  the  noisiest  topics  of  the 
day.  We  must  not  forget  to  name  Miss  P.  Horton's  capital 
singing  in  a  travestie  on  **  Una  Voce,"  which  was  given  with 
great  effect,  and  in  a  manner  that  told  us  of  great  improvement 
in  the  fair  artist.  Mr.  Buckstone  was  extremely  amusing 
as  Harlequin.  Mr.  Bland's  Mars  was  a  small  part,  but  he 
made  much  of  it.  If  the  music  was  abridged,  the  New  Planet 
would  be  considerably  improved.     The  house  was  very  full. 

French  Plays. — On  Monday,  we  hailed  with  delight  the 
return  of  Mademoiselle  Rose  [Jf^jf^'e^j  |j^®<[Jt5lR5y€jt^ 


THE  MUSICAL  WORLD. 


niooeeded  in  gaining  popularity  so  suddenly,  and  very  few 
have  known  how  to  draw  so  closely  the  tie  which  unites  the 
artist  to  the  puhlic*  It  needs  but  little  judgment  to  discover 
the  reason  of  this  sympathy,  of  this  entente  cordiale  between 
the  parties;  the  actress,  on  the  one  hand,  is  intelligent,  pretty, 
and  natural ;  and  on  the  other,  the  public,  although  occasion- 
ally apt  to  be  led  away  by  false  pathos  and  brilliant  decla- 
mation, feels  its  error  when  the  real  thing  is  set  before  it, 
and  appreciates  so  much  the  more  highly  what  is  true  and 
unaffected.  Mademoiselle  Rose  Ch^ri  is  not  a  dramatic  actress, 
>et  her  efforts  are  decidedly  dramatic ;  for  she  can  draw  tears 
from  the  eyes,  and  cause  the  heart  to  heave,  without  any  of 
the  straining  of  our  ordinary  melo-dramatic  queens.  She  has 
all  the  vivacity  of  a  D^jazet,  all  her  humour  and  naturel,  but 
is  decidedly  more  lady-like  in  her  manners.  After  Le  Secret 
du  Menage^  a  three-act  piece,  in  verse,  an  importation  from 
the  Tkeatre  Frangais^  in  which  Madame  Duluc,  Mademoiselle 
Angela,  and  Monsieur  Langeval  played  in  the  most  satis- 
factory manner,  we  had  Un  Changement  de  Main,  brought  out 
at  this  theatre  last  year,  and  a  new  piece,  written  expressly 
for  Mademoiselle  Rose  Ch6ri,  by  M.  Sczibe.  Both  pieces  are 
clever,  the  dialogue  is  smart,  and  the  allusions  witty  and 
judicious.  The  £rst  is  an  episode  in  the  history  of  Elizabeth, 
empress  of  Russia,  and  turns  upon  the  sudden  elevation  to 
power  and  favour  of  the  unfortunate  Alexis  Romanouski.  A 
slight  outline  of  the  plot  may  prove  acceptable  to  our  readers. 
Alexis  has  had  an  intrigue  with  the  wife  of  a  certain  Count 
Schnvaloff,  minister  of  the  police,  and  through  the  influence 
of  the  latter,  is  sent  to  a  fortress ;  here  he  gains  the  affections 
of  all  the  inmates,  and  is  on  excellent  terms  with  the  governor 
and  his  daughter,  who  give  him  an  opportunity  to  effect  his 
escape.  He  profits  by  it  to  deliver  a  prisoner  brought  into 
the  fortress  on  the  previous  night,  and  who  is  no  other  than 
the  natural  son  of  Peter  the  Great,  whom  the  zealous  Eliza- 
beth had  confined  in  a  dungeon  for  more  than  ten  years.  On 
the  discovery  of  the  prisoner's  escape,  the  governor  gives 
himself  up  for  lost,  but  the  generous  Alexis  steps  forward  and 
impersonates  the  prince ;  for  some  time  the  secret  remains 
undiscovered,  the  fitlse  prince  finds  favour  in  the  eyes  of  the 
empress,  and  profits  by  the  opportunity  to  advance  his  own 
private  afiairs,  by  relating  the  intrigue  of  the  minister's  wife, 
and  obtaining  his  own  release  from  prison  ;  but  the  storm  at 
last  bursts,  and  he  is  condemned  to  death,  not  so  much  on 
account  of  his  crime,  as  of  the  jealousy  which  the  empress  had 
conceived  against  Foedora,  tbe  governor's  daughter.  Luckily 
the  tables  are  again  turned,  he  proves  his  attachment  to  have 
been  nothing  more  than  brotherly  affection,  and  be  obtains 
his  pardon ;  and  here  the  Changement  de  Main  takes  place. 
We  shall  not  venture  to  explain  in  what  the  change  consists, 
such  things  had  better  be  touched  with  a  light  hand ;  and  our 
neighbours  are  judicious  enough  to  convey  their  meaning  with- 
out entering  into  detail,  still  more  difiicult  to  render  in  English. 
Th^  piece  was  excellently  played.  Mademoiselle  Rose  Cb^ri's 
Elizabeth  was  a  ehef  d^ceuvre  of  dramatic  art — overflowing 
with  humour  at  once — unctuous  and  quiet.  Mademoiselle 
Yallde  was  in  the  highest  degree  graceful  and  attractive  in  the 
part  of  Foedoia.  M.M.  Dum^  and  Langeval,  the  former 
especially,  contributed  much  to  the  success  of  the  piece.  M. 
Rhozevil  is  decidedly  one  of  the  most  useful  actors  attached 
to  this  theatre  and  there  is  a  distinction  in  all  he  does  that 
raises  him  far  above  the  common.  La  Protegee  Sans  le 
Sawnr^  is  decidedly  an  acquisition  to  the  repertoire  of  the 
French  plays.  It  is  written  with  all  the  neatness  and 
elegance  of  M.  Scribe's  versatile  and  ready  pun,  and  abounds  I 
in  wit  of  the  most  refined  and  deh'cate  order.    HiUne  is  an  i 


orphan,  left  with  no  resource  but  her  pencil,  her  position  has 
been  considerably  ameliorated  through  the  generosity  of  a 
benevolent  nobleman,  Lord  Albert  Clavering,  who  buys  up 
all  her  pictures,  unknown  to  her,  at  very  high  prices.  This 
excites  the  astonishment  of  Durocher,  her  former  master,  and 
he  conceives  suspicion  against  the  innocence  of  his  pupil. 
He  soon  discovers  how  matters  stand,  and  insists  upon  their 
prompt  termination.  This  brings  the  parties  to  their  senses 
and  they  now  find  that  gratitude  on  one  side  and  benevolence 
on  the  other  had  gradually  ripened  into  love.  Lord  Albert, 
although  engaged  to  another  lady,  offers  his  hand  to  H6I^ne 
and  is  accepted  with  joy.  At  this  juncture  he  receives  a 
letter,  which  reveals  the  ruin  of  the  lady's  father,  and  he 
finds  himself  bound  in  honour  not  to  break  his  contract  at 
such  a  moment,  and  in  this  he  is  seconded  by  H^l^ne, 
although  she  is  almost  broken-hearted.  A  certain  Lord 
Tressilyan,  who  figures  in  the  piece  as  an  amusing  English 
fop,  had  gained  the  affection  of  the  lady  in  question  and  elopes 
with  her,  leaving  a  letter  in  which  he  offers  to  give  any  satis- 
faction to  Lord  Albert ;  but  Lord  Albert  could  not  be  better 
satisfied  than  by  the  news  which  this  letter  discloses  and  the 
turn  which  matters  have  taken.  The  marriage  of  the  peer 
and  the  poor  orphan  is  newly  covenanted  and  the  piece  ends. 
M.  Cartigny  was  admirable  as  Darocher,  the  French  painter, 
who  is  not  over  fond  of  the  English,  but  who  still  finds  much 
to  admire  and  esteem  in  them.  The  allusions  were  well  taken 
by  the  English  part  of  the  audience  and  although,  at  times 
very  severe,  excited  no  feelings  but  those  of  good-humoured 
hilarity.  Nothing  could  have  been  more  exquisitely  natural 
than  Mademoiselle  Rose  Ch6ri's  impersonation  of  H^lhie,  it 
is  decidedly  one  of  her  most  charming  performances  and 
embodies  to  the  life  the  graceful  creation  of  M.  Scribe.  In 
pathos  and  in  gaiety  Mademoiselle  Cb^ri  is  equally  effective, 
and  her  acting  altogether  betrays  an  absence  of  all  effort 
which  is  of  itself  a  wonderful  charm.  M.  Rhozevil  played 
the  part  of  Clavering  with  true  sentiment  and  gentlemanly 
bearing,  to  which  M.  PescaVs  pleasant  effrontery  in  Tres- 
sylian  formed  a  very  happy  contrast.  Both  these  pieces  were 
repeated  on  Wednesday  to  a  crowded  house.  Among  Made- 
moiselle Ch^ri's  next  performances  will  be  the  celebrated 
Clarisse  (founded  on  Jules  Janin's  version  of  Clarissa  Har^- 
lotoe)  which  was  so  very  successful  in  Paris.  We  are  most 
anxious  to  see  this  charming  and  intelligent  actress  in  this 
part.  J.  de  C  z. 

Adblphi.— The  management  of  this  house  had  recourse  to  no 
novelties  to  uphold  the  rastive  time  of  Easter.  It  has  thought  it 
more  prudent,  or  mora  politic,  to  [adhere  to  the  Flowers  of  the 
Forest,  and  the  Phantom  Dancers,  Certain  the  last  piece  has  had 
a  long  run,  but  nevertheless,  it  is  still  fresh  as  a  two  year  old,  and 
will  rattle  along  for  many  a  night  yet.  Ihe  splendour  of  its 
scenery,  and  the  captivating  acting  of  Madame  Celeste,  indepen- 
dent of  its  written  merits,  must  insure  frequent  repetition  or  the 
Phantom  Daticers,  The  Flowers  of  the  Forett  is  one  of  Mr. 
Buckstone's  best  dramas,  and  has  obtained  great  success  for  the 
Adelphi.  The  house  has  been  crammed  in  every  part  during  the 
week,  and  the  two  performances  were  visiteci  with  vociferous 
applause. 

raiNczss*s.— •Aubcr's  opera  of  the  Barcarole  was  produced  on 
Monday  ni^ht  at  this  theatre  for  the  first  time  in  England.  Our 
crowded  c<Numns  this  week  preclude  us  from  noticing  tbe  opera  at 
anv  length.  We  have  therefore  determined  to  postpone  our  review 
until  the  ensuing  number. 

After  the  Barcarole,  the  Midsummer  Nights  Dream  was  pro- 
duced with  considerable  splendour,  and  in  a  style  of  completeness, 
that  would  reflect  credit  on  any  management.  AH  the  resources 
of  the  theatre  were  made  available,  and  the  operatic,  serious,  comic, 
and  ballet  bands  coi\joined  their  forces  to  malce  one  great  whole. 
The  cast  of  characters  was  excellent    Compton  played  Bottom 


hio 


THE  MUSICAL  WORLD. 


with  inimitable  humour,  making  the  part  ridiculous  and  laughable 
in  the  extreme,  without  having  recourse  to  the  slightest  tinge  of 
exaggeration.  We  have  seen  nothing  of  the  kind  more  exquisite 
than  his  death  scene  as  Pyramus.  Mr.  S.  Cowcirs  Flute  whs 
almost  equally  good.  Nothing  could  be  better  than  bis  perform- 
ance of  Ihisbe  in  the  play.  Indeed  all  the  **  hard-hanr?ed  urtizans" 
were  as  well  supportca  as  could  be  desired.  The  cast  of,  ^^  hst 
may  be  termed  the  serious  portion  of  the  Midsummer  NighVa 
Dream,  if  not  so  good  as  the  comic,  was  meiitorious.  Mr.  Henry 
Hughes  played  Theseus  very  cleverly,  though  iQclinine  a  little 
servilely  to  mimic  a  modern  actor.  He  lead  the  part  with  correct 
emphasis  and  nice  enunciation.  Mr.  James  Vining  was  good  as 
Lysander,  as  was  also  Mr.  C.  Fisher  as  Demetrius.  01  the  ladies, 
our  award  of  prior  excellence  must  needs  go  to  Mrs.  Stirling,  who 
performed  the  ch«rming  Hermia  most  charmingly,  and  lefl  but 
little  to  be^dcsired.  If  this  lady  would  endeavour  to  eschew  a 
certain  familiarity  of  tone  and  manner  that  pervades  all  her  serious 
performances,  she  would,  if  she  succeeded,  nnd  herself  considerably 
elevated  in  public  estimation.  Mrs.  Stirlirg  is  one  of  our  especial 
favourites,  but  still  there  is  too  much  of  the  free  and  easy  tone  in 
her  voice  and  manner,  to  make  her  all  we  could  desire,  or  all  she 
might  be.  in  the  higher  walks  of  acting.  Mrs.  H  Hughes,  who 
obtained  a  great  reception,  has  apparently  talent,  but  was  a  deal 
too  lachrymose  in  Helena.  She  had  a  tear  for  nearly  every  word, 
and  a  piteous  moan  for  every  look.  This  style  of  acting  is,  to  us, 
intolerable.  Mrs.  H.  Hughes  was  dressed  in  a  style  that  by  no 
means  commanded  our  admiration.  Miss  Winstanley,  from  the 
provinces,  made  her  first  appearance  in  Hippolyta.  She  has  a  fine 
person,  and  rather  an  expressive  countenance.  She  seemed 
oatural  and  eas^,  and  delivered  the  little  she  had  to  speak— tho 
chief  portion  of'^this  character  being  omitted — with  point  and  clear- 
ness. The  mythological  parts  were  very  strongly  cast.  Mi&s 
Sara  Flower  was  the  Oberon,  Miss  Anue  Romer,  Titania,  Miss 
Marshall,  Puck,  and  the  Misses  Georgiana  Smithson,  E.  Honner, 
and  L.  Marshall,  principal  Fairies.  The  music  was  selected  from 
Mendelssohn,  T.Cooke,  C.Horn,  and  Edward  Loder.  Mendelssohn's 
overture  was  performed  previous  to  the  play.  The  vocal  music, 
on  the  whole,  did  not  go  well.  Some  of  the  morceaux  were 
insipid  in  the  extreme  ;  some  only  bad,  some  indifferent,  and  some 
good.  An  aria,  by  Miss  Anne  Romer,  ''  Come,  wait  upon  him," 
struck  us  as  being  the  best  vocal  specimen  of  the  piece.  We  did 
not  hear  it  previously,  but  from  the  character  of  its  melody,  and  its 
orchestral  points,  we  ascribe  it  at  once  to  Mr.  Edward  Loder.  It 
is  a  pitv  that  the  manager,  who  must  have  expended  a  large  sum 
in  getting  up  the  Midsummer  JNighfs  Dream,  did  not  bring  it  out 
with  all  Mendelssohn's  music.  The  music  appended  to  the  piece, 
at  present,  has  very  little  claim  on  our  interest,  if  we  except  the 
song  alluded  to  above,  and  some  petit  morceaux  of  Mendelssohn, 
scattered  throughout.  The  scenery  was  most  excellent.  One  of 
the  scenes,  a  lake  beside  a  wood  near  Athens,  wss  very  beautiful,  as 
IS  'also  Titania*s  bower,  with  the  water-fisiP  adjacent.  The 
appointments  and  decorations  were  in  keeping  with  the  scenery, 
while  the  machinery  and  changes  were  managed  with  great  effect. 
The  double  gauxe  curtain,  let  down  whilo  Puck  was  leading 
Lysander  and  Demetrius  astray,  gave  a  dreamy  appearance  to  the 
scene  that  told  well.  Of  the  vocalists,  we  would  select  Miss  Sara 
Flower  and  Miss  Anne  Romer  as  worthy  of  great  commendation  $ 
nor  can  we  conclude  without  a  warm  testimonial  in  praise  of  Miss 
Marshall's  Puck.  The  house  was  very  full,  and  the  performance 
vehemently  applauded  throughout. 

The  Lycsum. — A  new  drama  from  the  popular  pen  of  Mr. 
Shirley  Brookes,  was  on  Thursday  produced  at  this  theatre.  It 
was  called  The  Creole^  and  was  principally  founded  upon  those 
prejudices  of  blood  and  colour  which  exercised  such  a  striking 
influence  over  the  local  passions  of  the  Mauritius  at  the  time  that 
island  belonged  to  the  French  government,  llie  play  touched 
more  upon  the  serious  than  has  generally  been  the  custom  with 
the  productions  of  this  author.  The  plot  was  carefully  and  neatly 
constructed,  and  what  farce  was  introduced  was  in  good  and 
subdued  taste.  Mrs.  Kceley  had  an  eccentric  serious  character, 
which  she  played  as  Mrs.  Keeley  alone  can  play,  and  was  admirably 
supported  by  Keeley  himself,  Frank  Matthews,  Emery,  Leigti 
Mumy,  and  little  Mary  Keeley,  who  sang  a  charming  song  of 


Alexander  Lee's,  called  *<  Waves  of  Gold  in  Music  breaking,** 
with  great  feeling.  The  scenery  was  beautiful  and  did  that  very 
clever  artist,  Phillips,  and  his  coadjutors  gi'eat  credit.  The  piece, 
which  was  preceded  by  a  pleasant  overture  by  the  composer  of 
the  song,  met  with  deserved  success. 


PROVINCIAL. 

Miss  Emily  Grant. — ^We  are  glad  to  see  this  yoang  lady's  dtbui  at 
the  Manchester  Harmonic  Society,  in  Haydn's  *'  Seasons,"  performed  on 
Wednesday  last,  at  the  Free  Trade  Hall,  on  the  Society's  last  free  dress 
concert  of  the  season,  to  an  audience  of  upwards  of  2000  persons.  She 
was  nr.ost  successful,  and  loud  and  enthusiastic  was  the  encore  which 
she  unanimously  received  in  the  song  *  There  was  a  Squire,'  though 
coming  at  the  conclusion  of  the  performances.— SA^/ieM  irii. 

A  MEW  CnoaAL  Sociktt  has  been  organised  out  of  the  dispersed 
materials  of  the  former  Philharmonic  (?)  which,  as  most  of  our  readers 
arc  aware,  expired  with  the  eflfort  made  to  get  out  of  debt  by  a  grand 
performance  last  Summer,  and  from  a  want  of  harmony  and  unity  of 
purpose  among  many  of  its  professional  members.  The  new  sodety 
we  believe,  is  established  upon  a  different  basis,  and  we  hope  will  attain 
to  more  fortunate  results.  The  members  are  to  meet  for  practice  every 
Thursday  evening,  and  it  is  proposed  to  give  four  public  concerts 
during  the  year,  should  there  appear  any  disposition  on  the  part  of  our 
resident  gentry  to  encourage  such  a  design.  Mr.  Packwood  has  under- 
taken the  laborious  and  troublesome  office  of  Honorary  Secretary,  and 
Mr.  R.  Butt  that  of  leader— 'T/itf  Cheltenham  Looker-cn. 

Manchbstir. — {Prom  our  own  Carreapondent.) — The  eighth  and  last 
ordinary  meeting  of  the  Gentlemen's  Glee  Club,  for  its  I6tb  sea  son^  was 
held  on  Thursday  the  1st  insUnt,  when  a  very  good  selection  of  glees 
and  chorusses,  from  the  works  of  Attwood,  Sir  H.  R.  Bishop,  T.  Cooke, 
Clifton,  Spohr,  were  performed  by  our  resident  vocalists ;  the  club-room 
was  not  so  full  as  usual,  which  may  be  attributed  to  the  meeting  occurring 
in  Passion  Week,  and  the  unwonted  severity  of  the  weather,  «hich  was 
as  bitter  a  night  of  snow  and  frost  as  any  we  had  in  the  depth  of  winter. 
The  Ladies  night,  or  dress  concert  is  fixed  for  Thursday  the  S2od,  for 
which  Mrs.  Sunderland  is  engaged. 

Farnham.— The  organ  of  the  Church  has  been  closed  for  several 
weeks,  to  admit  of  its  undergoing  thorough  repair.  New  stops  are 
added,  and  other  improvements  have  taken  place  materially  to  the 
advantage  of  the  instrument.  Mr.  Walker,  of  Francis  Street,  Tottenham 
Court  Road,  was  employed  as  renovator.  The  Farnham  organ  now 
contains  great  organ  stop,  diapason,  2  open  ditto,  principal  flute 
twelfth,  fifteenth,  sesquialtra,  mixture  and  trumpet.  In  the  swell 
double  diapason,  stop  D,  open  ditto,  principal,  fifteenth  seqsuialt  a, 
trumpet,  and  hautboy.  In  the  choir,  stop,  diapason,  open  ditto,  duteiana, 
principal  fifteenth,  cremona  and  fiute,  it  has  also  1)  octave  pedal  pipes, 
composition  pedals,  couplers,  &c.  and  is  now  a  very  fine  instrument. 
Mr.  Thomas  Baynham,  the  organist,  re-opened  the  instrument  on 
Sunday,  whenthere  wasa  very  large  congregation,  who  were  greatly  pleased 
and  much  surprised  at  the  improvements.  Mr.  Thomas  Baynham  played 
some  voluntaries  in  a  masteriy  style,  which  tended  in  no  small  degree  to 
exhibit  the  excellencies  of  the  instrument. 

ExiTER.— ('From  a  Correspondent. J^-Thn  Messrs,  Smith,  music 
sellers  of  this  city,  gave  a  grand  concert  on  Monday  evening  at  the 
Subscription  Rooms,  which  brought  together  a  large  concourse  of  people. 
The  principal  attraction  of  the  evening  was  Madame  Bishop,  whose 
coming  was  looked  upon  by  the  Exeter  folk  as  a  great  treat.  Our  old 
fiiend,  John  Parry,  was  also  engaged,  and  added  no  little  to  the  Interest 
of  the  evening's  entertainment.  The  other  singers  were  the  Messrs. 
Callway,  Avent,  Carpenter,  and  Branscombe,  all  good  men  and  true,  and 
uho  only  require  their  names  to  be  more  widely  disseminated  to  be 
belter  known.  Madame  Bishop,  on  entering  the  orchestra,  was  most 
warmly  applauded.  She  k>oked  extremely  well,  and  was  most  roagni- 
cently  dressed,  wearing  a  profusion  of  jewels,  which,  we  understood, 
were  presented  to  her  by  various  continental  Potentates.  Madame 
Bishop's  singing  is  highly  dramatic.  Her  voice  has  a  rilvcry  quality,  and 
is  extremely  clear.  She  executes  passages  with  surprUing  facility,  and 
is  altogether  a  most  highly  finished  artist.  Her  singing  produced  a  greac 
effect.  She  was  encored  three  times.  Madame  Bishop's  last  perform, 
ance  of  the  evening  was  the  grand  scena  from  TanereJi,  which  she  sang 
in  costume,  and  deiiverted  in  such  a  manner  as  to  call  forth  vehement 
cheering.  John  was  of  course  encored  in  nil  he  sung,  and  made  the 
audience  scream  with  laughter.  He  is  a  gi  eat  favorite  everywhere.  On 
Tuesday  the  Ball,  rendered  memorable  by  the  oontroveray  between  the 
Bishop  of  Exeter  and  the  Mayor,  was  held  in  the  Subscription  Rooma, 
and  was  exceedingly  wcU  supportedeijgjtized  by  V^riOOy  ItT 


THE  MUSICAL  WORLD. 


241 


M1A8HAM  Musical  Festival.— The  annutl  concert  at  this  village 
took  place  on  Monday  last,  when  the  Messiah  wa^  performed  by  a  band 
and  chorus  of  about  se?enty  musicians. .  Mr.  Webb,  of  Aston,  led,  and 
Mr.  H.  Dennis,  of  iVIeasham,  conducted  on  the  occasion,  and  both  ably 
filled  the  difficult  positions  assigned  them.  The  lattei  deserves  especial 
notice  for  the  firmness  and  excellent  superintendence  be  displayed, 
which  added  much  to  the  successful  performance  of  the  oratorio.  The 
principal  vocalists  were  Messrs.  Gough  and  Pursftll,  of  Birmingham,  and 
Mr.  Branston  and  Miss  Waldrom,  of  Leicester.  Miss  Waldrom  had, 
consequently,  to  undertake  the  whole,  and  was  deservedly  applauded 
throughout  by  the  audience.  Mr*  Cough's  bass  songs  aho  met  with  a 
simiUr  reception.  He  possesses  a  fine  voice.  In  the  alto  song,  "  O 
thou  that  tfllest,"  Mi.  C.  Smith,  of  Leicester,  was  unexpectedly  called 
upon  to  »iog,  and  acquitted  himself  very  creditably.  The  choruses  went 
off  with  great  force  and  precision.  The  attendance  was  very  good,  every 
place  being  filled  up  where  a  view  of  the  orchestra  could  be  obtained 
Every  one  appeared  to  be  well  satisfied,  and  the  projectors  deserve  great 
praise  for  the  excellent  arrang'eroents  in  every  department.— L«ic6«/er 

MISCELLANEOUS. 

T£8TiiioNXAL  TO  Mr.  IVAliiainb. — Last  week  Mr.  Mackinlay 
gave  a  dinner  in  Soho-8C|uare  to  a  number  of  gentlemen  connected 
with  the  mnsicfil  profession,  who  had  subscribed  towards  a  testi- 
monial which  was  presented  on  the  occasion  to  Mr.  D'Almaine, 
the  eminent  muaic  publisher,  on  his  retirement  from  business  after 
a  period  of  fiftjf  years.  The  testimonial,  which  consisted  of  a 
very  elegant  candelabra,  was  presented  by  Sir  George  Smart,  in  a 
very  neat  address  to  Mr.  D'Almainc,  who  acknowledged  the  honour 
and  kindness  conferred  on  him,  in  a  very  feeling  manner.  In 
returning  thanks,  after  his  health  had  been  proposed,  Sir  Henry 
Bishop  spoke  in  the  warmest  terms  of  Mr.  D'Almaine*s  kindness  to 
him  from  his  earliest  musical  career ;  and  be  gave  instances  of  the 
little  acquaintance  theatrical  managers,  in  greneral,  had  with  music  ; 
for  his  '*  Tramp  Chorus,"  in  the  Knight  of  Snowdcn,  the  <*  Chough 
and  Crow  "  in  Chty  Mannering^  and  "  Mynheer  Van  Dunck"  in  the 
Law  ofjava^  were  cut  out  at  the  rehearsals  ;  but  on  strong  remon- 
stranees  being  made,  they  were,  at  the  eleventh  hour,  aUowed  to 
be  sang.  Need  we  add  bow  universally  popular  these  three  fine 
compositions  became.  Professor  Taylor,  in  proposing  Mr.  Mac* 
kinla/s  health,  paid  him  many  compliments  lor  his  taste  and 
talent,  and  wished  him  prosperity  as  the  worthy  nephew  of  a 
worthy  uncle.  In  the  course  of  the  evening  the  following  com- 
positions, by  Sir  H.  Bishop,  were  sung,  accompanied  by  the 
composer,  **  Sleep,  gentle  lady,"  **  Come,  thou  monarch  of  the 
Yinc."  and  "  Mynheer  Van  Dunck/  by  Messrs,  Barnby,  Handel 
Gear,  Parry^  J.  C.  Addison,  Milson,  E.  Taylor,  and  Machin  ;  the 
latter  sung  a  couple  of  songs  extremely  'well,  accompanied  by 
George  Kailmark,  and  the  evening  passed  off  most  delightfully ; 
and,  to  Mr.  D'Almaine,  it  must  have  been  highly  gratifying  to 
receive,  at  the  hands  of  so  many  old  friends  and  associates,  such  a 
)  of  their  respect  and  esteetn. 


Ma.  BaAHAM,  Signer  F.  Lablachc,  Sterndalo  Bennett,  Signor 
Emiliani,  Miss  Rainforth,  the  Misses  Williams,  Miss  M.  B. 
Hawes,  and  several  vocalists  will  attend  the  festival  of  the  Royal 
Society  of  Musicians,  on  the  19th  inst,  at  which  the  gallant  Lord 
Saitoun  will  preside. 

Angisnt  Cokgsrts. — We  have  heard  that  Madame  Castellan, 
Madame  Caradori,  Miss  Dolby,  Gardoni,  and  Staudigl,  will  sing  at 
the  Annent  Concert,  on  the  21st  inst.,  which  will  be  under  the 
direction  of  the  Doke  of  Wellington* 

It  is  more  than  probable  that  H.  R.  H.  Prince  Albert  will  be 
installed  at  Cambridge  early  in  July ;  the  commeneement  will 
begin  on  the  3rd,  and  the  ode  will  be  performed  on  the  6th,  should 
the  cerenony  take  place. 

Sacrsd  HAanoNic  Socibty,  Exbter  Hall.  — The  first  per- 
formance of  Mendelssohn's  "  Elijah"  is  fixed  for  Friday  next.  The 
composer  will  direct  the  orchestra  on  the  occasion. 

Mm.  HiTNN.  — Weare  delighted  to  inform  our  readers  that  the 
enterprising  manager  of  Drury  Lane  is  still  to  govern  the  fortunes 
of  the  temple  in  Russell-street.  Mr.  Bunn  continues  the  lessee- 
ship  of  the  theatre  for  a  term,  the  length  of  which  has  not  tran- 
spired.   The  longer  the  better. 


Mademoiselle  Rachel.— After  all  the  rumours  industriously 
spread  about  the  impossibility  of  the  great  French  Tragedian 
coming  to  London  this  season,  we  are  nappy  to  state  that  such 
reports  are  entirely  unfounded,  and  to  announce  that  Madlle. 
Rachel  will  come  to  the  St.  James's  theatre  to  fulfil  her  stipulated 
engagement  with  Mr.  Mitchell. 

Mr.  Wilson — Has  been  giving  his  entertainments  with  his 
usual  success  in  Scotland,  since  his  return  from  Paris,  and  during 
the  past  week  has  been  singing  in  Berwick,  Newcastle,  Sheffield, 
and  Derby,  on  his  way  to  London,  where  he  is  to  commence  hia 
entertainments  next  Monday  in  his  old  quarters  in  the  Music  Hall, 
Store  Street. 

Mas.  NisBETT  will  re-appear  at  the  Hay  market  Theatre  'on 
Monday  next  in  Sheridan  Knowles's  comedy  of  the  Xot;e  Chase. 

Here  Staudiol  has  arrived  in  London. 

Mademoiselle  Ceeito  and  M.  St.  Leon  are  hourly  expected. 

Adelphi.^ — A  new  opera  buffa,  or  local  sketch  called  Jetmy  Lind, 
will  be  produced  at  this  theatre  on  Monday  next,  in  which  Messrs. 
Wright,  Paul  Bedford,  add  Miss  Woolgar  will  perform. 

Madame  Plbtel — This  celebrated  pianist  will  arrive  in 
England  in  the  middle  of  the*  present  month.  She  has  been  playing 
at  Uio  Court,  and  the  Conservat  t  re,  at  Brussels,  with  her  usual 
brilliant  success. 

Musical  Criticisms.— (From  Punch,) — Wo  attended  on  Mon' 
day  evening  last,  one  of  those  cheering  reunions  in  Coventry-street 
which  owe  their  existence  to  the  energy  of  the  celebrated  virtuoso 
Blowaway,  whose  fame  on  the  trombone  is  quite  metropolitan. 
These  meetings  may  be  considered  as  now  firmly  established ; 
and  there  is  an  indescribable  charm  about  them,  for  they  combine 
the  graces  of  a  i^to  champ^tre  with  the  roost  delicious  banquet  of 
harmony.  The  executants  stand  in  a  line,  the  audience  forming  a 
sort  of  social  circle  round  them,  so  that  there  is  none  of  tho  stiflf- 
ness  complained  of  in  those  great  musical  meetings  at  the  Hanover 
Square,  and  other  rooms  hitherto  confined  to  concert  purposes. 
The  programme  of  Monday  was  not  merely  promising,  but  it  was 
positively  luscious.  It  offered  a  rich  treat  to  the  scholar  and  the 
mere  dilettante,  for  this  has  been  the  happy  medium  always  hit  by 
Blowaway.  The  first  pieco  was  a  Polka  in  A,  B,  C,  from  the  Hop 
82  of  Jullien.  Every  note  of  this  was  deliciously  rendered  by  the 
executants.  Every  virtuoso  knows  what  an  ophycleide  is  in  tho 
mouth  of  Brown,  and  on  this  occasion  it  was  more  remarkablo 
than  ever  for  breadth  and  largeness.  Tunks  on  tho  triangle  ex- 
hibited all  the  wonderhil  scholarship  with  which  he  invariably 
touches  the  tender  instrumenf.  We  rather  tremblisd  for  him  in  the 
magnificent  scherzo,  but  ho  came  out  gloriously,  and  his  fellow 
executants  winked  their  approbation,  in  the  true  spirit  of  artists 
who  are  beyond  all  professional  jealousy. 

Blowawa/s  trombone  passages  were  almost  appalling  firom  their 
intensity.  He  threw  out  his  instrument  to  its  rullest  extent  in  tho 
stupendous  largo,  until  we  fancied  we  were  in  the  presence  of  some 
mighty  magician,  who  was  overwhelming  m  with  some  potent  spell, 
which  it  w^s  impossible  to  stand  against.  Rumble  was  a  little  un- 
certain on  the  drum,  as  if  he  were  nervous  at  the  outset  in  attauk« 
ing  such  a  work  as  Jullien's  Hop.  82  ;  but  he  soon  warmed  up,  and 
made  the  parchment  tell  gloriously  in  the  ktretta,  though  his  drum- 
stuck  became  a  little  flat  towards  the  end,  firom  excess  of  energy. 
Tweedle  took  the  piccolo  in  the  absence  of  Bopham,  whose  neat- 
ness was  much  wanted  in  the  gush  of  learning  which  opens  the 
ninth  bar,  and  continues  till  near  tho  end  of  the  morceau,  when 
a  perlect  shower  of  semiquavers  prepare  us  for  the  grand  effect  of 
six  consecutive  appogiature,  terminating  in  two  triplets,  ten  arpeg- 
gios, and  a  bar  of  minims.  Those  only  who  know  what  Tweedle 
can  do  with  the  wood,  when  seconded  by  Blowaway  on  the  brass, 
will  be  able  to  form  a  conception  of  this  wondrous  passage  in  the 
mou.hs  of  two  such  executants.  The  virtuoso  were  enraptured, 
when—  Here  we  regret  to  say  our  criticism  is  brought  to  a  close 
by  the  abrupt  termination  of  the  concert.  A  sudden  movement  in 
A,  of  the  police,  conducted  by  Sergeant  Strapper,  with  his  bAton 
in  hand  as  chef  d*attaque,  dispersed  the  executants  at  once,  to  the 
great  disappointment  of  the  dilettanti,  who  were  reluctantly  com« 
polled  to  separate.  Digitized  by  V^nOO  V  It^ 


•**- 


242 


THE  MUSICAL  WORLD. 


Madame  Bouroin  has  been  appointed  teacher  of  dancing  to 
the  Prince  of  Wales  and  the  Princess  Royal.  This  lady  was  for^ 
merly  instructress  to  her  Migesty  in  this  elegant  accomplishment. 

Mr.  John  Parry  has  been  singing  during  the  week,  at  Exeter, 
Sailsbury,  Wigan,  and  Manchester,  and  he  is  engaged  to  sing  at 
Leicester,  Liverpool,  Bath  and  other  places,  next  week. 

Mr.  Jambs  M  Calla  died  on  Saturday  last ;  he  was  a  member 
of  the  Royal  Society  of  Musicians,  and  has  left  fire  orphan  chil- 
dren, whose  mother  died  last  year. 


TO   CORRESPONDENTS. 

A  letter  addressed  to  Professor  fValmisley,  Trinity  College,  Cambridge, 
will  be  the  best  mode  of  ascertaining  the  regulations  to  be  observed  in 
regard  to  Mutical  degrees, 

A  SuBSCRiBXR,  {LincM), — A  composer  has  a  right  to  a  song,  published 
on  his  awn  account,  for  forty-two  years ;  and  should  he  die  before  that 
period  expires,  his  family  unll  have  the  same  right  up  to  that  time,  from 
its  Jlrst  publication.  Persons  purchasing  books  or  music  from  authors 
or  compoeere,  possess  the  same  right,  provided  they  have  been  published 
since  the  rocent  neir  act  reepectitig  topyright, 

ADVERTISEMENTS. 

Warren's   20   Guinea   Cottage   Plano-Fortea 


ARE  NOW  SELLING  AT  THB 

Bfannfitetory^  71^  Leadenliall  Street 

{Rewuwedfrom  1  and  2,  Liverpool  Street,  Bishopsgate  Street,) 
These  Inttmment*  are  well  mannftuitiired  of  the  best  seuoned  wood,  HNB 
FULL  TONE  AND  GOOD  TOUCH.  A  two  yean  warranty  given  with  each  histm- 
Bcnt.  ESTABLISHED  TWBNTY-ONE  YEARS.  The  only  hooae  in  London 
iHiere  axood  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only).    SMALL  PROFIT  AND  QUICK  RETURNSI 

JOHN  WABBBN,  71,  LeadenhaU  St.,  opposite  Aldyate  Pomp. 


TO    THB    MUSIO    PROFUSION. 


'NASSAU 


STEAM 

AND 


P  R  E  S  3/ 


PUBLISHING     OFFICE, 

60,    ST.    MARTIN'S    LANE,    CHARING    CROSS. 

Brcry  description  of  CONCERT  PRINTING,  (Public  or  Private,)  consisting 
at  PnooBAMMBs,  NoTBs,  Tickets,  Posting  Bills,   Musio  and  Musical 
WoBXs,  Ac.,  are  neatly  and  expeditiously  executed  with  economy  and  taste  by 
W.    S.    JOHNSON, 

PBINTBft    TO    HBB    M AJBSTT'S    THBATBB  91  YBAB8 1 

IHiere  also  may  be  had  ''The  Musical  Worid,"  and  all  Operas,  Comedies, 
Plays,  IsKca,  Borlesqaes,  and  the  whole  of  Webster's  unique  Acting  Drama. 


DR.   STOLBERCP8   VOICE  LOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years'  trial,  for  improving 
the  Yoke  and  removing  all  affections  of  the  throaL  strongly  recommended  to 
dergyneDi  singersy  actors,  public  speakersj  and  all  persons  sutyect  to  relaxed 
thioats. 

The  Proprietors  have  just  recdved  the  fbllowiog  TestimoniaJ,  amongst 
many  others,  firom  Madame  Anna  Bishop: — 

'*Obab  Sir,~I  am  happy  to  say  that  aU  I  have  heard  respecting  the 
«fllcanr  of  Db.  Stolbe&o's  celebrated  LozBNOfi  is  perfectly  true,  as  yester- 
4«yi  leeliDff  myself  very  £idgued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lot enges,  and  my  voice  was  very  clear,  and  my  throat  quite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

Barclay  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Churcfavard^  Sanger,  and 
Dietrichsen  and  Hannay,  Oxford-street;  and  retail  by  aU  regp«a«bl0 
GkymUti  In  the  Kingdom. 


COLLECTION    OF    MUSIC 

Of  the  late  PHILIP  BURLOCK,  Beq. 
MESSRS.    WIN8TANI.ET 

WILL  SELL  BY  AUCTION  AT  THB  MAST. 

ON     FRIDAY     NBXT,    the    16th   Instant, 

By  order  of  the  Executors,  the  valuable  Collection  of  Music«  including  the 

Works  of  HandSli  Hsydni  Mosmirty  Boethoren, 

Pnreell,  and  Ia  Frobo. 

A  fine  assemblage  of  Glees  and  Madrigals;  an  excellent  copy  of  MaroeUo'k 
Psahns,  <cc.  &c. ;  the  whole  neatly  bound,  and  in  perfect  oonditiOB. 

The  LIBRARY,  WINE,  and  ENGRAVINGS  wiU  foUow  on  the  same  day. 

To  be  viewed  on  Thursday  preceding,    and   Catalogues  had  of  "^ 
WiNSTANLBT,  Patemoster  Row,  and  at  the  place  of  sale. 


BEETHOVEN     ROOMS^ 

76.  HARLEY  STREET. 

This  suite  of  Rooms  have  just  been  superbly  decorated,  arranged,  ventilated, 
and  adapted  for  chamber  music  and  musical  soirees  of  a  high  order,  with  an 
elegance  and  comfort  not  to  be  obtained  in  any  other  suite  of  rooms  in  London. 
1^  have  been  chosen  during  the  but  two  seasons  by  the  Beethoven  Qnaitatt 
Society,  for  the  great  advantage  they  possess  over  all  concert  rooms  in  London,  m 
consequence  of  the  music  room  being  so  situate  that  the  noise  of  the  street  can  m 
no  way  reach  it,  which  has  always  been  so  great  an  ofcgection  in  other  plaoea. 

For  terms  apply  to 

M.    ^UXdUIBMy    aiA,    RBaSlfT    BTRBST. 

N.B.— These  rooms  having  been  arranged  expressly  for  musical  panosea,  wil 
only  be  let  for  soirees  muskeales,  music  classes,  private  soir^,  lecterea,  Ac, 
being  unsuitable  for  soirte  dsnsantfe,  or  dancing  academy. 


TO  AMATEURS  AND  PROFESSORS  OF  THE  VIOLIN 
AND  TENOR. 


J.   STEWART'S 
REGISTERED  VIOLIN  AND  TENOR  HOLDER. 


J.    HART 

Respectfony  informs  Amateurs  and  Professors  of  the  Violin  and  Tenor,  that  he  Is 


epub         , ^ 

first  violinists  of  the  country,  who  have  acknowledged  its  superiority  by  i 
the  same^  conceiving  it  to  be  the  grand  desideratum  to  the  above  instr 

JUST  IMPORTED,  A  CASE  OF 

FINE    ROMAN    STRINGS, 

Of  which  a  fresh  supply  will  be  received  every  three  months. 

J.    HART'S 

Mnsical  Instroment  Warehonsei  lA,  Prineen.strooti  Soho, 

Where  may  be  seen  a  fine  collection  of  Cremona  and  other  Instruments,  com- 
prising Stradiuarins,  Gnamerius,  Amati,  and  other  celd>rated  makers. 


MONS.  VIEUXTEMPS 

Has  the  honor  to  announce  that  he 

WILL     ARRlVe     IN     LONDON, 

For  the  concert  season,  firom  St.  Petersbnigh,  on  Mondat,  Atbu.  19. 

All  lettera  addressed  to  him  at  M.  JULUEN*S,  U4,  Regent  Street,  wiU  be 

attended  to< 


TO 


FAIR      COMPLEXION. 
Under  the  Patronage  of  the  NobilUy  and  Chniry. 

THB   LADIES. — Wonderful  and  laaportaat  DIsooTCryw 


ORIENTAL    BOTANICAL   PREPARATION^ 

For  removing  almost  instantaneously  cutaneous  enmtiona,  firecklei 
and  other  discolorations  of  the  skin.  After  one  application  of  the  1 

which  must  be  used  twice  k  day,  awonderAU  change  will " ' 

course  of  a  fSsw  days  the  complexion  will  assume  a  beaut 
hue  appearance.    The  extract  to  apply  is  of  the 
first  apj^lication  will  prove  its  wonderM  efllcacy. 


Sznactt 


which  must  be  used  twice  II  day,  a  wonderAU  change  will  be  perceived,  aadin  Am 

'    '      * •"  itiltaii  transpare 

j*ance.   Hie  extract  to  apply  is  of  the  most  a| 
appli 
sale  and  retail,  by  the  sole  proprietor. 


tran^Munent  roseatp 

is  of  the  most'  agreeable  nature^  and  the 
•  "  Prepiffed  only,  and  sold  whole- 


GEOBaE  H.  J.  OOOKBURN,  O,  Aldffato,  Xiondoaj 


jonnson.  es,  oornhfll j  Hannay  and  Co.,  88,  oxfordrstteet ;  wniar  ana  uo,  i» 
^eaMldeTBdwards,  St.  Paul's  Churchyard}  Pmt,  SWi  9^n9Ai  anfiOfaUote 
fflifiniftii  nd  PocfwncvR  in  tlM  Ungdooi* 


THE  MUSICAL  WORLD. 


243 


ROYAL 

COVENT 


ITALIAN 


OPERA, 

GARDEN. 


ROYAL  ITALIAN  OPERA,  COVENT  GARDEN. 

NoTiCB.— It  ii  expectad  that  ererr  Viiitor  will  appetr  in  BveBinf  Dnh;  tUi 
ngolatioa  will  be  itrictly  enforced  in  ell  parti  of  tba  Boaie,  e •-• ^ ' 


AmphitlMati*  and  Gallery. 


,  uceptiar  the  Second 


Hie  Nobility,  Gentry,  and  Sabieribei*,  are  reqiectftilly  infoimed  that 
Roarini's  Grand  Opera  Seria 

SEMIRAMIDE, 

Will  be  repetted  thif  evBniAg. 

Sbmibamidb MADAME   CRISI, 

(Her  third  appetnnce  this  Muon). 

Absack MLLE.   AUBONb 

(Of  the  TbMtre  La  Scala,  Milan,  and  of  the  Imperial  Theatre  in  Yiemia,  her  third 
appeanuice  in  thia  oonntry). 

loEBNo 8ICN0R   LAVIA, 

(Of  the  Theatre  San  Carlo,  Naples,  his  third  appearance  in  this  country). 

OaoB 8IGN0R  TAGLIAFICO, 

(Of  the  Italian  Opera,  Paris,  his  third  appearance  in  this  oonntry) ;  and 

AssuR 8IGN0R   TAMBURINI, 

(His  third  appearance  in  this  country  these  four  years). 

Composer,  Director  of  the  Music,  and  Conductor,  M.  Costa. 
To  conclode  with  a  new  Ballet,  in  two  Tableaux,  entiUed 

L'ODALISQU  E. 

Composed  by  M.  Albert   The  Music  by  Siipior  Conni. 

Prbmibbb  Tablbau— 

Lea  Oda1i«iues  Pas  de  Deux Nouveau        .      MADLLE.   DE   MELI88E| 

(Of  the  Imperial  Theatre,  Vienna). 

MLLE.    NEODOTi  (of  the  Theatre  Royal,  Madrid). 

PasSeolNouyeau      .      MLLE.   FLEURY| 

Sbooho  TABLBAu—Grand  Pas  de  Quatre  des  SsclaTes  Violees,— MESDllbs 

DELACHAUX,   8TEPHAN|   DEMELI88E  and   F.  AURIOL. 

FtadeDeuxNon^eau   .    M.  A.  MOBILE,  and  MDLLE.  BADERNA. 

PasBspspioI,USerYil]ano      .       MDLLE.    FLEURY. 

FtedeDeuxNoureau     .      M.   GONTIE   and   MDLLE.   NEODOT. 

Director  of  the  Ballet,  M.  Albbbt. 

Tickets,  Stdls,  and  Boxes,  for  the  night  or  season,  to  be  obtained  at  the  Box- 
office  ;  and  at  Messn.  Cramer,  Beale,  and  Go.'s.  901,  Regent-street,  The  doors 
win  be  opened  at  half-past  Seven  o*clodc,  and  the  performance  to  commence  at 
Right* 

HISTORICAL      CONCERTS. 

EXETER  HALL. 

THB   CONCI.UDINO   CONCBRT 

(OfaSerieaofFoar) 

nittSttatibe  of  tiie  f^tsttorg  of  Xnglfefi  Focal  iStusic, 

Wa  be  held  at  BXETBR  HALL, 

ON    MONDAY    SVBNING,    APRZIi    lOth. 

llie  Programme  win  consist  of  specimens  of  the  music  of  Attwood,  Bishop, 
Gallcpt,  Crotch,  Dibdin,  Horaley.  RuaseU,  Stevens,  Shield,  Smith,  Stoiace,  and 
Webbe.  Pnndpal  Vocal  Performers:- — Mrs.  W.  H.  Weiss,  Miss  Dolby, 
Ifr.  Manrers,  Mr.  G.  CUflbrd,  Mr.  W.  H.  Seguin,  and  Mr.  J.  A.  NoveUo.  The 
OMraswiU  consist  of  upwards  of  MO  members  of  Mr.  HuUah's  Upper  Singing 
Sduxrf,  and  the  Orchestra  of  Mr.  wniy's  Concert  Band.  TIcketo-Area,  9s. ; 
Werten  OaUery,  3s.  6d.;  Reserved  Seato,  7s.>-may  be  had  of  lir.  Parker, 
PMUsher,  445,  West  Strand ;  and  of  the  principal  mnsicseUen. 

SACRID    HARMONIC    SOCZETT, 

EXETER    HALL. 

On  rUDAY  BYBNINQS,  April  imth  and  fl8rd,  1847, 

WILL  BB  FBBrOBMBO 

DR.      MENDELSSOHN'S      ORATORIO 

ELIJAH, 

TO  BB  CONDUCTBD  BT  THS  C0MP08RR. 


ROYAXi    ITALIAN    OPBBA^    OOVBNT    QARDBN. 

Thb  Sabscribfln  are  respectfully  informed,  that  the  Opera  of 
Sbmibamidb  viU  fts  repeated  tJUt  BvtMmg, 
On  Tuesdi^,  April  13th,  will  be  performed  the  Opera  of 
Lucia  di  Lammbbmoob, 
when  Madame  Pbbsiani,  Signor  Salti,  &  Signor  Ronooni  will  make  their  debAt« 
Signor  Mabio  wiU  make  his  debat  on  Satmrday,  April  17th,  in  the  Opera  of 

I  PUBITANI, 

in  which  Madame  Gbibi,  Signor  Roncomi,  and  Signor  Tambubini  will  perform. 

In  rehearsal,  Rossini's  Opera  of 

LUtaliana  in  Aloibbi. 
in  which  Signor  Rotbbb  and  Signor  Mabini  wiU  make  their  debAt.  and  in  wMdi 
Madlle.  Alboni  and  Signor  Salvi  wiU  also  perfonn.— The  debftt  of  MadUe. 
Stsfpanoni  and  Madame  Ronoohi  will  be  forthwith  arranged. 

A  new  Ballbt  is  in  active  preparation,  in  which  Madlle.  Dumilatbb  wiU 
make  her  first  appearance  this  season. 


^'^^^?^J?t *^  ?«""^ 8««*«  *»**>•  OaUery,  5b.|  in  the  Area, 
mrbecJrtahiedortheprincipalMnsic  Sellers:  of  Mr.  Bowley.  i?. 
Cnm  i  Mr.  Rks,  103,  Strand.  IIIOMAS  BBXlirai,  rfoi 


lOi.  0d. 
1^  Charing 

FmcMM  de^oos  (riT  be^m^  jH^rnbTthTiaKrve'peri^^ 


ROYAL  ITALIAN  OPERA,  COVENT  GARDEN. 

The  NobiUty,  Gentry,  and  Subscribers  are  respectfully  informed,  that  on 
TUESDAY,  APRIL  ISth,  wiU  be  perf  omwd  the  Opera  of 

LUCIA    DI    LAMMERMOOR. 

Principal  Characters  by 
MADAME   PER8IANI, 

(Her  first  appearance  these  three  years). 

SIGNOR   SALVI, 

(Of  the  Theatre  La  Scala  in  Mihm,  and  of  the  Impenal  Theatres  in  Vienna  and 
St.  Petersbuigh,  his  first  appearance  on  the  Italian  Stage  in  Rngland.) 

SIGNOR   POLININi, 

(Of  the  Imperial  Theatre,  Vienna,  his  first  appearance  in  this  Oonntry.) 

AMD 

SIGNOR    RONCONL 
Director  of  the  Music,  Composer,  and  Conductor  .  .  .  M.    C  O  ST  A. 

To  conclude  with  the  new  BaUet  of 

L*ODALISQUE. 

Composed  by  M.  Albbbt.    The  Music  by  Signor  Citbmi. 

Principal  Chanurters  by 

Madne.  BADERNA*  Madne.  FLEURY,  and  MadUe.  NBODOT. 

MesdUes.  DB  MELISSB,    DBLACHAUX,  STBPHAN,  P.  AURIOL,  kc. 

M.  GONTIE,  M.  MABILLB,  M.  ALBERT,  M.  O'BRYAN. 
Tickets,  StaUs,  and  Boxes,  for  the  night  or  season,  to  be  obtaided  at  the  Box- 
Office,  and  at  Messrs.  Cramer,  Beale,  ft  Oo.,-20l,  Regent-street. 
On  atamdttjf,  April  17th,  wiU  be  performed  the  Opera  of 

I    PURITANL 

The  principal  characters  by  Madame  Gbibi.  Signor  Mabio  (his  first  appearance 
this  season),  Signor  Roncomi,  and  Signor  Tambubini. 

WILSON'S      SCOTTISH     ENTERTAINMENTS 
MR.   WILSON 

WiU  give  his  FIRST  BNTBRTAINMBNT  on  the 

SONCS   OF   SOOTLAND 

for  the  season,  at  the  MUSIC  HALL,  STORB  STREET, 

ON    MONDAY    EVBNINQj    APBII.    IS,    AT    •    o'COock, 


when,  besides  several  old  fkvorites,  he  win  sing,  for  the  first  time  in  London, 
O  Jeaoie,  there*  to  naething  to  fear  ye— Go  fetch  to  me  a  pint  o'  wine— The  Iriab 
Mother's  Ijunent— Wont  you  leave  us  a  lock  of  your  hairr— The  Stuarta  of 


to  me  a  pint  o'  wine— The  Iriab 

Bf  your  hair  r— Hie  Stuarta 

Appin,  ftc.    Pianofbrte  Mr.  Land«   Private  boxes  for  six,  ISs. ;  for  eighty  £1. 


Mr.  IsOCKZnr 

Begs  to  inform  his  Friends  and  the  PubUc,  that  he  has  Removed  from 

34,  Pbbcy  Stbbbt.  to 

AOf  Bllnr  Street,  Bloomntary  Sixvnre. 

MR.    BOCHSA 

BEGS  TO  INFORM  THB  AMATEUBS  OF  THE  HARP  THAT  HB 

Will  ArriTS  ia  liOndon 

On  the  l<»th  of  May.   Applications  to  be  made  at  Messrs.  IVAlm Ama  and  Co.% 
ao,  Soho  Square. 

BY    ROYAL    LETTERS    PATENT. 

THE    NEW    DIATONIC    FLUTE 

Can  be  procured  only  ni  the  Patentee,  at  his  Manufoctory, 

No.    3,    BBIiIi   YABD,    OBAOBOHUBOH    BTBBVr. 

This  Instrument  Is  fingered  in  the  same  manner  as  the  old  dght  keted  Flute. 

Ito  superiority  of  tone  and  correctness  of  tune  are  acknowledgea  by  au  who  have 

^^^^^Fren-^THEORY  Of  TBS  PATANT  PUT9NIC  IliVXi;? 
A,  9i«0AiiA»  BJko  PMmtce. 


^4 


THE  MUSICAL  WORLD. 


THOMAS    BAKER'S 

MODERN    PIANOFORTE   TUTOR. 

Has  the  honor  to  announce,  that  he  has  just  published  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratum  so  long  sought  after  by  the 

frofession.  Notwithstanding  the  improvements  that  have  taken  place  in 
*ianoforte  Playing  witliin  the  last  ten  year<i,  no  deviation  has  been  made  in 
the  system  of  teadiingfroro  Tutors  of  the  Old  School;  in  consequence,  many 
gifted  with  brilliant  talents  have  been  unable  to  execute  the  music  of  the 
|u«sent  day.    For  this  reason  the 

MODERN    PIANOFORTE   TUTOR 

Has  been  introduced,  and  m^t  with  the  greatest  success  from  the  elite  of  the 
ptofetaion,  who  have  universally  adopted  it.  The  work  is  divided  into  two 
parts :  the  first  being  a  complete  Tutor  in  itself,  conuining  the 

RUDIMENTS  OF  MUSIC, 
Iftules  for  t|)e  Jpormatton  of  if)e  |^anb,  ^tnU%y 

FINGER    EXERCISES,    9ee. 

Interspersed  with  Morceauz  from  tlie  works  of 

B««thOTtn,  Mosart,  Bpohr,  Weber,  Meyerbeer,  Roch- Albert, 

RoBBinl,  Bellini,  Donizetti,  A^c— Price  8s. 

The  second  part  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
the  most  refined  style  of  Modem  Playing  ; 

niustrated  with  numerous  Examples  8l  Exercises^ 

On  all  the  various  Fingerings-adopted  by  the  most  eminent  Pianistes  of  the 
Modern  School  :  with  Selections  from  the  Pianoforte  Compositions  of 
Herz,  Dohler,  TiiALBERo.  &C. ;  in  fact,  everything  necessary  to  constitute 
a  first-rate  Pianist    Price  8s  ,  or  15s.  the  entire  work. 

Published  by  M.  JUUsIEN  &  Co., 

AT  THE  ROYAL  MUSICAU  CONSERVATORY, 

214.  REGENT  STREET,  and  45,  KING  STREET, 

Where  all  the  Compositions  of  the  above  Author  may  be  had. 

JULLIEN'S  ALBUM  for  1847. 

M.  JuLLiEN  has  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSXGAL     AISNUAL    FOR    1847 

Is  now  Published,  and  will  be  found  by  far  the  best  work  of  the  kind  that 

has  ever  appeared  ;  containing  no  less  than 
Vidrty  PUoes  of  Voe4l  and  Fourteen  of  Inatmmental  Mnale, 
The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  fn  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  munificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  taken  during  the  brilliant  scene  exhibited  in  that 
splendid  arena  of  the  occasion  of  M.JULLICN'S  GRAND  BAL  MASQUE: 
tbeotheraVIBW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
CERTS, the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  life- like  and  elegant.  To  tho«e  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  the  admired  Pas,  La  Castigliani.  An  original  subject, 
"  Tub  Fortune  Teller,'*  illustrating  Baker'^  beautiful  ballad  cf  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
supcrlntfndence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
emploved  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
ContributoTi,  where  will   be  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  conuins  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c,  a  careful 
adtction  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  ContinenUl  diletanti.    Price  18s.  and  £1  Is. 

ROYAL    CONSERVATORY    OF    MUSIC, 

214,  Regent-Stbeet,  and  46,  Kinq-Stbeet. 


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Tnuteei. 


Chaibman,  Lieutenant  Colonel  Lord 

Arthur  Lennox, 
Dbputy-Chairmas,  T.  C.  Orana'er, 

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Claade  EUwinrd  Scott,  Esq. 


Henry  Broadwood,  Esq.,  M.P. 
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William  Tulloh  Eraser,  Esq. 
John  Gardiner,  Esq. 
Aaron  Asher  Goldslnid,  Esq. 
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Bankerty  Sir  Claude  Scott,  Bart.,  and  Co. 
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H.  D.  Davenport,  Secretary, 

THE  FATSIKT  HAEMOSflUM. 


This  beautiful  Instrument  possesses  the  softness  of  the  voice  with  the  variety  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Organ.  It  is  equally 
suitable  for  Sacred  Music,  or  the  Dance,  and  adapted  for  the  Drawing  Koom. 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lufk  and 
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laUFF  and  SON,  103,  Great  Russell  Street,  Bloomsbtinr. 


N.B.— The  terms  of  Mr.  JUIalAN  ADAMS,  the  oelehrsted 
performer  npon  the  Patent  Harmonium,  can  be  had  of  LUFF 
and  SON. 

Printed  and  Publishe«l,  for  the  Proprietors,  at  the  "Nassau  Steam  Press," 
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Street,  Soho ;  Strange,  Paternoster  Row :  Wiaebeart,  Dublin :  and  all  Booksellers. 

-s.iurd.y.  April loth.. 847.  Digitized  by  ^^UUg I tT'    ■ 


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TO   OUR   READERS. 

Antmal  Subscribers  whose  vames  are  entered  in  the  Books  at  our 
Office,  and  whose  SubscHptians  are  paid  in  advance  to  Christmas 
nextt  are  alone  entitled  to  an  Admission  to  the  forthcoming 
Annual  Concert. 

ROYAL   ITALIAN   OPERA. 

TiiK  season  1847  will  be  memorable  in  the  annals  of  music. 
Events  of  big  importance,  such  as  a  century  does  not  see 
twice,  have  happened  to  separate  it  from  seasons  past  and 
future.  First,  the  establishment  of  the  Royal  Italian  Opera 
has  broken  the  neok  of  a  monopoly  that  has  not  been  always 
wielded,  and  might  not  have  always  been  wielded,  with  the 
discretion  and  enterprise  that  have  signalized  the  conduct  of 
Mr,  Lumley,  since  he  has  influenced  the  destinies  of  Her 
MiQetty's  Theatre.  Monopoly  in  a  free  country  is  a  decided 
anomaly.  Its  death-blow  in  a  popular  department  of  public 
amusement  must  therefore  be  memorialized  as  a  great  fact  and 
a  sign  of  the  times.  We  are  progressing,  and  nothing  can 
stand  against  the  avalanche  of  free  opinion  which  sweeps  away 
old  prejudices,  and  customs  merely  sanctified  by  age,  in  what- 
ever form  they  may  obstruct  its  path.  Still  the  question 
remains  unsolved,  whether  two  establishments,  on  a  vast 
scale,  devoted  to  an  amusement  of  secondary  import  in  art,  is 
not  also  an  anomaly  and  a  monopoly — a  monopoly  of  Italian 
opera  instead  of  a  monopoly  of  the  Italian  Opera.  We  think 
it  is,  and  are  persuaded  that  it  cannot  last.  One  must  fall, 
and  that  shortly.  It  remains  for  the  rival  directors  to  outwit 
each  other.  The  strongest  and  best  will  endure.  Not  merely 
the  strongest  in  opera,  as  our  anti-Terpsichorean  co -labourer, 
Desmond  Ryan,  has  urged,  but  the  strongest  in  ballet  also  ; 
for  ballet  is,  by  tradition,  inseparable  from  Italian  Opera ;  and 
the  inventions  of  Perrot,  •  interpreted  by  Carlotta,  are  every 
indi  as  worthy  consideration,  appeal  as  strongly  to  the  intel- 
lectual faculties,  and  tend  as  much  to  refine  and  civilize,  as  the 
inventions  of  Verdi,  interpreted  by  Fraschini  and  Castellan. 
All  the  fine  writing  in  the  world  cannot  raise  the  modem 
Italian  opera  above  the  modern  French  ballet.  Even  the 
eloquence  of  the  Morning  Chronicle  must  fail  to  establish  a 
distinction. 

On  Saturday  Semir amide  was  repeated  for  the  third  time. 
There  was  nothing  to  particularise  the  performance  but  the 
indisposition  of  Signor  Tamburini,  who  was  sufferhig  from  a 
cold  and  hoarseness  that  incapacitated  him  from  doing  full 
justice  to  tlie  vocal  part  of  his  labours.  An  apology  was 
made  for  him,  which  the  public  received  with  great  good 
humour,  and  no  discontent  was  manifested  about  the  omission 
of  certain  portions  of  the  music,  which,  under  the  circumstances, 
Was  unavoidable.  The  loss,  however,  was  compensated  by 
the  increased  energy  displayed  in  the  acting  of  the  great  artist, 


which  was  never  finer  than  on  this  oceaMon.  The  ballet  of 
the  Odalisque  followed.  Madlle.  Floury  danced  yery  grace « 
fully,  and  was  received  with  high  favour.  A  new  pas  de  denx^ 
for  M.  Mabille  and  the  clever  and  intelligent  Madlle.  Marittta 
Badema,  considerably  enhanced  the  choregraphic  attractions 
of  the  evening.  Little  Marietta  danced  with  the  prettiest 
abandon  conceivable,  and  was  wai-mly  applauded.  She  will 
in  all  probability  become  as  popular  at  the  Royal  Italian 
Opera  as  she  was  at  Drury  Lane,  under  the  enterprising 
Mr.  Bunn,  who  introduced  her  to  the  English  public. 

On  Tuesday  a  second  batch  of  the  company  was  exhibited 
in  Donizetti's  Lucia  di  Lammermoor.  We  have  recently  had 
occasion  to  speak  of  this  opera,  and  need  not  therefore 
enlarge  upon  the  subject  now.  Suffice  it,  though  much  of 
the  music  is  passionate  and  tender,  most  of  it  in  a  certain 
degree  dramatic,  and  all  of  it  vocal,  fluent  and  a^^reeable,  it  is 
by  no  means,  as  the  Chronicle  insists,  the  master^piece  of 
Doniz«tti.  The  Aill  jQj^Mbition  of  the  ltaHa)>  compeser'a 
powers  is  only  to  be  traced  iu  the  instrumentation,  which  is 
efiective  and  splendid  throughout.  But  Except  in  the  finale 
to  the  second  act,  and  the  mad  scene  of  Lucia,  there  is 
nothing  that  *can  be  compared  to  the  best  portions  of  La 
Favorita,  a  more  equally  balanced  work,  and  finished  and 
complete  in  all  respects.  The  air  for  Edgardo  "  Tu  che  a 
dio,  *  in  the  last  scene,  is  melodious  and  touching,  but  we 
must  insist  that  it  is  of  too  trifling  a  character  for  the  situ- 
ation. The  opera  was  thus  cast  on  Tuesday :— Lucia,  Mad. 
Persiani ;  Sir  Edpjar  Ravensword,  Signor  Salvi ;  Lord  Henry 
Ashton,  Signor  Ronconi ;  Bide-the-Bcnt,  Signor  Polonini; 
Lord  Arthur,  Signor  Lavia ;  Norman,  Signor  Tulli;  and 
Alisc,  Signora  Bellini.  The  reception  of  Mad.  Persiani, 
wlio  had  not  appeared  in  England  for  three  years,  was 
uproarious ;  it  lasted  several  minutes ;  it  seemed  as  if  the 
whole  of  the  vast  audience  that  crowded  boxes,  pit,  and 
gallery,  had  but  one  pair  of  hands,  so  simultaneous  and 
unanimous  was  the  beating  together  of  palms.  Little  moved, 
the  fair  cantatrice  gave  her  **  Perche  non  ho,**  and  the  pre- 
cedingTccitative,  as  calmly  as  though  she  were  not  the  cyno- 
sure of  universal  gaze,  and  the  present  object  of  universal 
interest.  In  this  air,  and  throughout  the  opera.  Mad* 
Persiani  displayed  those  marvellous  peculiarities,  that 
have  placed  her  at  the  head  of  the  florid  school,  with  all 
the  perfection  of  the  olden  time.  If  anything,  her 
voice  has  improved;  it  sounded  fuller  and  clearer  to  our 
ears.  Mad.  Persiani's  faults  of  intonation  remain  unmo- 
dified. It  would  appear  that  perfect  tune  were  incompatible 
with  such  astonishing  flights  of  execution :  but  as  we  never 
yet  heard  the  equal  of  Mad.  Persiani,  as  a  mistress  of  ex- 
uberant vocalisation — her  hxicj  and  facility  being  seemingly 
inexhaustibl&^we  are  not  ^^^^^j^fg!ff)v^!J[t^^^fVi^^ 


'246 


THE  MUSICAL  WORLD. 


misfbrtiftie  is  thtt  whilft  fully  ac]ftipW)Mlging  her  %masing 
tibnt  Ihe  one  defect  wUl  ^wayi  ^y«iil  the  fair  vocalist  ftorA 
being  as  great  a  favorite  with  musicians  as  she  is  with  the 
general  public.  In  her  acting  Mad.  Persiani  appears  to 
have  gained  in  eneigy  and  tzpression.  Hex  mad  scene  was 
very  impressive  and  natural.  During  the  opera  she  was 
recalled  and  encored  several  times. 

Signor  Rotteoni  is  one  of  the  greatest  dramatic  vocalists  of  the 
age.  This  has  never  been  disputed.  It  is  therefore  the  more 
to  be  lamented  that  the  uncertamty  of  his  physical  resources 
80  continually  exposes  himself  and  the  public  to  disappoint- 
ment. We  are  compelled  to  urge  this,  while  awarding  due 
acknowledgment  to  his  very  generous  behaviour  on  Tuesday. 
Though  sufiering,  as  he  was,  severely  f  from  influenza,  induced 
by  the  change  of  climate,  sooner  than  sacrifice,  or  risk,  the 
interests  of  the  establishment,  he  consented  to  sing,  *'  in 
spite  of  his  throat."  An  apology  was  offered  for  him,  and  his 
splendid  acting  made  up  for  those  defects  in  his  vocalising, 
that  were  inevitable  under  the  circumstances.  Signor  Ron- 
eoni  was  received  with  immense  favour. 

The  great  hit  of  the  evening  was,  however,  the  Edgar  of 
Bignor  Snlyi.  This  gentleman  will  be  remembered  as  having 
maide  a  considerable  impression,  some  years  ago,  at  the 
Philharmonic  concerts,  and  at  Drury  Lane  theatre,  in  the 
last  act  of  this  very  opera,  of  Lucia,  But  though  we  admired 
him  then,  we  only  admired  him  as  an  excellent  second*rate 
artist.  He  is  now  decidedly  a  «*  first-rate,"  in  every  respect. 
His  voice  is  a  pure  and  legitimate  tenor,  possessing  all  the 
Accessary  range  and  flexibility.  It  is,  besides,  a  voice  of  rich 
and  oily  quality.  In  style,  Signor  Salvi  reminds  us  more  of 
Rubini  than  any  tenor  who  has  followed  in  the  steps  of  that 
l^eat  artist.  Still  he  has  peculiarities  of  his  own  that  save 
him  from  the  charge  of  being  a  servile  imitator.  The  only 
absolute  fault  we  can  specify,  is  a  tendency  to  over-refine 
and  over-express,  which  occasionally  manifests  itself  too 
strongly,  but  at  the  same  time  ensures  the  careful  and 
studied  accuracy  of  his  general  performance.  His  **  male- 
dizione,"  in  the  finale  to  the  second  act,  was  excellent— not 
a  bit  the  worse  for  steering  clear  of  extravagant  gesture  and 
boisterous  declamation.  His  **  Fra  Poco  *'  was  perfection ; 
bat  he  should  avoid  saluting  the  public  in  such  a  situation  of 
deep  anguish  and  despair  ;  it  helps  to  destroy  the  illusion 
altogether.  The  **  Tu  che  a  Dio  **  was  very  passionate,  but  a 
trifle  overdone — after  the  style  of  Moriani.  However,  Signor 
Salvi's  success  was  decided,  and  his  re-call  at  the  fall  of 
the  curtain  was  a  signal  for  redoubled  cheering  and  applause. 

The  subordinate  parts  were  carefully  done,  but  Bide-the- 
Bent  gave  no  opportunity  to  Signor  Polonini  (or  at  least 
none  of  which  he  availed  himself)  to  display  any  other  quali- 
fication than  that  of  a  very  sonorous  voice,  which  told  well 
in  the  concerted  music.  The  orchestra  and  chorus  were 
admirable,  but  not  quite  so  irreproachable  as  on  the  first  and 
second  nights  of  Semiramide.  Signor  Costa  must  not  relax 
his  discipline  an  inch.  But  we  are  not  in  the  humour  to  find 
fietult,  where  so  much  was  deserving  of  unqualified  praise. 

On  Thursday  Lucia  was  repeated.  Ronconi  continuing 
unwell,  Tamburini  was  announced  for  the  part ;  but  fate 
still  adverse*  Tamburini  fell  a  victim  also  to  the  influenza,  and 
a  Signor  Pietro  Ley  was  substituted,  whose  voice  being 
a  basso  profunda,  did  not  so  well  suit  the  music  as  might 
have  been  desirable.  He  got  through  it  respectably  how- 
ever. Persiani  and  Salvi  were  again  received  with  en- 
thusiasm, and  the  success  of  the  latter  was  established 
beyond  a  question.  The  ballet  performances  remain  the 
To-night  we  are  to  have  Semiramde  again.     The 


furitani  is  deferred ;  to  that  we  must  wait  till  Thursday  to 
hear  the  accomplished  Mario,  who  will,  on  that  evening  (an 
extra  night,  which  will  make  the  fairer  portion  of  the  sub- 
scribers pout  with  vexation)  appear  in  an  act  of  the  Sonnam' 
buhf  with  Mad.  Persiani.  We  cannot  afford  space  for  the 
names  of  dukes  and  earls ;  but  we  may  say,  in  a  line,  that  the 
influx  of  aristocracy  has  been  remarkable.  The  new  ballet 
for  Dumilatre  is  in  preparation,  and  Fanny  EUsler  has  arrived. 


DR.  BAKER. 

Though  the  fame  of  this  deceased  musician  never  reached  our 
ears,  we  presume  that  he  must  have  been  famous  from  the 
encomium  which  has  been  forwarded  to  us  by  our  worthy 
correspondent  at  Wolverhampton,  who  introduces  the  subjec 
to  us  in  the  following  epistle  : — 

To  the  Editor  of  the  Musical  World, 
Sir,— Being  called  upon  by  some  of  the  relatives  of  the  late  Doctor 
Baker  to  furnish  them  with  a  brief  memoir  of  his  life,  I  drew  up  the 
sketch  which  appears  in  this  day's  Staffordshire  Advertiser,  having 
obtained  what  information  I  could  from  those  relatives.  It  has  occurred 
to  me  that  this  sketch  may  prove  interesting  to  some  of  your  nnmerous 
readers ;  I  have  therefore  forwarded  it  to  you ;  if  you  think  it  worthy 
of  insertion.  1  will  shortly  forward  to  you  one  of  the  Doctor's  morceaux 
for  the  pianoforte,  as  perhaps  you  may  like  to  engrave  it  to  present  to 
your  subscribers.     I  remain,  Sir,  your  obedient  servant, 

fVolverhampton,  March  20th,  1847.  6.  £.  H. 

Hereafter  follows  the  memoir,  which  our  industrious  and 
admirable  correspondent  took  the  pains  to  draw  up.  We 
give  it  verbatim.  The  responsibility  of  what  it  sets  forth, 
of  course,  rests  on  the  shoulders  of  the  writer,  who  is  well  able, 
we  are  sure,  to  bear  the  burden.  We  cannot  undertake  to 
carry  it  ourselves,  since,  as  we  have  said  above,  the  feme  of 
Dr.  Baker  never  reached  our  ears  : — 

The  late  Doctor  Baker. — In  our  obituary  of  this  week  we  have 
recorded  the  death  of  Dr.  Baker,  the  celebrated  composer  and  organist, 
which  event  took  place  at  the  residence  of  his  son,  at  Rugeley,  on  the 
19th  of  last  month.  Dr.  Baker  was  formerly  organist  of  St.  Mary's, 
Stafford,  and  to  many  of  our  readers,  the  following  brief  memoir  will, 
perhaps,  prove  acceptable.  George  Baker  was  born  in  Ihe  city  of  Exeter, 
about  the  year  1752-3.  From  his  mother's  sister  he  received  his  first 
instructions,  by  which  he  was  enabled  at  the  juvenile  age  of  seven,  to 
perform  with  precision  on  the  harpsicord  Handel's  and  Scarlatti's  les- 
sons. His  first  masters  were  Hugh  Bond  and  the  late  celebrated  Jackson 
(at  that  time  organist  of  the  Cathedral  at  Exeter),  and  for  the  violin. 
Ward ;  which  combined  instructions  enabled  him  very  soon  to  lead  the 
concerts  In  that  neighbourhood.  The  celebrated  singer,  Charles  Incle- 
don,  was  an  articled  pupil  of  Jackson's  at  the  same  time  with  Baker. 
At  the  age  of  seventeen,  be  left  Exeter  for  London,  and  was  patronised 
by  the  late  Earl  of  Uxbridge  (father  of  the  present  Marquis  of  Anglesey), 
and  ultimately  received  into  that  nobleman's  house,  as  director  of  his 
private  concerts.  The  earl  likewise  provided  him  with  further  instruc- 
tions in  his  art;  for  the  violin,  he  had  Cramer  (father  of  the  present 
J.  B.  Cramer),  and  Dussek,  for  the  pianoforte.  These  great  advantages, 
combined  witli  a  great  natural  genius,  raised  him  at  once  to  the  highest 
position  as  regards  his  art,  and  formed  that  correctness  and  elegance  of 
taste  and  execution,  which  he  never  lost  in  his  old  age.  He  performed 
bis  celebrated  "  Storm"  at  the  Hanover  Rooms,  before  a  great  number 
of  artistes  and  nobility,  and  received  high  commendation  from  Dr. 
Burney,  the  great  musical  writer  of  the  day.  He  was  appointed  organist 
to  St.  Mary's  Church,  Stafford,  on  the  occasion  of  the  purchase  of  a 
very  fine  instrument,  built  by  Geib,  in  the  year  1785.  It  wais  during  bis 
residence  at  Stafford,  that  he  took  his  degree  at  Oxford.  In  the  year 
1799  lie  married  Elisabeth,  eldest  daughter  of  the  Rev.  Edward  Knight, 
of  Milwich,  in  this  county,  by  whom  he  had  seven  children,  four  sons 
and  three  daughters.  About  the  year  18 1 0,  he  was  appointed  to  the  situ- 
ation of  organist  to  All  Saint* s  Church,  Derby ;  and,  lastly,  he  obtained 
the  situation  at  Rugeley  in  18J4,  which  he  retained  up  to  the  time  of 
his  death,  although  the  duties  were  performed  by  a  depnty  from  1839. 
Dr.  Baker  was  the  composer  of  a  great  diversity  of  music,  which  has 
been  already  published,  and  a  vast  quantity  which  rests  only  in  manu- 
script. Amongst  his  published  works  we  must  enumerate  "  six  anthems 
for  4,  5,  and  6  voices,"  "Voluntaries  tor  the  organ,"  "Glees  for  3,  4, 
and  6. voices,  dedicated  to  the  ^"l^fgUxbndg^'-^t^ 


L 


THE  MUSICAL  WORLD. 


347 


tod  the  fohaU  of  the  music  performed  at  his  concert  at  the  HanoTer- 
sqnare  Rooms,  *'Tbe  overture  and  songs  of  the  Caffres,  a  musical  enter- 
tainment pexformed  at  Covent  Garden  theatre ;"  to  which  may  be  added 
a  great  number  of  'songs,  duets,  kc,  (many  of  the  songs  there  sang  by 
Incledon)  concertos  and  sofos  for  the  violin,  and  airs  tvith  variations  for 
the  pianoforte.  Dr.  Baker  was  a  person  of  eccentric  manners,  and  of 
improvident  habits,  or  he  might  have  become  exceedin^y  wealthy, 
having  enjoyed  a  popularity  as  a  teacher  of  music  rarely  paralleled,  in 
his  person  he  was  remarkably  handsome,  and  of  an  exceeding  fair  com- 
plexion, of  which  he  was  not  a  little  vain.  He  was  of  a  generous  dis« 
position,  though  of  a  highly  irritable  temper.  As  regarded  his  brother 
artistes,  he  was  truly  liberal,  and  ready  to  acknowledge  talent  wherever 
he  found  it.  Like  Beethoven,  he  lost  his  bearing  some  years  before  his 
death,  which  deprived  him  of  one  of  the  great  pleasures  of  life ;  for  he 
vraa  enthusiastically  fond  of  his  art,  ahd  devoted  the  greatest  portion  of 
his  time  to  compoaition.  Some  few  months  before  his  death,  he  told 
the  writer  of  this  sketch,  "  that  he  had  devoted  his  time  to  composition 
mUirefy ;  and  was  engaged  then  on  an  oratorio,  to  be  entitled  "  Jerusalem." 
He  died  on  the  19th  of  February,  1847,  and  was  buried  at  Rugeley,  where 
he  had  resided  for  the  last  25  years  of  his  life.  The  precise  date  of  his 
birth  eannot  be  ascertained,  bat  he  considered  that  he  wssbornin  1750. 
He  had  ever  enjoyed  most  excellent  healthy  and  died  from  natural  decay 
of  nature.  "  Non  monitur  cujus  fama  vivit."  We  are  indebted  to  a 
professional  acquaintance  of  the  late  Dr.  Baker  for  the  foregoing  sketch 
of  his  life. 

The  comparison  with  Beethoven  will,  no  douht,  hold  good 
with  those  who  have  revelled  in  the  beauties  of  the  Doctor's 
compositions,  a  distinction  we  have  not  enjoyed  ourselves.  At 
the  same  time  we  entertain  the  fullest  helief  in  the  whole  of 
the  historical  part  of  the  ahove  memoir. 

ANTICIPATORY  QRITICISIMS  ON  THE  DEBUT  OF 
tiONORA  VIETTI  AT  HER  MAJESTY'S  THEATRE  IN 
TWO   MORNING    PAPERS. 

[Fwn  the  "  Morning  ChronieU,") 

"  The  unprecedented  and  overwhelming  success  of  Signora 
Alhoni  at  the  Royal  Italian  Opera,  douhtless  urged  on  the 
management  of  Her  Majesty's  Theatre  to  procure  a  singer 
in  that  line  that  would  compete  with  the  great  contralto  of 
the  other  house,  and  supply  the  last  year's  vacuum  of  the 
establishment  in  the  Haymarket.  Who  that  has  ears,  or 
musical  understanding,  can  forget  the  part  of  Arsace  in 
Semiramide  being  transposed  last  year  to  suit  a  mezsto- 
toprano;  and  who  can  forget  the  mess  that  was  made  with 
Rossini's  score  and  the  discrepant  modulation  that  were 
obliged  to  be  had  recourse  to,  in  order  to  befit  the  music  to 
the  voice  not  adapted  to  sing  it?  Her  M^esty's  Theatre  had 
no  contralto  last  year.  It  has  one  this  year.  Signora  Yietti 
has  been  trumpeted  loudly  in  the  columns  of  a  cotemporary, 
whose  praises,  by  this  time,  have  become  the  very  lucus  a  non 
lueendo  of  criticism,  as  far  as  all  the  good  it  does  to  those 
whom  it  upholds  is  concerned.  The  new  contralto  of  Her 
Majesty's  Theatre  met  with  a  great  reception  last  night.  She 
received  three  distinct  rounds  of  applause,  be/ore  she  sung  a 
nn^gU  note.  Rather  suggestive  that.  In  appearance  Signora 
Vietti  has  some  claims  to  personal  attractions,  and  though  by 
no  means  good-looking,  she  will  find  admirers  in  a  certain 
class.  She  is  rather  masculine  in  shape,  and  though  lean  is 
not  entirely  bony."*^  Her  attitudes  are  angular,  and  far  from 
graceful,  and  though  she  possesses  some  energy,  it  wants  fire 
and  regulation.  Her  passion  too  often  degenerates  to  rant, 
and  in  her  attempts  to  be  forcible  she  is  sometimes  ridiculous. 
The  organ  of  the  new  contralto  is  limited  in  range,  and  un- 
equal in  its  register.  She  sometimes  sings  passages  effectively, 
but  this  is  rather  by  art  than  nature.  Signora  Vietti  is  no 
artist.  Her  voice  is  managed  with  but  little  skill,  and  she  has 
no  idea  of  wUo  voce  singing.  As  a  vocalist  she  has  no  pre- 
tensions to  compare  witb  the  great  contraltos  that  have  been 
heard  in  England  from  Pisaroni  down  to  Alboni*    The  deWt 


of  Signora  Vietti,  if  applause  be  the  criterion  of  judgment, 
may  be  styled  successful,  but  if  truth  be  allowed  to  pronounce 
a  verdict,  we  must  say  without  the  least  hesitation,  that  the 
new  singer  is  a  decided  failure." 

(Pram  the  ''Marnmg  Post  J*) 

"  In  the  economy  of  criticism  truth  and  justice  are  the 
pillars  that  uphold  belief,  and  those  who  found  their  notions 
of  art  on  conjecture  will  find  themselves  deeply  wronged  in 
their  opinions.  Tertuliian  has  a  saying  that  admirably  hits 
oflF  this  didactic  sentiment :  — 

*'  Ingeminans  gligglag  medias  spotavit  in  undas."«— 
which  exposes  those  who  would  subvert  reality  at  the  expense 
of  fortuity  ?  Actualities  are  the  safety  valves  that  regulate 
men's  minds,  and  by  facts  only  can  truth  be  indicated.  The 
line  of  Tasso  in  the  Jerusalem  Delivered  expresses  this  with 
great  force : — 

"  Come  raccendo  il  gusto  il  tnutare  esche." 

The  advent  of  a  great  singer  to  the  grandest  temple  dedi- 
cated to  the  operatic  muse  in  Europe  is  an  event  in  itself. 
So  many  minds  are  on  the  stretch  of  impatience  waiting  the 
first  appearance — so  much  amount  of  aristocratic  feeling  ex- 
pended in  hopes  and  suspense — so  many  boxes  taken — not  a 
seat  was  to  be  had  a  week  previously.  The  moment  she 
appeared  the  audience  rose  en  masse  and  cheered  her  for  ten 
minutes.  Before  she  sang  a  single  note  the  great  artist  was 
visible.  There  are  three  grand  requisites  for  a  female  singer 
in  England.  The  first  is  face,  the  second  figure,  and  the  third 
is  dramatic  and  vocal  desiderata.  Signora  Vietti  is  remarkably 
handsome,  her  features  expressing  every  conflict  of  the  ten- 
derest  and  most  violent  passion  with  singular  brilliancy  and 
illumination.  The  form  is  perfect.  She  has  beautiful  rounded 
shoulders,  low  and  drooping,  dispensing  with  that  tubbiness 
which  so  completely  disfigures  a  modem  contralto.  The  walk 
is  splendid,  and  a  certain  natural  grace  follows  her  in  all  her 
movements.  We  never  saw  a  more  oval  forehead,  or  hair  of 
a  more  dazzling  jetty  hue.  The  eye  is  peculiar— of  an  oriental 
shade,  reminding  one  of  a  Hindoo  mother  watching  over  her 
sleeping  child.  The  dress  is  picturesque,  and  displayed  the 
exquisite  and  classical  proportions  of  her  form  to  considerable 
advantage.  The  voice  is  perfect,  compassing  with  ease  every 
note  a  contralto  ought  to  sing.  Rossini  called  her  the 
contralto  di  troppo  cotto  in  compliment  to  her  energy. 
She  not  only  sings  from  her  mouth  but  the  voice  seems  to 
come  from  all  parts  of  her  countenance,  scintillating  from  her 
brow,  beaming  from  her  eyes,  breathing  from  her  nose,  and 
melting  from  her  lips.  Since  the  time  of  Pisaroni,  the  first 
of  all  contralti,*  the  present  excepted,  no  contralto  has  been 
in  England  who  could  stand  a  chance  in  competition  with 
Signora  Vietti.  The  eflfect  she  produced  last  night  was 
electrical,  and-  could  not  be  described.  The  reciUtive  is 
wonderful,  th^ sostenuto  and  rallentando  passages  being  given 
with  thrilling  eftect.  The  freshness  of  the  voice  is  apparent 
in  every  note.  Sis:nora  Vietti  completed  her  twenty-third 
year  the  day  before  she  arrived  in  London.  The  voice  is 
even  and  oleaginous  and  capable  of  distending  itself  to  the 
evolvement  of  any  passion,  either  withering  you  by  its  grasp, 
or  dissolving  you  by  its  pathos.  She  is  also  a  great  dramatic 
singer,  and  seizes  on  the  impulse  of  the  moment  to  throw  oJl 
her  energies  into   one  grand  coup.     The  efieet  of  this  is 


•  Were  it  not  that  our  sombre  cotemporary  but  seldom  indulges  in  a  brisk 
saying,  we  should  feel  inclined  to  think  that  ihla  sertence  involved  a  hidden 
pun,  and  that  the  writer  meant  that  Signora  Vietti  was  not  Al-bonl. 

•  The  critic  forgets  Pisaroni  bad  not  the  two  first  ie(|uisite5  of  a  great  singer, 
vi2.,fiu:e and  figure.  Digitized  by  \o[OijQ  Itr 


248 


THE  MUSICAL  WORLD. 


astonishing.  She  carried  away  the  whole  house  in  one  scene, 
the  applause  being  tremendous.  On  the  whole  this  has  been 
the  greatest  triumph  ever  witnessed  within  the  walls  of  Her 
Majesty's  Theatre." 

GREAT  WESTERN   RAILWAY. 

CONCERT    AT    SWINDON. 

On  Friday  afternoon  last  a  special  train  left  the  Paddington 
terminus,  with  Charles  Russell,  Esq.,  M.P.,  some  of  the 
directors  and  officers  of  the  company,  and  a  numerous  party 
of  friends,  for  the  Swindon  Station  ;  where,  after  viewing  the 
stupendous  works  erected  by  the  company  for  the  construction 
of  their  locomotive*engines,  the  party  was  entertained  in  the 
evening  by  a  concert  performed  entirely  by  the  workmen 
connected  with  the  establishment,  some  of  whom,  to  the 
number  of  60  (being  supplied  with  music  and  instruments  by 
the  company),  have  formed  themselves  into  an  Amateur  Mu- 
sical Society,  and  have  already  succeeded  in  producing  a  most 
creditable  result.  The  concert  commenced  with  Rossini's 
overture  *'  Italiana  in  Algieri/*  which  was  followed  by  **  The 
Great  Western  Railway  Waltz,'*  composed  by  Mr.  Patterson, 
the  band  master,  who  is  employed  by  the  company  as  an 
engine-driver;  this  composition,  which  is  very  pretty,  was 
followed  by  a  varied  selection  of  entertainments  and  vocal 
music,  amongst  which  was  Bishop's  glee  the  *'  Chough 
and  Crow**  which,  in  point  of  correctness  and  **  ensemble," 
we  have  rarely  heard  better  performed.  The  orchestra  con- 
sists mainly  of  wind  instruments,  upon  which  the  performers 
have  obtained  a  considerable  proficiency.  The  songs  were 
well  accompanied  oa  the  pianoforte  by  a  carpenter  of  the 
establishment.  In  the  course  of  the  evening  an  address  was 
read  to  Mr.  Russell  from  the  society,  thanking  him  and  the 
company  for  their  liberality  in  encouraging  their  musical 
efforts,  which  was  responded  to  by  that  gentleman  in  a  very 
effective  speech.  The  directors  and  their  friends  returned  to 
London  by  a  special  train  at  10  o'clock,  highly  gratified  by 
their  entertainment.  It  is  with  especial  pleasure  that  we 
refer  to  this  performance  as  reflecting  the  greatest  credit  on 
the  habits  of  these  workmen  who,  after  their  laborious  work, 
prefer  rational  enjoyment  in  the  noble  study  of  music  to  the 
enervating  pleasures  of  the  public-house,  and  also  as  confer- 
ring no  less  honour  on  the  directors  and  chairman  of  the 
Great  Western  Railway,  in  having  applied  some  of  the  re- 
sources at  their  command  in  the  fostering  and  encouraging  a 
plan  that  has  already  had,  and  must  continue  to  have,  such 
beneficial  results  to  all  parties  concerned. — From  a  Corres- 
pondent, 

MR.  ELLA'S  MUSICAL  UNION. 

At  the  meetings  of  the  above  named  society,  the  progp^amme  of 
the  performances  is  comprised  in  a  small  half  sheet  of  letter- 
press, containing  the  names  of  the  pieces  and  executants, 
accompanied  by  preparatory  eulogistic  critdstns  of  every 
thing  that  is  to  be  done,  with  anecdotes  of  the  private  life  of 
the  director,  and  confessions  of  his  doctrines  on  musical  and 
otlier  matters.  The  preparatory  criticisms  leave  the  reporter 
nothing  to  say.  He  cannot  be  so  unpolite  as  to  run  counter 
to  the  opinions  placed  in  his  hands  so  courteously  and  so 
conveniently  by  Mr.  Ella;  and  yet  if  he  give  further  publicity 
to  them  in  paraphrase,  or  abridgement,  he  stands  in  imminent 
danger  of  promulgating  a  quantity,  of  ouir^,  and  not  very 
sound  notions  of  art  and  artists,  which  Mr.  Ella  is  alone  in 
entertaining.  In  the  ''record  "  of  the  last  meeting  (a  record  of 
a  performance  before  ii  takes  place  is  somewhat  anomalous), 
Mr  Ella  lets  the  reins  of  his  fancy  loose,  and  his  Pegasus 
ambles  gracefully  along  in  the  region  of  ffemale  influence 


upon  art.  Mr.  Ella  utters  a  number  of  very  pretty  things 
about  the  ladies,  and  concludes  with  according  them  an 
**  instinct"  of  a  **  poetical  temperament,"  (only  an  instinct^ 
mind),  which  he  declares  to  be  an  indispensable  element  of 
excellence  in  all  arts."  As  we  were  considering  the  quid  pro 
quo  of  this,  and  were  on  the  point  of  muttering  *'  Apropos 
des  bottes/'  we  glanced  farther  down  the  paper,  and  by  the 
next  paragraph  were  instructed  that  the  encomium  Joemince 
was  merely  submitted  by  Mr.  Ella  as  a  proem  to  a  diatribe 
against  his  brother  musicians  of  England.  Read  the  following — 

"  It  is  the  absence  of  this  divine  gift,"  (the  instinct  of  a  poetical 
temperament)  "among"  (the  al^sence  amfmg)  " English  musicians  in 
general,  that  so  often  proves  a  barrier "  (an  ahtence  proves  a  harrier) 
**  to  the  success  of  their  laudable  attainments,  whilst  many  a  foreigner 
of  far  less  mechanical  knowledge,"  (far  less  than  how  much,  or  whose  7) 
"  more  favourably  orgaoizedp  at  once  engages  the  sympathies  and  carries 
off  the  prize.        *  •  •        Music  has  been  made  a  pro- 

fession in  England  too  frequently  as  a  means  of  easy  existence"  (would 
that  we  could  find  it  so),  "without  sufficient  regard  being  paid  to  a 
favourable  organization  in  the  student." 

In  consenting  to  this,  the  question  presents  itself  whether 
the  director  of  the  '•  Musical  Union,"  in  choosing  the  musical 
profession,  paid  regard  to  the  favourability  of  his  organization, 
or  solely  reckoned  upon  the  easy  life  of  which  he  speaks,  and 
which  few  musicians  (less  gifted  than  himself)  are  enabled  to 
find.  The  indefatigable  critic  of  the  Morning  Chronicle  has 
evidently  a  sort  of  reverfence  for  the  director  of  the  "  Musical 
Union,"  which  verges  on  idolatry.  Next  to  Signor  Costa, 
Mr.  Ella  gets  better  notices  in  the  Chronicle  than  any  other 
favourably  organized  professor.  The  critic  thus  calls  atten- 
tion to  Mr.  Ella's  remarks,  (above  cited),  dignifying  them 
with  the  name  of  **  reflections"  : — 

**  We  commend  these  reifiections  to  the  Young  England  professors,  whose 
antipathies  to  foreign  genius,  and  cacoethes  carpendi  are  so  offensively 
expressed  in  their  abusive  attaclcs  upon  that  gifted  individual^  Costa, 
whose  delicate  perceptions  of  the  beautiful  and  soblime  in  art,  and 
untiring  energies,  have  tended  to  elevate  the  musical  character  of  this 
country,  and  given  that  local  habitation  and  name  to  musical  England, 
which  it  now  er\joys  among  foreigners.  The  success  of  the  Musical 
Union,  by  its  admirable  management,  also  covamtinds  respeel/td  opinions; 
and  our  supposed  want  of  musical  taste  is  no  longer  the  jesting  topic  of 
foreign  musicians.  Of  the  latter,  were  many  remarkable  persons" 
(remarkable  persons  of  foreign  musicians)  "in  the  room  yesterday, 
highly  delighted."  &c.  &c. 

We  own  the  above  to  be  a  magnificent  piece  of  writing, 
but  we  consent  to  none  of  the  opinions  it  hides  in  its 
independant  flow  of  words.  Signor  Costa  and  Mr.  Ella 
have  had,  have,  and  will  have  as  much  influence  on  the 
musical  character  of  this  country  as  the  critic  of  the  Chronicle 
himself — and  no  more.  How  much  that  is  we  leave  to  the 
modesty  of  our  wordy  contemporary  to  decide. 

Church  Music — We  have  much  pleasure  in  announcing 
that,  Mr.  Surman,  the  enterprising  and  indefatigable  conductor 
of  the  Harmonic  Society,  at  Exeter  Hall,  has  affected  a  long- 
wished-for  alteration  in  the  evening  service  at  Trinity 
Church,  Gray's  Inn  Road.  In  place  of  having  the  whole  service 
performed  as  previously  by  boys,  Mr.  Surman,  who  conducts 
the  choir  at  the  requisition  of  Dr.  Worthing  ton,  engaged  some 
of  our  first  vocalists,  by  whom  all  the  verse  parts  are  now 
delivered.  The  Misses  Williams,  Mr.  T.  Young,  Mr.  Lockey, 
and  Mr.  H.  Phillips,  sung  on  Sunday  evening  last,  and  it  is 
hardly  necessary  to  say,  that  the  service  went  beautifully, 
much  to  the  delight  and  surprise  of  the  uninitiated  auditors, 
who  could  not  account  for  the  wonderful  improvement  in  the 
singers.  Mr.  Surman  not  only  merits  the  thanks  of  the 
congregation,  but  has  a  strong  claim  on  the  gratitude  of  the 
whole  parish  for  his  efforts  to  introduce  into  the  church,  music 
and  interpreters  which  vnll  not  by  grotesiju^  2? I*^VfW9^P 


distract  the  thoughts  from  meditationlP^^cl  by 


THE  MUSICAL  WORLD. 


249 


VBB     AFFISIVIB8, 

:from  t^e  German  o!  GUilft. 

Coniinuid/irom  page  232. 
PART    ll.--^HAPTER    X. 

Chablotte  on  her  side  finds  herself  cheerful  and  well.  She  is 
delighted  with  the  fine  boy,  whose  promising  form  occupies  every 
hour  both  her  eye  and  lacr  mind.  By  him  she  acquires  a  new 
relation  to  the  world  and  to  her  ))os8es6ions  ;  her  old  activity  Is 
again  brought  into  play  ;  wherever  she  looks  she  sees  much  that  has 
been  done  in  the  preceding  year  and  in  that  she  rejoices.  Ani- 
mated by  her  own  feelings  she  goes  up  to  the  moss  cottage  with 
Ottilia  and  the  child,  and  while  she  places  the  latter  on  the  little 
table,  as  a  domestic  altar,  and  sces^  two  places  still  vacant,  she 
thinks  of  former|[timcs,  and  a  new  hope  arises  both  for  herself  and 
Ottilia. 

Perhaps  young  ladies  look  about  modestly  after  this  or  that 
voung  man,  silently  examining  whether  they  should  like  him  for  a 
husband,  but  those  who  have  to  provide  for  daughters,  or  female 
words,  sur^-ey  a  wider  circle.  Thus  was  it  at  this  moment  with 
Charlotte,  to  whom  an  union  of  the  captain  and  Ottilia  did  not 
seem  impossible  and,  indeed,  they  had  already  sat  side  by  side  in 
this  very  nut.  It  was  not  unknown  to  her  that  the  captain  s  former 
prospect  of  an  advantageous  marriage  had  again  vanished. 

Charlotte  ascended  higher,  and  Ottilia  cariied  the  child,  the 
former  abandoning  herself  to  various  reflections.  There  are  ship, 
wrecks  even  upon  dry  land,  and  it  is  good  and  praiseworthy  to 
recover  and  reinstate  one's  self  as  speedily  as  possible.  Life  is, 
after  all,  only  reckoned  by  profit  and  loss.  Who  does  not  form 
some  plan  and  is  then  disturbed  in  it  ?  How  often  does  one  strike 
into  a  path  to  be  afterwards  led  out  of  it !  How  often  are  we 
turned  aside  from  a  goal  iipon  which  wo  have  firmly  fixed  our  eyes 
to  attain  a  higher  one  I  The  traveller,  to  his  extreme  annoyance, 
breaks  a  wheel  on  his  way  and,  by  this  unpleasant  accident  gains  tho 
most  delightful  acquaintances  and  connections,  which  have  an  in- 
fluence on  his  whole  life.  Fate  grants  us  our  wishes,  but  in  its  own 
way,  that  it  may  be  able  to  grant  us  something  beyond  our  wishes. 

Ami^  these  and  similar  reflections,  Charlotte  reached  the  building 
on  the  heights,  where  she  was  perfectly  confirmed  in  her  feelings, 
for  the  prospect  was  much  finer  than  one  could  have  expected. 
All  that  offered  little  interruptions  had  been  removed  in  every 
direction  ;  all  that  was  good  in  tho  landscape,  all  that  nature  and 
time  had  done  for  it  stood  out  in  its  purity  and  struck  the  eye, 
while  the  youug  plantations,  which  were  destined  to  fill  up  some 
gaps,  and  to  form  a  pleasant  connection  between  the  divided  parts, 
were  already  in  leaf. 

The  houso  itself  was  almost  habitable  ;  the  prospect  especially 
from  the  upper  rooms,  was  extremely  varied.  Tne  longer  one 
looked  around  the  more  beauty  did  one  discover.  What  effects 
would  be  produced  by  the  different  seasons  and  the  sun  and  moon  ! 
It  was  highly  desirable  to  remain  here,  and  how  speedily  was  the 
wish  to  build  and  create  revived  in  Charlotte  when  she  found 
all  the  coarser  work  done  to  her  hands.  A  joiner,  an  upholsterer, 
a  painter,  who  could  get  on  with  paste-board,  and  some  easy  gilding 
nvere  alone  required,  and  in  a  short  time  the  building  was  finished. 
Cellar  and  kitchen  were  soon  arranged,  since,  being  at  such  a  dis- 
tance from  the  castle,  they  were  obliged  to  collect  all  necessaries 
around  ihem.  Thus  the  ladies  lived  above  with  the  child,  and  from 
this  abode,  as  from  a  new  central  point,  unexpected  walks  were 
opened.  In  a  higher  region  they  pleasantly  enjoyed  the  free  firesh 
air  during  the  finest  weather. 

Ottilia's  most  frequent  walk,  sometimes  alone,  sometimes  with 
the  child,  was  down  towards  the  plane  trees,  upon  a  commodious 
foot-path  which  led  to  the  point  where  one  of  tho  boats  was 
fastened,  in  which  people  were  in  the  habit  of  crossing  She  often 
amused  herself  by  going  upon  the  water  bat  without  the  child,  as 
Charlotte  displayed  some  anxiety  with  respect  to  it.  However,  she 
did  not  fail  to  visit  the  gardener  daily  In  the  castle-earden,  and 
kindly  to  participate  in  his  care  for  the  many  young  plants,  all  of 
which  now  enjoyed  the  open  air. 

In  this  beautiiul  season,  the  vi^it  of  an  Englishman  camo  very 
opportunely  for  Charlotte.  He  had  made  the  acquaintance  of 
Edward  upon  his  travels,  and  was  now  curious  to  see  the  beautiful 
liiying  out  of  the  grounds  in  commendation  of  which  he  had  heard 


so  much.  He  brought  with  him  a  letter  of  introduction  from  the 
count,  and,  at  the  same  time,  introduced  a  taciturn,  but  courteous 
man,  as  his  companion.  While,  sometimes  with  Charlotte  and 
Ottilia,  sometimes  with  gardeners  and  hunters,  often  with  his  com- 
panion, and  frequently  alone  he  wandered  about  the  spot,  it  might 
be  seen,  by  his  remarks,  that  he  was  a  lover  and  connoisseur  of 
such  plans,  and  that  he  himself  had  carried  many  into  execution. 
Although  advanced  in  years  he  took  a  cheerful  interest  in  every- 
thing that  conduced  to  the  adornment  of  life  or  made  it  im- 
portant 

In  his  presence  the  ladies  first  perfectly  enjoyed  the  beauties  by 
which  they  were  surrounded.  Every  effect  made  a  completely 
fresh  impression  on  his  practised  eyo,  and  he  took  the  more  delight 
in  what  had  been  created,  because  he  had  not  known  the  place 
before,  and  could  scarcely  distinguish  what  had  been  done  by  man 
from  that  which  had  been  effected  by  nature. 

We  may  well  say  that  the  park  grew  and  enriched  itself  through 
his  remarks.  He  knew,  beforehand,  what  was  promised  by  tho 
new  rising  plants.  Not  a  spot  was  left  unobserved  by  him  where  a 
beauty  could  be  produced  or  added.  There  he  pointed  out  a  spring, 
which,  if  purified,  promised  to  be  the  ornament  of  a  whole  thicket, 
here  a  cave,  which,  if  cleared  out  and  widened,  might  afford  a 
desirable  resting-place,  from  which,  if  a  few  trees  were  felled,  noble 
masses  of  rocks,  heaped  one  upon  another,  might  be  seen  Ho 
congratulated  the  residents  that  much  was  still  lefl  for  them  to  do, 
and  besought  them  not  to  hurry  but  to  reserve  the  pleasure  of 
making  and  arranging  for  the  following  year. 

In  the  hours  not  devoted  to  social  Intercouse,  he  was  by  no 
means  troublesome,  for  he  employed  himself,  during  the  greater 
part  of  the  day,  in  seizing  and  copying,  in  a  portable  camera 
obscurot  the  picturesque  views  of  the  parl^  that  he  might  sain  from 
his  travels  a  beautiful  result  for  himself  and  others.  He  had  done 
this  for  many  years  in  all  places  of  importance,  and  had  thus 
formed  a  most  agreeablo  and  interesting  collection.  He  showed 
the  ladies  a  large  portfolio,  which  he  carried  with  him,  and  enter- 
tained them  partly  with  the  picture,  partly  with  the  explanation. 
They  were  delighted,  thus,  while  in  their  solitude,  to  travel  through 
the  world  so  commodiously,  and  to  see  pass  .before  them  banks 
and  harbours,  mountains,  lakes*  and  rivers ;  cities,  castles,  and  many 
other  places  which  have  a  name  in  history. 

Eacli  of  the  ladies  felt  an  interest  peculiar  to  herself.  Charlotte'^ 
interest  was  of  a  more  general  nature,  and  was  felt  for  that  which 
was  remarkable  for  some  historical  reason,  while  Ottilia  especially 
paused  at  those  places  of  which  Edward  had  been  accustomed  to 
speak  much,  where  he  had  i^adily  stayed  and  whither  ho  had  often 
returned,  for  every  man  has,  near  and  far,  certain  local  peculiarities 
vv-hich  attract  him,  and  which,  according  to  his  character,  on  account 
of  first  impressions,  certain  circumstances  or  habits  are  especially 
dear  and  exciting  to  him. 

Hence  she  asked  the  English  lord  what  place  pleased  him  best, 
and  where  he  would  fix  his  abode  if  he  had  to  choose.  He  was 
able,  in  answer  to  the  first  question,  to  show  her  more  than  one  beau- 
tiful spot,  and  to  tell  her  pleasantly  in  French  (which  ho  pronounced 
in  a  manner  peculiar  to  himself)  what  had  befallen  him  there  to 
endear  it  to  him  and  render  it  valuable. 

But  to  the  question,  where  he  now  usually  resided,  and  whither 
he  must  readily  return,  his  answer  was  indeed  quite  unembarrassed 
but  unexpected  by  the  ladies. 

**  I  have  now  accustomed  myself  to  bo  at  home  everywhere,  and 
find,  at  last,  nothing  more  convenient  than  that  others  should 
build,  plant,  and  manage  domestic  affairs  for  me.  I  do  not  wish 
myself  back  in  my  own  possessions,  partlv  from  political  causes, 
but  chiefly  because  my  son,  for  whom  1  have  really  done  and 
arranged  everything,  to  whom  I  hoped  to  give  it,  and  with  whom 
I  hoped  to  enjoy  it,  takes  no  interest  in  anything,  but  has  gone  to 
India,  that  like  many  others  ho  may  employ  his  life  there  in  a 
higher  manner,  or  rather  squander  it  away. 

'*  Assuredly  wo  make  far  too  much  preparatory  expenditure  for 
life.  Instead  of  beginning  at  once,  by  finding  ourselves  happy  in  a 
moderate  condition,  we  go  on  pursuing  something  on  a  larger  scale, 
that  we  may  make  it  more  and  more  inconvenient.  Who  now 
enjoys  my  building,  my  park,  my  gardens?  Neither  I,  nor  even 
mine  ;  strange  guests,  curious  people,  restless  travellers. 

'*  Even  when  our  moans  are  numerous,  we  are  always^  Q^!j^^^ 
Digitized  by  VjiOCJVlt: 


SdO 


THE  MUSICAL  WORLD. 


at  bom«,  especially  in  the  coantry,  where  much  to  which  we  have 
been  accustoraed  in  the  town  is  wanting.  The  book  which  we 
most  ardently  desire  is  not  at  hand,  and  that  of  which  we  stand 
most  in  need  is  sure  to  be  forgotten.  We  are  constantly  malcing 
domestic  arrangements,  that  we  may  go  out  again,  and  if  we  do 
not  this  from  our  own  free  will,  relations,  passions,  accidents, 
necessity,  and — ^what  not  besides — come  into  play." 

The  ford  did  not  suspect  how  much  his  friends  were  affected  by 
these  observations.  How  often  do  all  run  this  risk,  who  make  a 
mere  general  observation,  even  in  a  party,  with  the  relations  of 
which  they  are  otherwise  acquainted.  To  Charlotte  such  a  casual 
offence,  even  by  well-meaning  people,  was  nothing  new  t  and 
moreover  the  world  lay  so  plainly  before  her  eyes,  that  she  felt  no 
particular  pain,  if  any  one  thoughtlessly  and  inconsiderately  com- 
pelled her  to  turn  her  glances  towards  some  spot  connected  with 
painful  associations.  Ottilia,  on  the  other  hand,  who  in  half- 
conscious  youth,  rather  surmised  than  saw,  and  was  able,  nay 
Ibrced,  to  turn  awa^  her  eye»  from  that  which  she  would  not  and 
could  not  see —Ottilia,  by  this  familiar  discourse,  was  placed  in  the 
most  dreadful  positition ;  for  the  pleasant  veil  was  forcibly  torn 
from  her,  and  it  seemed  to  her,  as  if  all  that  had  hitherto  been 
done  for  the  house,  garden,  park,  and  the  whole  surroundinsr 
country,  had  really  been  in  vain  ;  because  he  to  whom  all  belonged 
did  not  enjoy  it,  because  he  also,  like  the  guest  now  present,  was 
forced  to  wander  about  the  world  in  the  most  perilous  manner,  by 
those  who  were  dearest  and  nearest  to  him.  She  had  accustomed 
herself  to  hear  and  be  silent,  but  this  time  she  sat  in  the  most 
painful  situation,  which  was  rather  increased  than  diminished  by 
the  stranger's  further  discourse,  which  he  continued  deliberately, 
and  with  a  cheerful  sort  of  oddity. 

"  I  now  believe,"  he  said  **  that  I  am  in  the  right  way,  for  I 
always  look  upon  myself  as  a  traveller,  who  renounces  much  that 
he  may  enjoy  much.  I  am  accustomed  to  change,  nay,  it  becomes 
necessary  to  me,  just  as  in  the  opera  people  are  always  expecting  a 
new  scene,  precisely  because  there  have  been  so  many  already.  I 
know  what  I  can  expect  from  the  best  and  tho  worst  inn.  How- 
ever good  or  bad  it  may  be,  I  never  find  that  to  which  I  have  been 
used,  and  in  the  end  it  comes  to  the  same  thing,  whether  we  depend 
altogether  from  a  natural  habit,  or  from  a  contingency  entirely  of 
our  own  choice.  At  any  rate,  I  am  not  annoyed  by  anything  being 
lost  or  misplaced,  by  my  every-dcy  room  becoming  uninhi^itable, 
because  I  must  have  it  repaired,  or  bv  a  favorite  cup  being  broken, 
so  that  for  a  long  time  i  cannot  relish  any  other,  i  am  exalted 
above  all  this,  and  if  the  house  begins  to  burn  over  my  head,  my 
pceple  leisurely  pack  everything  up,  and  we  go  off  to  court-yard 
and  town.  And  with  all  these  advantages,  when  i  make  an  accu. 
rate  calculation,  I  have  at  the  end  of  the  year  expended  no  more 
than  it  wouM  have  cost  me  at  home.'' 

During  this  description  Ottilia,  could  see  only  Edward.  Now 
amid  privations  and  hardships  he  was  travelling  on  unbeaten  roads, 
now  he  was  lying  in  the  open  air  amid  danger  and  want,  and  in 
this  uncertain  and  perilous  condition  was  inuring  himself  to  be 
homeless  and  friendless— to  reject  all  that  he  might  not  lose  all. 
Fortunately  the  party  separated  itself  for  some  time.  Ottilia  found 
an  opportunity  of  weeping  in  solitude.  No  dull  pain  had  affected 
her  more  forcibly  than  this  clearness,  which  she  strove  to  render 
still  clearer,  just  as  we  are  in  the  habit  of  torturing  ourselves  when 
once  we  are  in  the  way  to  be  tortured. 

£dward*s  situation  appeared  to  her  so  sad,  so  wretched,  that  she 
resolved — cost  what  it  niight^to  do  everything  towards  reconciling 
him  with  Charlotte,  to  conceal  herpain  and  her  love  in  some  quiet 
place  and  to  baffle  them  by  some  kmd  of  activity. 

In  the  meanwhile  the  lord's  companion,  a  quiet  intelligent  man, 
had  remarked  the  mistake  in  the  conversation  and  had  revealed  to 
his  friend  the  similarity  of  the  situations.  The  lord  knew  nothing 
of  the  position  of  the  family,  but  the  other,  whom,  indeed,  nothing 
interested  on  his  travels  more  than  the  strange  events  which  are 
brought  about  by  natural  and  artificial  relations,  by  the  conflict  of 
the  legal  and  the  nnconstrained,  of  the  understanding  and  reason,  of 
passion  and  prejudice — the  other  before  their  arrival,  and  still  more 
in  the  house  itself,  had  made  himself  acquainted  with  all  that  had 
passed  and  was  still  going  on. 

The  lord  was  sorry  but  not  embarrassed  at  the  circumstance. 
One  must  be  altogether  silent  in  society,  if  one  would  not  often  fall 


into  dilemmas  of  the  sort,  for  not  only  may  important  remarks,  but 
the  most  trifling  expressions,  accord  disharmoniously  with  the  in- 
terests of  the  persons  present.  "  Wo  will  set  it  right  again  this 
evening,"  said  the  lord,  "  and  avoid  all  general  conversation.  Let 
the  party  hear  some  of  the  many  pleasant  and  significant  tales  and 
anecdotes,  with  which,  upon  our  travels,  you  have  enriehed  your 
portfolio  and  your  memory,** 

But  even  with  the  best  intentions  the  visitors  did  not,  on  thb 
occasion,  succeed  in  pleasing  their  friends  with  a  completely  harm- 
less conversatiou  ;  for,  after  the  lord's  companion  had  exdted 
attention  and  strained  the  sympathy  to  the  utmost  by  a  number  of 
stories,  strange,  important,  lively,  touching,  and  terrific,  he 
thought  to  conclude  with  an  incident  which  was  indeed  straoffe,  but 
of  a  softer  character,  and  little  thought  how  closely  it  applied  to  his 
hearers. 

(To  be  continued-) 
M  To  prevent  mUimderstaDdinff,  it  may  bs  stated  that  tba  oopfiight  af  this 
traoslation  beloofi  solely  to  the  tranilator. 

SONNET. 
No.  XXX. 

I  dream'd,  sweet  love,  thou  wert  about  to  leave  ma, 
When  through  me  shot  a  sense  of  deadly  pain, 
Which  fastened  with  such  sharpness  on  mj  brain, 

I  call'd  on  Death  a  quick  relief  to  give  me : 

For  when  I  found  that  thou,  love,  couldt't  dc:ceive  me. 
And  that  thy  promises  were  all  in  vain. 
What  could  the  rest  of  life  be,  but  a  bane 

That  ever  with  dull  agony  would  grieve  me  T 

When  I  awoke,  how  did  my  heart  r^oice 
To  find  that  such  deep  misery  was  o'ei^— 
That  life  could,  as  it  were,  begin  anew. 

And  then  I  heard  once  more  that  gentle  voice ; 
And  then  I  saw  thee  smile  on  me  once  more.— 
Promise  me,  sweet,  that  dream  shall  ne'er  be  true. 

JULLIEN   IN    DUBLIN. 

{Prom  ** Freeman* f  Journal,"  Sat.,  April  10.) 

On  last  evening,  a  scene  of  uproar  occurred  in  the  Music  Hall,  such  as 
is  seldom  witnessed  in  a  place  of  public  amusement.  On  this  occasion, 
as  on  the  previous  night,  boxes,  body  of  the  house,  and  gallery  were 
thronged  to  overflowing.  The  first  part  of  the  concert  went  off  with 
great  eclat,  but  In  the  second  part,  at  the  conclusion  of  Herr  PIschek's 
celebrated  martial  song — "  The  Standard  Bearer,"  (which  he  executed 
with  a  sweetness,  power,  and  finish  that  enraptured  the  audience) — the 
cries  of  "encore,  encore,"  were  uttered  most  enthusiasticaJly.  Ttie 
audience  would  not  desist^-neither  woulJ  M.  Jullien  comply.  Herr 
Pischek  appeared  at  the  door,  and  were  we  to  pronounce  our  judgment, 
he  was  willing  to  comply,  but  M.  Jullien  beckoning  him  back,  would 
not  permit  it,  and  the  storm  that  ensued  baffles  description.  Hissing, 
yelling,  stamping,  striking  sticks  against  the  floor — ^in  short,  every  species 
of  opposition  was  brought  to  bear  against  Jullien  who  was  still  ioex- 
orable.  He  came  to  the  front  of  the  orche8tra,  and  was  heard  to  say 
''  Herr  Pischek  is  shyck,"  and  turning  round,  added — '*  it  is  all  Mr. 
Mackintosh's  lault  letting  in  a  sixpenny  mob"  This,  as  might  be  ex- 
pected, dreadfully  exasperated  the  audience,  and  the  following  observation 
reached  us  :  — "  Sir,  you  treated  us  the  same  way  last  season — our 
national  theatre  is  deserted  to  patronise  you,  and  such  conduct  as  you 
have  manifested  d — s  you  for  ever  in  Dublin.  On  the  front  of  the  dress 
circle,  side  boxes,  and  gallery,  were  in  prominent  leiters-— '*  JoUien's 
benefit  to  morrow."  These  were  severed  from  their  fastenings,  and  flung 
at  JuUien.  Upwards  of  half  an  hour  was  thus  exhausted  while  a  waits, 
a  solo  on  the  harp,  and  the  English  quadrilles  were  played  in  dumb 
show.  At  the  termination  still  more  resolute  dissatisfaction  was 
apparent*  Some  members  of  the  band  at  the  back  of  the  orchestra  used 
expressions  which  we  did  not  hear,  but  tbe  effect  was,  that  a  couple  of 
them  were  roughly  bandied.  A  scuffle  in  the  gallery  was  so  furious 
that  it  could  not  he  suppressed.  The  police  were  set  at  defiance  and 
could  do  nothing.  A  few  stentorian  organs  were  untiring;  those 
who  rejoiced  in  their  possession,  to  avoid  the  possibility  of  arrest,  leaped 
into  the  pit.  We  finish  this  hasty  sketch  of  tbe  scene,  and  regret  we 
have  to  record  that  some  were  so  rash  and  excited  as  to  pelt  oranges  at 
the  porter  while  removing  the  music  and  instruments  from  the  orchestra. 
The  custom  of  encoring  may  be  inconvenient,  but  it  is  not  tmlriah,  un- 
English,  or  disobeyed  on  the  Continent.  We  therefore  think  that  M. 
JuUien  was  in  fault.  We  cannot,  however,  acquit  the  audience.  Alter 
the  provocation  by  JulUen's  refusal,  and  by  hiapbsmaUona  Ahpufe  |'a^ 


THE  MUSICAL  WORLD. 


251 


sixpenny  mob,"  indignation  might  have  been  expected;  but  it  was 
carried  too  far  when  it  degenerated  into  unmeasured  violence,  riotousness, 
and  destruction  of  property.  The  brealcing  of  music  stands,  benches, 
&c.,  was  disgraceful  in  the  extreme,  and  such,  as  we  are  sure,  would 
never  have  talcen  place  if  the  audience  were  not  born  away  by  the  im- 
pulse of  the  moment. 

CFrom  "Freeman's  Journal,"  Monday,  April  ]  2,) 
The  row  in  the  Music  Hall  on  Friday  night — a  brief  narrative  of  which 
we  gave  in  our  Journal  of  Saturday — caused  quite  a  sensation.    Jullien's 
benefit,  closing  his  short  engagement,  took  place  on  Saturday  evening, 
and  attracted  an  immense  audience.    Some  minutes  before  the  usual 
time  the  performers  assembled  in  the  orchestra ;  their  reception  was  of 
an  unfavourable  character.     But,  Jullien's  own  appearance  was  a  signal 
for  a  unanimous  outburst  of  indignation  and  demands  on  him  to  account 
for  his  outrageous  insolence  on  Friday  evening,  in  daring  to  call  a 
respectable  audience  a  "  sixpenny  mob**  for  the  simple  cause  of  insisting 
on  a  reasonable  demand — the  repetition  of  Herr  Pischek's  song  of  the 
*'  Standard  Bearer."    Neither  his  bows  of  submission  npr  the  magic  of 
his  baton  could  procure  silence,  and  he  at  length  had  recourse  to  words. 
He  assured  the  audience  solemnly  "  Herr  Pischek"  was  really  very  ihyk, 
and  could  not  undergo  the  fatigue  of  an  encore.    That  for  eight  years 
he  had  been  in  the  habit  of  visiting  Dublin— and  during  that  period  he 
had  always  received  the  greatest  kindness,  for  which  he  begged  to  express 
bis  gratitude,  nothing  awkward  had  ever  occured  before ;  and  his  anxiety 
was,  and  would  be,  to  please  his  Irish  friends.    He  trusted  this  ex- 
planation would  be  satisfactory" (hisses  and  cheers).    The  concert  then 
began  with  the  overture  to  Der  Frieschutx,  which  was  well  executed. 
A  quadrille  succeeded,  and  then  Herr  Pischek  entered  the  orchestra. 
Much  opposition  was  exhibited ;  he  smiled,  he  bowed,  he  sang  his  song, 
and  most  promptly  responded  to  an  encore,  substituting  a  Bohemian 
melody.    This  restored  him  to  popular  favour.    At  interrals  a  renewal 
of  disapprobation  was  directed  towards  JuUien ;  but  when  the  concluding 
piece  in  the  concert.  The  Royal  Irish  QuairiUe,  commenced,  the  storm 
was  tremendous,  and  we  regret  to  add  that  in  the  fury  of  the  moment  a 
couple  of  eggs,  and  several  oranges  were  felted  at  Jullien.    Some  of 
the  missiles  took  effeoC,  one  of  the  eggs  bit  Jullien  on  the  forehead  and 
splashed  over  his  dress;  he  bore  the    punishment    with 'great  good 
humour — half  the  amount  of  self-command  exhibited  on  the  former 
evening  would  have  carried  him  through  with  iciat — but  his  smiles 
produced  no  effect  on  his  enraged  assailants —the  pelting  continued, 
and  after  a  bow  M.  Jullien  deemed  it  both  safe  and  prudent  to  withdraw. 
Each  member  of  the  band  hastily  followed ;  and  the  orchestra  was  taken 
possession  of  by  a  large  concourse  of  persons  who  gave  a  loud  huzza  for 
*'  the  sixpenny  mob."     We  hardly  remember  to  have  witnessed  such 
strange  scenes  as  the  proceedings  -of  Friday  and  Saturday  at  the  Music 
Hall  gave  rise  to.    M.  Jullien  seemed  most  desirous  on  Saturday  to  be 
restored  to  favour  with  the  Dublin  audience— but  they  were  most  ob- 
durately resolved  not  to  believe  him  sincere.    The  practical  evidences  of 
a  desire  to  please  given  in  the  cheerful  response  to  the  encores  (and 
everything  was  encored  on  Saturday)  was  as  ineffective  as  M.  Jullien's 
words.    The  language  of  Friday  would  not  be  forgotten ;  and  in  a  desire 
to  maintain  their  dignity  the  audience  did  not  see  when  they  had  really 
conquered,  but  most  unhetitatingly  pressed   on  till  they  become  the 
slaves  of  their  own  excitement,  and  put  themselves  as  much  in  the  wrong 
at  Jullien.    A  numerous  muster  of  the  police  was  in  attendance,  whose 
conciliatory  conduce  was  meritorious.     They  sought  the  parties  who 
pelted  the  eggs  and  oranges,  and  captured  some  dozen  or  more  "  on  sus- 
picion."   Three  young  gentlemen  figure  on  the  police  charge  sheet — 
one,  a  limb  of  the  law — the  second,  a  student  of  medicine— the  third,  a 
cc^ege — doubtless  a  divinity  —  student;  and  will,   probably,   have  to 
appear  before  their  worships,  to  account  for  belonging  to  the  ''  sixpenny 
mob."     Monsieur  Jullien  and  his  band,  with  Herr  Pischek,  took  their 
departure  for  Liverpool  yesterday  morning. 

MUSIC   AT   MANCHESTER. 

(From  our  own  Correspondent. J 
Julliim's  Second  Comcbrt  with  Herr  Pischek,  on  Tuesday  evening 
last,  was  not  near  so  successful  as  the  one  on  Easter  Monday*  in  spite  of 
the  additional  attraction  of  the  band  of  the  first  Royals,  still  we  believe 
It  was  well  attended. — ^The  east  winds  and  their  usual  concomitant,  a 
severe  cold,  confined  your  correspondent  at  home,  or,  we  should  have 
dearly  liked  to  have  heard  Pischek's  rendering  of  Beethoven's  'AdeUida', 
although  it  was  written  for  a  tenor  voice,  and  although  we  have  heard  it 
given  by  a  beautiful  tenor  voice  in  a  style  as  near  perfection  as  possible, 
that  of  Signer  Mario.  The  Musical  World  is  read  with  no  little  interest 
now  by  your  subscribers  in  Manchester,  (as  well  as  by  a/i  your  provincial 
readers  no  doubt),  the  long  and  admirably  written  articles  on  the  rival 
Italian  Operas,  and  the  just  and  impartial  criticisms  therein  are  eagerly 
looked  for  each  week.   By  the  light  afforded  in  your  elegant  critiques^ 


we  may  avoid  running  our  heads  against  a  Post  on  the  one  hand,  or 
getting  mystified  by  a  Chronicle  on  the  other.  On  reading  your  excellent 
article  on  the  opening  of  the  Royal  Italian  Opera,  we  could  not  help  a 
longing  lingering  wish,  that  we  could  have  been  on  the  next  bench  in  the 
pit  to  your  D.  R.  and  his  eollaborateurs  of  the  press;  however,  time  and 
space  are  something,  in  these  days  of  rail-roads  and  express  trains  even, 
so  we  had  to  content  ourselves  with  the  vivid  description  of  the  scene 
presented  on  that  memorable  occasion  in  matters  operatical,  in  your  last 
number.  The  great  topic  amongst  musical  folks  here  is  the  coming 
concert  of  the  Hargreave's  Choral  Society,  on  Tuesday  next,  when  the 
great  work  of  the  greatest  living  composer,  the  '  Elijah'  of  Mendelssohn, 
is  to  be  performed,  conducted  by  himself.  Tickets  arc  at  a  premium^ 
that  is,  they  would  be  if  they  were  to  be  bought  at  all,  but  they  are  only 
issued  to  the  subscribers,  who  are  literally  besieged  with  applicants  for 
them.  The  rehearsals  are  progressing  most  satisfactorily,  and  the 
chorusses  are  spoken  of  in  the  highest  terms  by  the  privileged  few  who 
have  heard  them,  as  being  of  extreme  beauty,  and  striking  originality  yet, 
in  admirable  keeping  with  the  sacred  character  of  the  subject.  Mendel- 
sohn, not  content  with  the  complete  success  of  the  work,  at  its  first  and 
only  production  at  the  last  Birmingham  festival  when  no  leas  than  smen 
pieces  were  encored,  has  since  been  striving  if  possible  to  render  it  more 
and  more  perfect,  so  that  it  would  at  its  second  performance  to-morrow 
night  at  Exeter  Hall,  no  doubt  be  pronounced  faultless,  I  will  render  you 
as  usual  a  faithful  account  of  its  production  here  next  week.  It  is  quite 
expected  that  the  successful  performance  of  '  Elijah,'  will  do  more  to 
raise  the  character  of  the  Hargreave's  Choral  Society,  than  any  work  it 
has  yet  attempted,  and  it  aU-eady  ranks  first  of  choral  societies  out  of  the 
Metropolis. 

Macready  attracted  a  brilliant  and  crowded  audience  to  our  Theatre 
Royal  on  Saturday  last,  who  warmly  greeted  his  first  appearance  for 
some  years  in  Manchester,  on  a  stage  worthy  his  great  talenu.  Macbeth 
was  the  character,  delineated  in  such  a  manner  as  it  could  not  be  by  any 
tragedian  now  on  the  boards,  the  audience  manifested  their  deep  appre- 
ciation of  his  effort  by  the  most  breathless  and  rivetted  attention  to  his 
acting,  and  by  their  hearty  applause.  This  week  he  is  at  Liverpool,  until 
Saturday  the  i  7  th  when  he  appears  in  Richelieu,  andtxiqaes  again  for  five 
nights  on  Monday,  the  20th  instant. 

The  Madrigalians  hold  their  annual  concert  or  Ladies'  night,  at  the 
Town  Hall»  here  this  evening,  but  we  shall  not  be  well  enough  to 
attend.  Manchester,  AprU  Uth,  1847. 

DRAMATIC  INTELLIGENCE. 

Hath  ARRET. — ^We  have  seldom  witnessed  a  scene  o 
greater  excitement  and  enthusiasm,  than  we  did  on  Monday 
evening,  on  the  occasion  of  Mrs.  Nisbett*s  return  to  the  stage, 
after  an  interval  of  some  years.  The  high  degree  of  favour 
in  which  this  most  charming  actress  stood  with  the  public, 
was  not  tbo  f^■^^^y  cause  that  gave  intense  interest  to  her  re- 
appearance ;  tiie  misfortunes  that  followed  her  into  domestic 
retirement,  when  she  left  the  stage,  and  ultimately  forced  her 
again  to  have  recourse  to  the  old  profession,  threw  a  halo 
around  her  that  awakened  sympathy  and  respect  in  no 
ordinary  degree.  The  reception  of  Mrs.  Nisbett,  on  Monday 
night,  was  one  of  the  heartiest  and  most  vehement  that  could 
possibly  be  imagined.  The  applause  must  have  endured  for 
full  three  minutes.  The  moment  she  appeared,  nay  before 
she  appeared,  for  her  merry,  ringing  laugh  was  heard  just 
before  her  entrance,  the  audience  recognising  it  as  well  as 
her  countenance,  the  universal  peal  broke  forth,  "louder 
than  the  loud  ocean,"  and  the  •*  house  rose  at  her,"  as  Kean 
said  of  himself  on  one  occasion,  substituting  **  me**  for  '*  her," 
and  hats  waved,  and  handkerchiefs  floated  wide,  .looking 
like  the  foam  of  the  tumultuous  sea,  and  hands,  and  voices, 
and  sticks,  and  feet,  and  umbrellas,  all  were  amalgamated 
into  a  roaring  concert,  more  energetic  than  agreeable.  Mrs. 
Nisbett  meanwhile  responded  graciously  to  these  manifes- 
tations of  favouritism,  and  curtsied,  and  bent  her  head,  and 
placed  her  hand  on  her  heart,  and  went  through  the  usual 
ceremony  expected  at  the  hand  of  those  on  whom  the  public 
condescend  to  bestow  their  approval.  Mrs.  Nisbett  we  are 
inclined  to  think,  looked  better  on  Monday  night,  than  we 
ever  saw  her.     Her  countenance,  albeit  sorrow's  clouds  have 

Digitized  by  V^OOy  ItT 


252 


THE  MUSICAL  WORLD. 


been  dimming  it  of  late,  is  still  lovely,  arch,  and  expres- 
sive. Her  figure  appears  to  us  to  have  grown  somewhat 
fuller  than  when  we  saw  her  last,  and  this  by  no  neans 
disimproves  her.  But  how  shall  we  find  words  to  do  full 
justice  to  her  acting  ?  It  is  impossible  to  speak  of  it  calmly 
— **  it  forestalls  criticism."  We  shall,  nevertheless,  endeavour 
to  keep  within  bounds,  and  if  we  cannot,  we  are  sure  our 
readers  will  forgive  us  this  once,  seeing  the  great  temptation 
that  wins  us  from  the  journalist's  required  frigidity— rirfe — 
{lucus  e  non  hcendo)  the  Morning  Post  and  the  Chronicle. 
The  play  selected  for  Mrs.  Nisbett's  re-appearauce  was 
Sheridan  Knowles*s  Love  Chase^  to  bring  out  the  actress  in 
her  original  character,  Constance.  The  choice  could  not  be 
better,  as  the  part  of  Constance  is  greatly  interesting,  and 
■  exhibits  to  perfection  the  versatile  powers  of  the  artist. 
The  comedy  of  The  Love  Chase,  U  perhaps  the  best  drama 
written  in  our  own  immediate  times.  The  female  characters 
are  drawn  with  great  vigour  and  discrimination.  The  cha- 
racter of  Constance  is  entirely  new,  nor  do  we  remember  any 
part  in  the  drama  which  might  be  adduced  as  conveying  a 
resemblance.  Lydia  is  a  beautiful  picture,  but  may  be  found 
in  numerous  novels  and  sundry  \  lays.  The  part,  however, 
is  written  with  taste  and  feeling,  and  acts  as  a  powerful  in- 
gredient in  the  interest  of  the  piece.  We  object  altogether  to 
that  restricted  morale,  to  which  Mr,  Sheridan  Knowles  in- 
variably pays  deferential  homage  in  his  dramatic  works, 
which  would  seem  to  confine  gentle  blood  and  worth  to  a 
particular  class,  make  Love  himself  an  aristocrat,  and  render 
hearts  incompatible  in  affection  unsanctioned  by  equality 
of  rank  and  birth.  Our  readers  will  call  to  mind  the  incident 
in  the  Love  Chase,  where  Lydia,  a  poor  dependent,  is  beloved 
by  Master  Waller,  a  scion  of  blood,  who  seeks  at  first  her 
heart  by  dishonourable  means,  and  being  spurned  by  her 
with  indignation,  and  discovering  her  superior  worth,  ofiTers 
her  his  hand.  Here  is  a  beautiful  incident,  conveying  an  ex- 
quisite and  pointed  moral.  But,  says  Mr.  Sheridan  Kryowles, 
it  will  violate  the  Aristocratic  decencies  of  the  drama  to  permit 
a  nobleman  to  marry  a  serving-woman — and  what  will  the 
boxes  say,  and  the  ladies  who  will  purchase  my  plaj'  at  five 
shillings.  Presto,  says  Sheridan  Knowles,  and  straight  the 
serving-woman,  Lydia,  turns  up  as  noble  as  the  young  noble- 
man, and  the  boxes  are  pleased,  and  the  ladies  like-tr/^e  who 
purchase  the  play  at  five  shillings,  and  the  author  fancies 
himself  a  dramatic  magician.  Now  is  not  this  morality  some- 
thing akin  to  that  which  induced  Nahum  Tate,  and  Colley 
Cibber,  to  resuscitate  King  Lear— by  the  way  we  shall  not 
finish  the  parallel,  for,  on  second  thoughts,  we  can  perceive  no 
analogy  at  aU  between  the  two  cases.  Well^let  that  pass. 
The  character  of  the  Widow  Green  is  well  drawn,  but  it  owes 
all  its  colouring  to  Congreve.  Lady  Wishfort  in  the  Way  of 
the  World  furnishes  the  type  of  the  wooing  widow  in  the 
Love  Chase.  The  comic  portions  of  this  play  are  superior 
to  the  author's  previous  or  subsequent  attempts  in  that 
line.  They  abound  in  point  and  touches  of  humour,  and 
occasionally  exhibit  the  liveliest  sallies  of  wit.  But  we  must 
return  to  Constance,  whom,  some  lines  above  we  delivered  to 
the  vociferations  of  the  spectators.  We  never  had  a  briefer, 
or  easier  task  to  accomplish  than  that  of  criticising  Mrs. 
Ni8bett*8  performance  of  Constance  in  Sheridan  Knowles's 
play,  or  comedy  of  The  Love  Chase ;  and  to  show  the  esti- 
mation in  Which  we  hold  our  criticism,  brief  though  it  will  be, 
we  shall  print  it  in  capitals.  Here  it  is.  Read  and  believe. 
MRS.  NISBETT'S  PERFORMANCE  OF  CONSTANCE 
FROM  BEGINNING  TO  END  WAS  ABSOLUTE  PER- 
FECTION.    Another  critical  word  afler  that  would  injure 


our  notice.  Mrs.  Nisbett  was  cheered  tumultuously  afler  the 
first  scene — was  called  for  after  the  first  act,  but  did  not  come 
— was  cheered  in  every  part  of  her  performance  ;  and  at  the 
end  when  she  did  come  on,  obtained  an  ovation  equal  to  that 
consequent  on  her  entree.  A  greater  amount  of  excitement 
we  never  knew  pervade  a  theatre  before.  It  seemed  the  una- 
nimous opinion  of  all  present  that  Mrs.  Nisbett  never  acted 
Constance  with  more  exquisite  grace,  ease,  point,  and  finish. 
In  some  instances  it  was  even  held  that  the  performance  was 
superior  to  any  former  effort  of  the  actress ;  to  which  latter 
opinion  we  should  unhesitatingly  oflfer  our  assent,  did  we  not 
preclude  ourselves  by  what  we  said  above,  from  all  further 
remarks  of  our  own.  Mrs.  Glover's  Widow  Green  is  a 
const  mrr  ate  piece  of  actiiJ^.  We  need  hardly  say  it  was 
applauded  tumultuously.  The  last  scene  is  one  of  the 
greatest  cflForts  of  this  great  artist's,  and  must  live  in  the 
memory  of  all  who  have  seen  it.  Mrs.  Edwin  Yamold 
played  Lydia  with  much  grace  and  feeling,  indeed  nothing 
could  be  better  in  its  way,  the  part  was  conceived  and 
evolved  in  the  true  artistic  spirit.  Mr.  Stuart  was  excellent 
in  the  small,  but  pertinent  part  of  Trueworth,  and  Mr. 
Webster  was  admirable  as  Wildrake.  This  is  one  of  Mr. 
Webster's  best  characters.  He  was  extremely  effective  in  all 
his  scenes  with  Constance.  Mr.  Tilbury  was  better  than  usual 
in  Sir  William  Fondlove.  The  return  of  Mrs.  Nisbett  to  the 
stage  will  form  in  future  dramatic  annals  one  of  the  great 
events  of  the  present  century. 

French  Plays. — A  continuous  succession  of  novelties  and 
new  actors  distinguishes  this  theatre  from  all  our  metropolitan 
places  of  amusement.  The  system  seems  to  be  never  to 
allow  the  frequenters  of  the  St.  James's  to  grow  tired  of  any 
actor  or  actress,  and  whether  good,  indifferent,  or  bad,  (and 
thanks  to  the  excellence  of  the  management  ve  have  but 
little,  very  little  of  the  second  and  none  of  the  last),  stars 
disappear  and  charming  faces  are 'removed  when  we  love  them 
most  and  fresh  ones  are  brought  forward  which  gradually  eflkce 
the  regret  due  to  their  predecessors,  until  they,  in  their  turn, 
give  way  to  a  fresh  arrival.  Since  our  last  we  have  to  record 
the  debUt  of  Mademoiselle  Duverger,  of  the  Palais  Royal^ 
in  L* Image,  a  most  clever  and  amusing  trifle,  brought  out  last 
year  at  the  Princess's,  and  in  which  Madame  Vestris  played 
the  heroine,  now  impersonated  by  the  new  actress  at  the  St. 
James's.  The  title  of  the  English  version,  if  we  remember 
rightly,  was  'A  Speaking  Likeness.'  Mademoiselle  Duverger 
was  eminently  successful  in  her  representation  of  the  young 
lady  disguised  as  a  country  girl,  and  without  laying  aside 
aught  of  her  own  native  elegance  and  grace,  she  completely 
identified  herself  with  the  simplicity  and  rusticity  of  the  part 
she  had  undertaken  to  play,  and  entirely  won  us  over  by 
some  natural  touches  of  feeling  and  by  her  easy,  unassuming 
manners.  We  have  also  had  Un  Roman  Intime,  ou,  Les 
Letlres  d*un  Mart,  played  for  the  first  time  in  this  country, 
in  which  Mademoiselle  Rose  Ch6ri  and  M.  Rhozevil  played 
together.  It  is  in  one  act  and  consists  of  a  few  scenes 
between  a  young  married  couple,  the  wife  of  a  somewhat 
flighty  and  romantic  turn,  the  husband  much  attached  to  his 
wife,  but  of  a  more  positive  character,  who  aware  of  his  wife's 
foible  endeavours  to  work  a  reform  by  writing  several 
romantic  love-letters  purporting  to  come  from  an  anonymous 
admirer.  This  expedient  produces  several  mystifications  and 
is  followed  by  the  desired  effect.  We  were  pleased  with  both 
the  actress  and  actor  but  confess  they  both  have  talents  which 
merit  a  better  field  in  which  to  display  them.  On  Monday 
Her  Majesty  the  Queen  and  the  Prince  Albert  visited  the 
theatre  and  Clarisse  Harlowe  was  postponed  to  give  way  to 

Digitized  by^^OOy  It: 


THE  MUSICAL  WORLD. 


233 


Ua  Changement  de  Main  and  La  Protegee  sans  le  Savoir, 
noticed  in  our  la$t.  Genevieve^  ou  la  Jalousie  Paternelle,  is 
more  sentimental  than  interesting,  and  turns  entirely  upon  the 
love  of  a  lather  for  his  daughter,  so  excessive  that  he  fears 
every  man  who  shows  any  pretensions  to  her  hand.  This  leads 
to  a  variety  of  plotting  on  his  part  to  counteract  the  pre- 
tensions of  her  lovers  and  more  particularly  a  certain  colonel 
to  whom  she  shows  a  certain  amount  of  aflfection,  and  in 
proposing  in  his  room  a  creature  of  his  own,  Adrien,  his  first 
clerk.  Everything  succeeds  according  to  his  wish,  and  the 
marriage  takes  place.  In  this  piece  th^re  is  hut  little  room 
for  any  grei^t  display  of  feeling  hut  Mademoiselle  Rose  Ch^ri 
made  the  best  of  the  part  an^-.  earned  applause  by  her  quiet 
and  interesting  demeanour.  Cartigny  was  excellent  as  the 
father. 

CONCERTS. 

Philharmonic  Concerts. — The  third  concert  took  place  ou 
Monday  nisrht,  in  the  Hanover- square  Rooms.  The  attendance 
was  rery  full,  and  the  old  form  of  programme  was  restored  on  this 
occasion,  to  the  great  satisfaction  of  the  majority  of  the  audience. 
The  selection  was  as  follows : — 

PAET  I. 
Sinfonia  in  D,  Op.  88  (never  performed  at  these  concert )     .    Mozwrt 
Doelto,  "  Dore  vai,»»  Mr.  Manveri,  apd  Signer  F.  Lablache, 

(Ouclielnro  Tell) Rm«Iii<. 

Concerto,  F  minor.  Op.  19,  Pianoforta,  Mr.  W.  S.  Bennett    ,    Bennett. 
Terzetto,  •*Tremate/^  Madam  Caradori  Allan,  Mr.  Manvert, 

and  Signor  F.  Lablache Beethoven, 

Orerturt^  Fteciosa  CM  von  Weher. 

PART  II. 

Smftmla  in  C  minor  .       • Beethoven. 

Bcdt  / '<  Plaisin  dn  ran^  snpr^mt " 

Air    S  •*  Ce»ai  qne  J'aimaia  »  (U  Muctte  de  Portici>,  Mad. 

Caradori  Allan  Auber. 

Conixrtuite,  in  A,  Op.  48,  two  violins,  Mr.  Blamre,  and 

Mr.  Willy      .........    Spokr, 

Orertnr*,  Lodoiska    .........    CheruMni. 

Condactor,'Mr.  Costa. 

Mozart's  symphc^ny  bears  all  the  evidence  of  having  been  an  eartv 
work  6f  the  coiiiposer.  Hie  Op.  88  merely  refers  te  the  order  df 
Its  publication,  which  occurrecf  subsequent  to  the  death  of  the 
author.  It  was,  nevertheless,  new  to  the  subscribers — a  fact  which 
is  by  no  means  creditable  to  the  policy  pursued  by  the  various 
mis-directors,  who  have,  from  time  to  time,  been  elected  to  sway 
the  destinies  of  the  society.  The  score  is  by  no  means  a  rarity, 
being  printed  in  the  same  form  as  the  six  great  symphonies  which 
are  acknowledged  out  of  the  thirty-three  that  the  composer 
produced.  The  symphony  is  in  three  movements,  without  a 
scherzo*  It  was  most  probably  written  for  some  small  band  in 
one  of  the  obscurer  German  towns,  and  was  very  probably  pro- 
duced in  a  harry  by  Mozart  to  satisfy  the  exigencies  of  life.  The 
first  movement,  aUegro  assail  in  D,  is  very  simple  ;  but  there  is  a 
great  charm  in  the  transparent  clearness  nith  i^hich  it  is  instru- 
mented. The  first  part  is  very  long  ;  the  second  part  very  short ; 
the  coda  animated  and  effective.  The  subjects  are  pleasing,  but  not 
striking.  The  andante  in  F  is  very  short  and  unaffected,  presenting 
few  characteristics  that  call  for  special  observation,  ^he  finale  is 
the  most  elaborate  movement  of  the  three,  and  is  further  interesting 
from  the  fact,  that  two  passages — one  from  the  trio  in  the  second 
act  of  the  composer's  Z)on  Ju/xn,  the  other  from  the  splendid  canto/a 
*  Resta  o  Cora,"  are  contained  in  it.  The  symphony  was  well 
played  throughout.  The  finale  was  encored,  but  Signer  Costa 
declined  repeating  it.  The  a^ante  was  not  encored,  but  Signor 
Costa  repeated  it,  wo  presume  for  his  own  amusement  and  tl  e 
exercise  of  the  band.  We  remarked,  however,  in  the  performance 
of  the  slow  movement,  the  absurd  exaggerations  of  the  rinforzando, 
of  which  we  have  frequently  complained,  and  which  is  one  of  the 
crying  defects  of  Signor  Costa's  conducting.  The  duet  "  Dove 
vai,'*  one  of  the  finest  things  in  Guillaume  Tell,  was  spoiled  by 
being  transposed  from  E  to  E  flat ;  but  was  otherwise  well  given 
by  the  vocalists.  Why  do  our  orchestras  persist  in  sharpening 
the  pitch  to  such  an  unwarranted  extent?  A  piece  written  by 
Handel  in  E,  is  now  in  F  at  least,  and  must  consequently  lose  its 
character ;  not  to  mention  the  diminution  of  the  brilliancy  resulting 
from  the  extreme  tension  of  the  strings.    Sterndale  Bennett's 


fourth  concerto  is,  perhaps,  his  best.  Few  better  have  been 
written  for  the  instrument.  It  is  full  of  genius,  and  finished  with 
elaborate  perfection.  It  was  altogether  a  great  treat,  and  the 
author  performed  it  in  that  masterly  and  impressive  style  that  has 
long  placed  him  in  the  first  rank  of  modern  pian'ists.  The  applause 
was  enthusiastic  throughout.  The  light,  catching  overture  to 
Preciosa  was  well  played.  The  C  minor  of  Beethoven,  which  has 
been  terribly  hacknied  at  these  concerts,  was  the  least  satisfactory 
performance  of  the  evening.  There  were  many  errors  in  the  times 
of  the  movements,  many  exaggerations  of  expression,  and  not  a  few 
blunders  on  the  part  of^the  principal  wind  instruments.  With  all 
the  infallibility  that  some  critics  attempts  to  fasten  npon  Signor 
Costa,  wc  have  heard  this  great  symphony  much  better  performed, 
not  only  at  the  Philharmonic,  but  elsewhere.  Messrs.  Blagrove 
and  Willy  played  Spohr's  concertante,  a  clever,  but  dry  composi- 
tion, capitally,  and  the  overture  to  Lodoiska,  one  of  the  best  of 
Cherubmi's  second-rates,  was  excellently  rendered.  Of  the  rest  of 
the  vocal  music  we  have  little  more  to  say.  The  trio  by  Beethoven 
was  rendered  ineffective  by  the  boisterous  loudness  of  the  accom- 

Eaniments  :  and  the  air  from  Auber's  La  Muette  had  much  better 
ave  been  omitted,  since  it  neither  suited  the  singer  nor  the 
locale ;  out  of  a  theatre  it  loses  nearly  all  its  charm.  By  the  way, 
is  there  no  such  thing  to  be  obtained  as  a  contra  fagotto  ?  The 
ophicleide.  which  was  substituted,  half  ruined  the  finale  of  i.he  0 
minor,  and  was  a  positive  nuisance.  The  audience  commenced 
taking  their  departure  at  the  beginning  of  Spohr's  concertante,  and 
continued  annoying  and  inconveniencing  those  who  were  desirous 
of  hearing  what  remained  to  be  performed,  until  the  whole  was 
over.  Some  remedy  might  surely  be  found  for  these  rude  and 
barbarous  demonstrations  of  egotism,  which  of  lato  have  become  too 
frequent. 

The  Musical  Union. — Mr.  Ella's  second  meeting  was  honored 
by  a  more  numerous  attendance  of  nobility  and  fashion  than  bis 
first.  There  were  also  many  artists  and  amateurs  of  note  present. 
There  was  nothing  very  new  in  the  selection,  as  the  following  will 
show ! — 

Quintet  in  D,  No.  5^  two  violins,  viola,  and  two  violoncellos  ....     Onefow. 

1'no  in  E.  flat  Op.  70,  pianoforte,  violin,  and  violoncello Beethoven. 

Quartet  in  D,  No.  10.  two  violina,  viola,  and  violoncello Mozart. 

Ea^atanta.  First  Violin,  Mr.  Deloffre.  Second  Violin,  Mr.  GoffHe.  Tenor, 
Mr,  Hill.  Violoncello,  Signor  PintU.  Viola,  Mr.  PUet.  Pianoforte,  Mr.  JAnd- 
eay  8  eper. 

The  quintet  of  Onslow,  a  very  ingenious  and  equally  uninteresting 
composition,  was  well  played  on  the  whole,  but  produced  no  great 
impression.  The  point  of  interest  was  Piatti's  beautiful  delivery  of 
a  cantando  phrase  in  the  slow  movement,  and  this  was  well  en- 
titled to  the  applause  it  received.  The  trio  of  Beethoven  is  a 
composition  of  such  originality  and  intricacy  as  demands  absolutely 
three  first  rate  players  to  do  it  justice.  Mr.  Lindsay  Sloper  is  a 
first-rate  pianist,  aud  played  his  share  of  the  trio  as  finely  as  the 
most  fastidious  connoisseur  could  have  desired.  Nothing  could  be 
more  charming  and  unaffected  than  his  expression,  and  nothing 
more  brilliant,  certain  and  polished  than  his  execution.  But  we 
cannot  award  equal  praise  to  his  coadjutors,  who,  in  tone,  deci- 
sion, stylo  and  mechanism,  are  somewhat  in  the  rear  of  what  is 
desirable  for  a  composition  of  such  elaboration,  variety  aud  energy. 
They  are  good  artists,  nevertheless,  and  it  is  always  a  pleasure  to 
us  when  we  can  conscientiously  award  them  that  praise  which  jus- 
tice compels  us  at  least  to  qualify  on  this  occasion.  The  quartet 
of  Mozart  was  a  performance  ot  average  quality.  AVith  such  an 
excellent  second  violin  as  Goffrie,  and  such  a  perfect  tenor  as 
Hill,  there  was  not  likely  to  be  much  fault  to  find ;  but  there 
seemed  to  us  a  want  of  that  grandeur  of  style  and  irreproachable 
execution  which  the  lavish  encomiums  bestowed  by  Mr.  Ella 
(beforehand)  in  his  "  Record,"  would  have  led  us  to  expect,  had 
we  been  simple  amateurs,  like  our  excellent  friend  of  Ihe  Chro^ 
fticle,  ready  to  swallow,  without  wincing,  the  tremendous  doses  of 
eulogy  which  the  director  of  the  Musical  Union  administers 
through  the  medium  of  that  sheet.  We  have  elsewhere  discussed 
what  we  take  the  liberty  to  think  a  demonstration  of  equivocal 
taste  on  the  part  of  that  worthy  and  enterprising  centleman,  and 
so  shall  drop  the  subject  here.  On  the  whole  the  performance 
gave  pleasure.  One  of  its  greatest  recommendations  was  its 
brevity. 

The  Gbbenwich  ano  Blackheath  Amateur  Musical  So- 
ciety gave  their  third  concert  in  the  Railway  Station  Room,  on 


5fe4 


THE  MUSICAL  WORLD. 


Friday  eveninir,  the  9th  inst,  providing  a  capital  band,  an  admirable 
selection  of  music,  and  excellent  interpreters.  Miss  Dolby  and 
Mr.  Rench  were  the  vocalists ;  Mr.  Benedict  performed  on  the  piano, 
and  M.  Barret  on  the  oboe.  Mr.  Dando  acted  as  leader,  and 
Mr.  Benedict  conducted  all  the  vocal  music.  The  instrumental 
performances  comprised  three  overtures,  "  Der  Freyshutz,**  **  Se- 
miramide/  and  •*2iimpa,"  and  the  C  minor  (No.  5)  symphony  of 
Beethoven.  Miss  Dolby  sung  three  songs,  and  Mr.  Kench  four  ; 
but  the  lady,  notwithstanding,  sang  oftener  than  the  gentleman, 
she  was  encored  twice.  The  performance  gave  very  great  satis- 
faction. We  trust  this  society  will  succeed  in  its  endeavours  to 
disseminate  music  of  the  best  kind  among  the  intermediate  classes. 
By  providing  such  entertainments  as  the  one  we  have  just  noticed, 
worthy  of  commendation  in  every  respect,  they  must  progress  ; 
and  we  shall  lend  them  all  the  assistance  in  our  power  to  lurther 
the  interests  of  their  society. 

Wilson's  Scottish  Entertainments  — Mr.  Wilson  commenced 
a  new  series  of  his  vocal  illustrations  of  Scottish  manners  and  cha- 
racter on  Mondav  evening,  in  the  Music  Hall,  Store-street.  The 
entertainments  comprised  several  new  features,  among  which  we 
may  name  two  Irish  songs,  one  of  gpreat  pathos,  and  the  other  of 
great  humour.  Nearly  every  song  in  the  first  part  was  encored. 
Burns*8  exquisite  lyric,  "  Go  fetch  to  me  a  pint  o'  wine,"  was  given 
with  immense  effect  by  Mr.  Wilson.  It  was  impossible  to  render 
it  with  more  feeling  and  expression.  The  singer  was  most  deser- 
vedly encored  twice.  We  were  much  pleased  with  the  humourous 
old  song,  **  My  Joe  Janet,**  in  the  form  of  a  dialogue,  which  was 
sung  by  Mr.  Wilson  with  great  point  and  vivacity.  Several  old 
friends,  not  the  less  welcome  for  being  old,  were  also  given  during 
the  performance,  and  the  entertainment  finished  with  "  Green 
grow  the  rashes,  O  '*     Mr.  Land  attended  at  the  pianoforte. 

Mr.  A.  Sedgwick,  the  performer  on  the  concertina,  gave  a  con- 
cert, In  conjunction  with  the  Apollonic  Society,  at  the  Institution, 
John  Street,  Fitzroy  Square,  on  Monday  evening,  the  12th  instant, 
when  he  was  ably  assisted  by  Misses  Cubitt,  Ellen  Lyon,  Sara 
Flower,  Mrs.  Fillis,  Messrs.  Allen,  Sporle«  Giubelei,  Shoubridge, 
Robinson,  G.  and  H.  Buckland,  Julian,  Reach,  &c.  The  instru- 
mentalists being  Messrs.  Frederick  Chatterton,  Zerbini,  Wells, 
Davies,  Stessej,  and  Sedgwick,  on  the  barp,  violin,  flute,  cornet, 
xylo  cordeon,  and  concertina,  all  of  whom  acquitted  themselves  in 
their  best  manner.  The  great  fault  was  the  immense  length  of  the 
programme,  which  the  enthusiasm  of  a  crowded  audience  much 
increased  by  their  anxiety  to  encore  their  especial  favorites.  Miss 
Ellen  Lyon,  who  is  fast  rising  in  public  estimation,  gained  a  most 
deserved  and  hearty  encoro  in  *'  Even  as  the  sun/'  with  concertina 
accompaniment  obligate,  by  Mr.  Beneficiarc,  who  received  a  simi- 
lar  compliment  in  his  solo  on  Paganini*s  "  Witches'  Dance,"  which 
ho  answered,  according  to  the  present  fashion,  i>y  substituting  the 
serenade  from  '*  Don  Pasquale.  The  other  encores  were  Miss 
Sara  Flower,  Mr.  Sporle,  Mr.  Allen,  Mr.  J.  Kench,  Herr  Stssssel, 
and,  lastly,  Mr.  George  Buckland,  in  John  Parry's  song  of  '*  Ma. 
trimony,"  wha  responded  to  it  by  sieging  **  Jack  and  the  Bean- 
stalk,"  a  very  clever  song  of  his  own  arrangement.  Mr.  A.  Sedg- 
wick presided  at  the  piano-forte. —From  a  Correspondent, 


HER   MAJESTY'S  THEATRE. 

On  Saturday  this  establishment  re-opened  its  doors  to  the 
public,  after  a  fortnight's  holiday.  But,  though  the  doors 
were  closed  during  Passion  week  and  its  Easter  successor, 
there  was  no  cessation  from  labour  within  the  walls  of  the 
theatre,  as  the  result  will  show. 

On  Saturday  we  were  exulting  in  the  expectation  of  the 
pleasure  we  were  going  to  derive  from  Donizetti's  comic 
masterpiece,  VElisir  D'Amore^  with  Gardoni's  Nemorino 
and  Lablache's  Dulcamara ;  but,  alas !  we  were  doomed  to 
disappointment,  the  great  Lablache  was  hoarse  and  the  Elisir 
could  not  be  played.  In  its  place  was  substituted  /  Due 
Foscarii  an  opera  by  Verdi,  which  had  never  been  performed. 
Thought  we,  as  we  wended  our  way  to  the  theatre,  gloomy 
with  anticipations  of  Verdi — *'  Surely  there  will  be  an  in- 
tolerable mess — the  Foscari  can  never  be  in  a  fit  state  for 
public  performance — twenty-four  hours  is  not  enough  to  paint 


the  scenes,  make  the  dresses,  rehearse  the  music,  and  teach 
the  principals — the  band  and  chorus  will  be  sadly  at  variance 
— Balfe  will  be  in  a  rage  and  throw  his  baton  at  some  unlucky 
chorister,  or  some  miserable  trumpeter,  who  shall  come  in  a 
bar  too  soon  or  late — there  will  be  conAision  worse  con- 
founded.'* But  we  were  out  in  our  reckoning.  The  Instant 
Balfe  entered  the  orchestra,  it  was  evident  from  the  air  of 
confidence  that  played  upon  his  good-humoured  countenance 
that  all  was  right,  and  that  he  and  his  new-formed  band  of 
Huns  and  Vandals  were  ripe  for  mischief.  So  it  turned  out. 
The  opera  was  played  from  beginning  to  end  better  than  any- 
thing that  has  preceded  it  during  the  season,  and  the  success 
was  great,  in  spite  of  the  music. 

We  shall  say  nothing  of  the  plot  of  /  Due  Foscari.  Every- 
body has  read,  or  should  have  read,  Byron's  The  Two  FoscarL 
Those  who  have  read  it  will  know  as  much  as  we  can  tell 
them.  Those  who  have  not  read  it  are  well  recompensed  for 
their  shameful  indiflerence  to  one  of  our  great  poet's  finest 
works  by  being  lefc  in  the  dark.  We  shall  tell  them  nothing 
about  it — not  a  syllable.  We  hate  more  trouble  than  is 
necessary,  and  above  all  abominate  the  t^sk  of  recounting  a 
plot ;  it  is  an  intolerable  bore — and,  what  is  worse,  no  one 
reads  it  when  it  is  done.  (No  offence  to  our  excellent  co- 
labourer  J.  de  C e,  whose  relations  of  plots  are  models  of 

writing,  and  will  be  read,  for  reasons,  independent  of  the 
subject  involved  in  their  discourse). 

The  principal  characters  in  the  opera  were  thus  distributed : 
— Lucretia,  Madame  Montenegro  ;  Jacopo  Foscari,  Signor 
Fraschini;  Francesco  Foscari,  Signor  Coletti ;  and  Loredano, 
Signor  Bouch^. 

Madame  Montenegro,  who  paid  a  flitting  visit  to  this 
country  last  year,  produced  a  highly  favourable  sensation  ia 
the  character  of  Lucretia,  for  which  her  handsome  person, 
dignified  carriage,  and  fervid  manner  admirably  fit  her.  This 
lady's  voice  is  a  soprano^  rather  of  sweet  than  powerful  quality, 
of  extensive  range  and  considerable  flexibility.  She  vocalises 
easily  and  neatly,  and  her  style,  animated  and  expressive,  is 
devoid  of  all  affectation  and  redundancy.  In  short,  her 
Lucretia  was,  throughout,  an  unpretending  and  charming 
performance,  which  pleased  as  much  by  natural  grace  and  the 
absence  of  effort,  as  by  its  truthful  experience  and  vocal 
faultlessness.  Madame  Montenegro  will  always  be  welcome 
to  the  habitues  of  Her  Majesty's  Theatre.  Her  talent  is  of 
that  pleasing  and  winning  kind  that  is  sure  to  attract  a  host  of 
admirers,  who  from  pure  sympathy  will  be  warm  in  her  cause. 
Being,  also,  a  lady  by  birth,  and  enjoying  the  advantages  of 
education  and  society,  there  is  a  refined  taste  in  all  she  does 
which  is  of  itself  a  great  recommendation. 

Signor  Bouch^'s  sonorous  voice  and  manly  style  were  pre- 
cisely suited  to  the  part  of  the  stern  and  uncompromising 
Loredano,  and  his  performance  gained  him  another  laurel  to 
add  to  those  he  has  already  won  so  well, 

Fraschini  came  out  in  JacOpo  Foscari  in  a  style  that  com- 
pletely won  the  admiration  and  applause  of  the  audience. 
His  acting  was  sensible  and  effective.  His  singing  was  entirely 
devoid  of  that  exaggerated  declamation  that  we  have  had 
occasion,  hitherto,  to  discommend.  Fraschini  has  found  out 
the  secret  that  the  vociferous  shouting  which  raises  the 
enthusiasm  of  the  Neapolitans  will  not  do  for  the  Londoners, 
whose  more  refined  and  severer  taste  asks  for  higher  qualltiefi 
of  style  than  the  mere  ad  captandum  exhibitions  of  strength  of 
lungs.  His  singing  gains  one  hundred  per  cent  by  the  change. 
He  has  proved  his  ability  to  execute  tlie  softer  passages 
mezza  voce — and  that  is  a  quality  which  was  denied  to  his 
tolent-unjttstly,  as  the  sequel  s^^^^^  ^^^  N^UU^ It: 


THE  MUSICAL  WORLD. 


256 


BqI  the  triumph  of  the  evening  was  for  Coletti,  who,  in 
the  character  of  the  Doge,  evinced  the  highest  vocal  and 
histrionic  capabilities.  Half  his  continental  celebrity  traces 
froDa  his  masterly  delineation  of  this  character,  which  would 
seem  to  have  been  written  with  an  Express  view  to  display 
the  quality  and  register  of  his  magnificent  baritone.  There 
can  now  be  no  dispute  about  the  capabilities  of  this  artist, 
wbofie  merits  ar6  so  evident  that  even  the  Morning  Chronicle 
it  eompelled  to  acknowledge  them  in  warm  terms.  In  the 
first  two  acts  of  the  opera  the  dignity  of  the  Venetian  noble 
was  finely  preserved  in  all  its  unbending  sternness,  which 
made  the  gush  of  anguish  and  passionate  tenderness  in  the 
last  scene  all  the  more  effective.  The  air,  '^  Questa  6  d'unque," 
was  deservedly  encored;  it  was  very  finely  sung,  and, 
indeed,  the  whole  scene  was  a  triumph  of  vocal  and  dramatic 
art.  We  have  seldom  witnessed  more  enthusiastic  and  una- 
nimous demonstrations  of  approval.  Signor  Coletti  appeared 
thrice  before  the  curtain  ^at  the  6nd  ;  the  audience  seemed 
never  tired  of  calling  for  him.  The  opera  was  applauded 
throughout.  Not  only  was  Coletti  honoured  by  re-calls  and 
encores,  but  similar  honours  were  lavishly  conferred  upon  th6 
other  artists'— Fraschini,  Bouch^,  and  Madam6  Montenegro. 
The  success  of  /  due  Foseari  must  be  attributed  entirety  to 
the  principal  singers,  and  to  the  complete  eflSciency  of  Balfe, 
his  band,  and  his  chorus,  which  came  out  with  unwonted 
power.  The  music  of  Signor  Verdi  is  trash  of  the  flimsiest 
descriptien— beneath  criticism — it  ofibrs  no  one  point  of 
musicianship,  no  one  gl6am  of  fancy.  To  talk  of  genius  in 
reference  to  such  worthless  rubbish  would  be  downright  im- 
piety*    Is  is  utterly  destitute  of  claims  to  any  kind  of  notice. 

On  Thursday  we  had  one  of  those  varied  and  lengthy  per- 
formances of  opera  and  ballet  commingled,  for  which  Her 
Majesty *s  The^jre  is  famous.  The  house  was  immensely 
crowded.  The  performances  included  the  opera  of  /  Puritani, 
a  new  ballet  for  Lucile  Grahn,  called  Orithia,  and  a  Diver- 
iissement  of  sundry  dances  between  tiie  second  and  third  acts 
of  the  opera.  The  events  that  signalized  the  performance  of 
/  Puritani  (on  the  whole  the  least  perfect  representation  of 
the  present  season)  were  the  return  of  the  inimitable  Lablache 
in  the  character  of  Sir  George,  and  Gardoni's  first  appearance 
in  the  character  of  Lord  Talbot.  Lablache's  reception  was 
tremendous,  the  cheering  lasted  for  several  minutes.  He  was 
in  fine  voice,  and  having  quite  recovered  from  his  hoarseness, 
sang  and  acted  as  magnificently  as  ever.  Poor  Gardoni  was 
sufl^ring  from  indisposition.  The  unexpected  change  of  the 
weather  seems  to  have  afflicted  the  Italian  vocalists  with  an 
epidemic.  Gardoni  is  not  infallible,  and  like  Ronconi  and 
Tambnrini  fell  a  victim  to  the  hostile  temperature.  Neverthe- 
less though  his  power  was  impaired  and  his  certainty  of 
vocalising  slightly  perilled,  no  one  could  fail  to  be  enchanted 
by  that  graceful  tenderness  of  expression  which  gives  so  great  a 
charm  to  his  singing.  This  was  exerted  to  eminent  advantage 
in  the  **  A  te  o  cara,"  which  was  unanimously  encored^  in  the 
dnet  of  the  last  act,  and  best  of  all  in  the  pleasing  aria,  '*  £11  a 
e  tremant^,**  which  Gardoni  delivered  with  exquisite  putity 
and  taste.  Madame  Castellan  and  Coletti,  in  Elvira  and  Sir 
Richard  Forth,  were  satisfactory  in  all  respects.  That  the 
lady  should  fail  to  make  a  great  efiect  in  one  of  the  favourite 
parts  of  Grisi  is  nothing  to  her  discredit.  Madame  Castellan 
is  a  careful  and  zealous  artist,  and  whatever  she  does  is 
maiked  by  sensibility  and  intelligence.  Coletti's  greatest 
point  was  the  noisy  duet,  *'  Suono  la  tromba,'*  with  Lablache, 
the  cabaUtta  of  which  obtained  its  customary  encore.  The 
subordinate  parts  of  the  opera  were  respectably  sustained, 
and  the  band  and  chorus  were  energetie  and  untiring.    The 


four  principals  were  re-called  at  the  fall  of  the  curtain  amidst 
loud  cheers. 

The  divertissement  between  the  second  and  third  acts  con- 
sisted of  a  danse  d*ensemble  for  the  corps  de  ballet,  oddly 
designated  Deutchen  Rhain,  an  impossible  application  of  the 
German  tongue ;  the  brilliant  pas  de  deux  from  Coralia,  by 
Rosati  and  Paul  Taglioni,  in  which  Rosati  was  encored  in  on6 
of  her  variations,  and  a  new  version  of  the  Cracovienne,  by 
Marie  Taglioni,  called  "  Posnania.".  This  was  a  great  at- 
traction. To  see  quaint  little  unconscious  Marie  in  a  new 
dress  was  worth  a  whole  ballet  of  itself.  Her  hair  too,  platted, 
and  hanging  behind  in  two  long  tails,  gave  a  new  reading  to 
her  charmingly  original  physiognomy.  And  then,  how 
coquettishly,  without  having  a  notion  of  what  is  coquetry, 
she  wore  the  Polish  peasant's  hat,  picturesque  in  itself,  but 
ravishing  on  such  a  pretty  little  head,  so  odd,  so  unlike  heads 
in  general,  and  yet  so  thoroughly  bewitching.  Her  dancing 
was  quite  in  her  own  style,  distinct  from  all  other  dancing, 
but  yielding  to  cone  other  in  merit.  It  was  simple,  unaffected 
and  natural,  and  withal  a  thing  by  itself  for  which  it  were 
vain  to  seek  a  comparison.  Wiiat  wonder,  then,  that  the 
audience  should  re-call  her  as  the  curtain  fell  and  applaud 
her  vehemently  as  she  was  led  on  the  stage  by  her  excellent 
progenitor,  M.  Paul  Taglioni,  who  composed  **  Posnania" 
expressly  for  her  ?  It  was  no  wonder  at  all,  but  inevitable. 

The  new  ballet  is  entitled  Orithia.  The  subject  and  its 
development  may  be  gathered  from  the  following,  which  we 
have  extracted  from  the  elegant  brochure  that  is  nightly  dis- 
tributed in  the  boxes  and  pit  of  Her  Majesty's  Theatre,  and 
of  which  we  have  already  spoken. 

"  It  is  night.  We  are  in  the  camp  of  the  Amazons  and  of  their  Queen, 
Marthesia.  As  a  distant  sound  of  the  horn  is  heard,  the  warriors  awake; 
day  appears,  and  they  salute  the  sun.  The  horn  approaches;  it  an- 
nounces the  arrival  of  Orithia,  the  Queen's  niece,  who  returns 
triumphant  from  her  combats  with  the  Massagetes,  bearing  on  her  arm 
the  buckler  of  their  chief  Alceis,  whom  she  brings  a  prisoner.  The 
Queen  celebrates  this  victory  by  dances,  and  ordains  a  royal  chase,  to 
the  conqueror  in  which  the  buckler  of  Alceis  is  decreed.  The  Amazons 
hasten  with  delight  towards  the  forest.  Silence  reigns  once  more  uith- 
in  the  camp,  when  the  Prince  Alceis  enters  it  at  the  peril  of  his  life.  He 
loves  Orithia,  and  what  is  peril  to  him  if  it  bring  him  near  the  object  of 
his  lovel  His  buckler,  raised  as  a  trophy,  strikes  his  sight;  ho  seizes  it, 
and  is  about  to  distroy  it,  when  the  Amazons,  carried  by  the  chase 
towards  the  camp,  appear.  He  hides  himself  behind  a  rock  whence  he 
can  see  without  being  seen.  The  huntresses  depart.  Orithia,  stilj 
haunted  by  the  recollection  of  the  Prince,  then  arrives  and  contemplates 
the  trophy,  which  reminds  her  of  Alceis.  She  shudders  at  the  idea  that 
this  token  may  become  the  prize  of  another.  She  is  about  to  return 
into  the  forest,  when  the  prince  appears.  The  Amazon  recoils  affrighted. 
Alceis  then  declares  his  love,  and  to  what  it  has  impelled  him.  Orithia 
entreats  her  lover  to  fly  from  the  implacable  law  which  condemns  to 
death  every  man  who  dares  to  enter  the  camp.  Alceis  refuses.  Isipathe» 
the  Queen's  favorite,  has  remarked  the  trouble  of  her  mistress,  and, 
having  followed  her.  has  been  a  witness  of  this  scene.  At  a  signal,  the 
Amazons  hasten  with  Marthesia,  who  bitterly  reproaches  her  niece  for 
having  betrayed  her  oath.  She  then  orders  the  punishment  of  the 
captive  at  the  tomb  raised  to  the  memory  of  Argapesas,  her  husband, 
killed  by  the  King  of  the  Scythians.  Orithia  supplicates ;  her  companions 
join  in  her  prayers,  but  the  Queen  is  obdurate.  Alceis  then  is  doomed ; 
but  on  approaching  the  mausoleum  where  he  is  to  be  sacrificed,  he  sees 
the  name  of  his  father  inscribed  thereon.  Seizing  his  buckler,  he 
pushes  a  spring,  and  the  following  inscription  appears: — "  Argapesas  to 
his  son  Alceis."  Marthesia  is,  then,  his  mother  1  The  coldness  of  the 
Queen  and  the  sternness  of  the  Amazon  give  place  to  the  warm  gush  of 
maternal  love.  Marthesia  pardons,  and  Alceis  becomes  the  happy 
captive  of  his  Orithia. 

How  well  this  character  of  Orithia,  the  Amazon,  is  suited 
to  the  daring  impetuous  Lucile  Grahn,  may  be  readily  ima- 
gined. Her  dancing  was  first-rate,  and  in  one  of  her  most 
sorprising  steps  $he  was  encored  with  acclamations.  Paul 
Taglioni  acted  and  danced  capitallyij  ^  Ifee,  character  of  the 


256 


THE  MUSICAL  WORLD. 


Prince.  There  was  only  one  scene,  the  camp  of  the  Ama- 
zons, but  this  was  well  worthy  the  graphic  and  masterly 
brush  of  Marshall.  Hie  dresses  and  decorations  were  superb. 
The  fault  in  this  halhi-divertissement  is  that  there  is  too 
much  uninteresting  grouping,  profitless  walking  about,  and 
concerted  posture-making.  Half  of  [it  might  be  cut  out  with 
advantage.  The  ballet  would  gain  by  it,  and  the  superb  danc- 
ing of  Lucile  Grahn  would  be  doubly  appreciated.  As  it  was, 
however,  the  success  was  unquestionable,  and  M.  Paul  Tag- 
lioni  reven»<>d  the  maxim  "  the  third  time  is  never  like  the 
rest,"  having  achieved  three  triumphs  in  succession. 

PROVINCIAL. 

Belfast. — (From  our  Correspondent,). — ^The  legitimiite  drama  is  in 
the  ascendant.  We  have  the  Misses  Cushman  here,  whose  exquisite 
performances  afford  us  rich  and  rare  treats.  There  are  many  actors  on 
the  stage  who  do  not  give  so  gentlemanly  performances  (no  joking  intend- 
ed) as  Miss  Cushman  in  the  male  parts,  with  such  of  feeling,  such  passion, 
and  yet  no  ranting.  Miss  Susan  Cushman  need  only  follow  (as  she  bids 
fair  to  do)  in  her  sister's  footsteps,  to  become  one  of  the  brightest 
ornaments  of  the  English  stage.  Miss  C.'s  performance  of  Meg 
Merillies  was  a  most  decided  hit,  and  created  quite  a  furore.  Not  too 
much  praise  can  be  given  to  our  intelligent  manager,  Mr.  Cunningham, 
who,  though  not  always  sufficiently  rewarded  by  our  good  Belfast 
citizens,  lets  no  opportunity  pass  to  engage  the  London  stars,  aud  to 
make  the  performances  here  worthy  of  the  best  provincial  theatre. — T.  P. 

Dublin. — (Saundenf  News  Leltett  Jpril  1), — The  concert  given  last 
evening  by  the  members  of  the  University  Choral  Society,  was  a  most 
interesting  one;  the  selection  good,  the  execution  truly  effective,  and 
the  attention  of  the  audience  continued  engaged  until  the  close  of  the 
concert.  Tlie  first  part  consisted  of  Andreas  Romberg's  music  to 
Schiller's  "  Lay  of  the  Bell."  The  casting  of  a  bell  is,  in  Germany,  an 
event  of  solemnity  and  rejoicing.  In  the  neighbourhood  of  the  Hartz 
and  other  mine  districts,  you  read  formal  announcements  in  the  news- 
papers, from  bell-founders,  that  at  a  given  time  and  spot  a  casting  is  to 
take  place,  to  which  they  invite  all  their  friends.  An  entertainment  out 
of  doors  is  prepared  and  held  with  much  festivity .  Schiller,  in  a  few 
short  stanzas,  forming  a  sort  of  chorus,  describes  the  whole  process  of 
the  melting,  the  casting,  and  cooling  of  the  bell,  with  a  technical  truth 
and  felicity  of  expression  in  which  the  sound  of  the  sharp  sonorous 
rhymes  and  expressive  epithets  constantly  form  an  echo  to  the  sense. 
Between  these  technical  processes  he  breaks  forth  into  the  most  beau- 
tiful episodaic  pictures  of  the  various  scenes  of  life  with  which  the  sounds 
of  the  bell  are  connected.  The  connecting  links  of  the  chant  are  taken 
up  by  the  "  master  bell-founder,"  which  part  was  well  sustained  by  the 
amateur  who  sang  on  the  occasion,  and  who  possesses  a  voice  of  good 
quality.  The  solo  for  the  treble,  "  Hark,  'tis  some  birthday's  joyful 
meeting,"  w^s  sung  with  judgment  and  fervor  by  Master  Shepperd  of 
the  College  choir,  and  met  with  an  encore.  The  tenor  solo  that  followed 
fell  rather  listless  on  the  ear,  the  vocalist  who  sang  it  scarcely  makine 
his  voice  audible  above  the  accompaniment.  He  was  more  successful 
in  the  solo*'  though  passion  may  fly,"  The  chorus  "  In  fertile  ^omb 
of  earth  confiding,"  was  rendered  with  ability.  Another  chorus  "  The 
Master  when  the  mould  destroying,"  was  rendered  with  fidelity  and 
spirit.  The  second  part  of  the  concert  opened  with  a  chorus  of  pilgrims 
from  Verdi's  opera  /  Lombardi,  a  novelty  here,  and  admirably  rendered 
both  by  the  vocalists  and  the  orchestra,  received  a  warm  encore.  In  the 
fantasia  for  the  violoncello,  the  subjects  of  which  were  selected  from 
the  opera  of  Lucia  di  Lammermoor,  Mr.  Pii^ott  displayed  a  facile  exe- 
cution and  beauty  of  style  that  elicited  repeated  bursts  of  applause.  One 
of  the  novelties  was  the  appearance  of  Mr.  Glover,  a  pupil  of  Mr.  Ma- 
grath's ;  his  voice  is  charming*  and  of  extensive  range.  His  solo,  "  Una 
voce,"  was  effective,  but  in  the  air  of  Sir  John  Stevenson's,  harmo- 
nized by  Mr.  Magrtth.  "  Oh,  green  are  the  groves,"  he  was  heard  with 
greater  advantage.  The  other  parts  were  sustained  with  judgment. 
The  orchestra  was  efficient,  and  the  whole  concert  passed  off  satisfac- 
torily. 

LivRRPooL.— Julli^'s  concerts  have  attracted  as  great  audiences  at 
at  Manchester  last  week.  The  addition  of  Pischek,  the  German  vo- 
calist) to  the  rejEular  instrumental  forces,  has  greatly  enhanced  the 
interest  of  the  performances.  It  is  expected  that  JuUien  will  clear  an 
immense  sum  by  his  trip. 

LxiCESTER.— (^Fram  a  Correspondent) — The  Musical  Public  are  in- 
debted to  Mr.  H.  Nicholson  the  Flautist  of  this  town,  for  a  great  treat 
on  Monday  evening  last,  in  the  engagement  of  the  inimitable  and 
unrivalled  "  John  Parry,"  who  sang  his  favourite  songs  with  the  greatest 
success.    He  dso  with  his  accustomed  kindness  sang  an  extra  song  not 


announced  in  the  programme,  in  lieu  of  one  which  the  principal  female 
vocalist  (Mrs.  Millar,  who  was  unaccountably  absent)  was  put  down 
for.  An  orchestra  of  about  thirty  played  with  great  spirit,  the  overtures 
to  Men  of  Prometheus,  Auber's  Lac  des  Fees,  and  a  grand  selection 
from  "  I  Lombardi."  Ilie  other  performers  were  (vocal  J  Miss  Deacon, 
Mrs.  Rowhtt  Messrs.  Weykes,  Banister,  &c.  (instrumental)  Meaara. 
Nicholson,  Gill,  Adcoek  &c.  &c.  We  were  glad  to  see  the  room 
crowded. 

Thk  Harmonium. — Under  this  name  a  New  Musical  Instrument  has 
been  introduced  to  the  public  of  this  city,  by  Mr.  Julian  Adams  (the 
pianist)  who  has  been  performing'  on  it  with  great  success,  and  will 
continue  to  play  during  the  week.  The  chief  excellence  of  this 
instrument,  consists  in  its  sweetnees  of  tone  and  remarkable  power  of 
expression,  we  may  compare  it,  as  to  volume  and  richness  of  sound,  to 
the  organ,  while  in  purity  and  d«Iicacy,  it  rivals  the  strains  of  tlie 
cremona.  Mr.  Julian  Adams  evinced  extraordinary  ability  in  his 
performances,  and  was  heartily  applauded. — Bath  and  Cheltenham  Gazette. 

Baih. — Messrs.  Green  and  Simms  of  the  Pump  Room,  engaged  Mr. 
Julian  Adams  on  Saturday  last,  to  perform  in  the  Promenade  Concerts 
on  the  patent  Harmonium.  Mr.  Julian  Adam's  performances  were 
received  with  great  applause,  as  well  on  account  of  the  excellence  of  the 
performance,  as  the  novelty  of  the  instrument  on  which  he  played. 
Mr.  Adams  played  a  grand  fantasia  or  airs  from  Norma  and  an  Austrian 
air  and  brillisnt  variations  with  orchestral  accompaniments.  Both  the 
pieces  were  highly  effective,  and  exhibited  the  qualities  and  peculiarities 
of  the  new  instrument,  (the  patent  harmonium)  admirably.  Mr. 
Julian  Adams  also  performs  at  the  Promenade  Concerts  on  Tuesday, 
Thursday,  and  concludes  this  evening  his  engagement  at  Bath. 

Bristol.— fFrom  our  Correspondent  )^Mr,  H.  C.  Cooper's  annual 
concert  was  held  en  Monday  evening,  at  the  Victoria  Rooms,  which  was 
thronged  with  all  the  rank  and  fashion  of  Bristol  and  the  surrounding 
neighbourhood.  The  entertainment  was  excellent  in  every  respect, 
comprising  compositions  by  the  great  masters,  with  morceaux  of  a  more 
popular  kind,  while  the  executants,  vocal  and  instrumental,  numbered 
some  of  the  choicest  in  the  metropolis.  The  principal  vocalists  were 
MisH  Bassano,  Miss  M.  B.  Hawes,  Mr.  Novello,  and  Mr.  Lockey.  Mr. 
Vincent  Wallace  was  the  pianist  and  conductor.  Mr.  Jullian  Adams 
performed  on  the  patent  harmonium.  The  orchestra  was  principally 
composed  of  the  same  artists  and  amateurs  who  performed  with  so 
much  success  at  the  concerts  lately  given  by  the  Bristol  and  Clifton 
"Conservatoire  Musique"  society.  Mr.  Cooper's  concert  was  held 
under  the  most  distinguished  patronage,  including  among  its  supporters 
the  names  of  the  Duke  of  Beaufort,  the  Hon.  F.  H.  F.  Berkely.  M.  P., 
W.  Miles,  Esq.,  M.  P.,  the  High  Sheriff  and  the  Mayor,  together  with 
upwards  of  one  hundred  influential  residents  of  Bristol,  and  Bath,  and 
adjoining  places.  The  concert  opened  with  Beethoven's  overture  to 
Fidelio,  well  played  by  the  band,  though  not  altogether  faultlessly.  The 
performances  must  be  noticed  briefly.  Miss  Bassano,  Miss  Hawes,  and 
Mr.  Lockey  gave  a  very  pretty  trio,  by  Curschmann,  with  great  applause. 
Mr.  Lockey  sang  deliciously.  He  has  a  charming  tenor  voice,  and  is  in 
Immense  favour  with  us  here,  as  well  as  at  Bath.  We  have  not  for- 
gotten  the  impression  he  made  at  the  Birmingham  Festival.  The  chief 
feature  of  the  enteruinment  was  undoubtedly  Mr.  Vincent  Wallace's 
performance  on  the  pianoforte.  He  excited  great  interest  amonj^  the 
audience,  which  his  personal  appearance  enhanced  in  a  high  degree. 
His  playing  was  uproariously  applauded.  His  execution  is  very  brilliant 
and  precise,  and  he  possesses  a  style  at  once  bold  and  dashing,  which 
is  very  attractive.  The  "forte"  passages  exhibited  great  power  in  the 
executant,  while  the  "pianos"  were  managed  with  singular  grace  and 
dalicacy.  Mr.  Wallace  played  two  "fantasias  of  his  own  composition 
both  of  which  have  great  merit  as  works  for  the  pianoforte.  The 
"  Cracorienne  "  fantasia  is  certainly  one  of  the  most  striking  morceaux 
we  ever  heard  performed  in  a  concert  room.  Mr.  Jullian  Adams  bore 
away  immense  applause  by  his  performance  of  an  air  with  brilliant 
variations.  Mr  H.  C.  Cooper  was  very  effective  in  his  violin  ]>erfor- 
mances,  and  was  tremendously  cheered  in  a  solo  of  De  Beriot's.  We 
have  not  much  room  for  more.  The  singers  acquitted  themselves  in 
their  usual  mode  of  excellence,  and  the  concert  terminated  with  Weber's 
"  Jubilee"  overture.  Mr.  Vincent  Wallace  conducted  all  the  muaic,  and 
Mr.  H.  C.  Cooper  officiated  aa  leader. 


DR.  MENDELSSOHN'S  ORATORIO  ELIJAH. 

It  is  not  likely  that  our  readers  have  forgotten  the  triumph 
of  this  greatest  work  of  the  greatest  composer  now  living,  at  the 
Birmingham  Festival,  last  August.  Since  the  production  of  "  Sr. 
Paul,"  the  composer's  first  oratorio,  in  1836,  at  the  Rhenish  Trien. 
nial  Festival,  held  at  Dusseldorf,  no  single  work  of  any  modem 
author,  has  been  known  to  excite  to  much  curiosity  and  interest  as 
"  Elijah."    That  ••  St.  Paul"  wa.  •[fj^fff^^^ly'fetlJlb^l'e 


THE  MUSICAL  WORLD. 


257 


opinion  of  the  whole  musical  community'  had  long  before  testified 
The  lapse  of  ten  years,  however,  was  likely  to  have  produced  a 
considerable  change  in  the  style  of  the  composer,  who,  when  "  St. 
Paul,"  was  produced,'  was  only  twenty-six  years  of  age.  and  could 
hardly  be  presumed  to  have  arrived  at  the  meridian  of  his  intellect. 
This  was  reasonable,  and  '*  Elijah"  has  proved  it  to  be  true. 
Though  not  longer  than  **  St.  PaulV  the  new  oratorio  is  on  a  larger 
and  a  grander  scale.  The  movements  are  more  important  and 
more  carefully  developed.  To  outdo  "  St.  Paul"  in  loveliness  of 
melody  and  freshness  of  idea  were  impossible,  and  in  "  Elijah" 
there  is  nothing  impossible.  But  it  is  as  tte  offspring  of  ripe  ma- 
turity compared  with  the  issue  of  burning  and  aspiring  youth. 
Wisdom  has  perfected  what  Genius  had  long  ago  conceived.  Ge- 
nius is  ever  young,  but  it  is  not  in  the  exercise  of  all  its  functions 
notil  Experience  takes  it  by  the  hand,  and  points  out  the  path 
that  it  should  go. 

In  despite  of  the  immense  success  which  "  Elijah"  achieved  at 
Birmingham  last  Autumn,  Mendelssohn,  not  easily  pleased,  was 
unsatisfied  with  his  work,  and  has  employed  the  whole  of  his  time 
from  that  period  up  to  the  present  moment,  in  revising  and  per- 
fecting  the  score.  A  short  survey  of  the  pieces  that  have  been 
retouched,  in  a  more  or  less  degree,  may  not  prove  uninteresting  to 
our  readers. 

The  opening  recitative  of  "  Elijah."  "  As  God  the  Lord,"  and 
the  overture  which  immediately  follows  it,  remain  in  their  original 
form.  The  latter  part  of  the  chorus  of  the  people,  "  Help,  Lord  !'* 
has  been  re-written.  The  recitative  chorus,  *'  The  deeps  afford  no 
water,"  has  received  some  slight  alterations  at  the  close.  The  duei 
and  chorus,  *'  Lord,  bow  down  thine  ear  to  our  prayer,"  remains  as 
before.  The  recitative,  '*  Ye  people,"  and  the  air,  "  If  with  all 
your  hearts,"  has  received  some  trifling  emendations.  The  chorus, 
"  Yet  doth  the  Lord  see  it  not ;"  and  the  recitative  of  the  angel, 
"  Elijah,  get  thee  hence,"  remain  as  thev  were  originally.  The 
latter  part  of  the  double  quartet,  '*  For  He  shall  give  his  angels 
charge  over  thee,"  has  been  re- written  entirely.  The  recitative  ot 
the  angel,  '*  Now  Cherith's  brook  is  dried  up,"  has  been  sliehtly 
altered,  '^he  scene  between  the  widow  ana  Elijah,  in  which  the 
woman  prays  the  prophet  to  cure  her  sick  son,  and  the  prophet  con- ' 
senta,  has  been  entirely  recomposed,  although  the  prominent  fea- 
tures of  the  original  version  may  be  traced  throughout.  A  short 
duet,  for  the  widow  and  Elijah, "  Thou  shalt  love  the  Lord  thy 
God,"  has  been  added  to  this  scene,  and  the  improvement  is  manifest 
The  general  character  of  the  chorus  '*  Blessed  are  the  men  who 
fear  mm,"  remains  the  same,  but  it  has  been  rescored,  and  there  are 
several  important  emendations.  The  recitatives  and  choral 

responses  which  constitute  the  scene  between  Elijah,  Ahab,  and 
the  people  have  been  altered  in  some  particulars,  and  in  one 
point,  the  preparation  for  the  King's  entry,  we  think,  with  deference 
not  for  the  better.  In  the  superb  choruses  of  the  Baalite  priests 
and  the  intervening  recitatives  of  Elijah,  there  are  few  if  any 
changes — at  least  none  that  wc  could  observe.  Elijah's  recitative 
and  air,  "  Draw  near  all  ye  people"  has  been  altered  slightlv. 
The  quaitet  Corale  of  angels  <'  Cast  thy  burden  upon  the  Lora ' 
has  also  been  mended  iu  several  points,  and  the  words,  by 
Mr.  Bartholomew,  are  entirely  new.  Elijah's  recitative,  *<  O 
Thou,  who  makest  thine  angels ",  is  slightly  altered,  and  the 
chorus  of  the  people,  *'  The  fire  descends  from  heaven," 
has  been  modified  in  detail,  though  none  of  the  leading  points  arc 
changed.  Elijah's  recitative  ''  Take  all  the  prophets  of  Baal,"  and 
the  chorus  oF  the  people  to  the  same  words  remain  unchanged. 
Elijah's  air,  "Are  not  His  words  like  a  fire  V"  and  the  contralto  aii 
which  follows, "  Woe  unto  them,''  have  both  been  re-touched.  A 
recitativu  for  Obadiah,  '<  O  man  of  God,"  is  new.  The  scene  for 
Elijah,  the  people,  and  the  youth  who  goes  to  look  for  rain,  with 
the  stupendous  chorus  at  the  end,  **  Thanks  be  to  God,"  is  left 
precisely  as  it  was  before,  Mendelssohn  having  found  it  impossible 
to  imj^xoy^  perfection. 

In  the  ai  r  for  soprano.  *'  Hoar  ye  Israel,"  and  the  chorus  which 
follows,  "  Be  not  afraid,"  the  general  ideas  remain  as  before,  but 
aeveral  parts  are  reconstructed  and  some  are  wholly  new.  Elijah's 
recitative,  **  The  Lord  hath  exalted  thee,"  has  also  received  some 
slight  emendations.  The  scene  of  the  Queen  (Jezabel)  and  the 
people,  consisting  of  recitatives  and  choral  responses  has  been 
re- written^  throughout,  and  much  improved.    The  same  may  be 


said  of  the   chorus.     "Woe  to  him,"  which  follows.     Obadiah's 

recitative,  '*  Man  of  God,"  is  entirely  new,  while   the.  response  of 

Elijah,  *'  Though  stricken,"  remains  unaltered.     Elijah^s  air,  '*  It  is 

enough,"  has  been  re-composed  on  its  original  plan,  and  the  reel- 

tative,  *'  See  now  he  sleepetb,"  has  also    been  reconstructed.    The 

trio  for  angels,   *'  Lift  thine  eyes,"  was  originally  a  duet ;  in  its 

present  form  it  may  be  regarded  as  quite  new.     The  chorus  of 

angels,  ••  He,  watching  over  Israel,"  has  been  slightly  retouched. 

The  recitative  for  the  angel  and  Elijah,  commencing  with  the  words, 

<*  Arise  Elijah,"  has  been  re-written  entirely.     The  contralto  air, 

"  O  rest  in  the  Lord,'  remains  as  before.     The  chorus  "  He  that 

ahall   endure,"  ditto,   ditto.     The  recitative   for  Elijah    and   the 

angel,  beginning  "  Night   fuUeth  round  me,"    has  been  altered, 

and  the  awful  chorus,  **  Behold,  God  the  Lord  passed  by*'  has 

been  carefully  retouched.  A   recitative,  "  Above   him  stood  the 

seraphim,"  which  follows,    is    quite    new,  and  produces  a  very 

fine  effect.    The  quartet  and  chorus  of  angels,  ''  Holy,  holy,  holy," 

is  as  before.     A  recitative  chorus,  '*  Go  return  upon  thy  way,"  and 

Elijah's  response,  "  I  go  on  my  way,"  are  both  new.    'Elijah's  air, 

with  oboe  obligato,  "  For  the  mountains  shall  depart,"  has  been 

very  slightly  changed.     The  chorus,  *'  Thus  did  Elijah,'*  has  been 

retouched  in  several  places.     The  air  "  Then  shall  the  righteous" 

has  not  been  altered.     The  recitative,   "  Behold  God  hath  sent 

Elijah,"  and  the  subsequent  chorus,    "  But   the    Lord  from  the 

north,"  have  both  been  retouched  in  several  places.     The  quartet 

"  O  come  every  one  that  thirsteth"  remains  as  before.     The  final 

chorus,  "  And  then  shall  your  light  break  forth,"  consisting  of  an 

introduction  and  fugue,  are  entirely  new,  both  in  words  and  music, 

the  first  versiou  having  been  discarded.     We  shall  give  a  full  and 

succinct  account  of  the  performance  next  week, 

MISCELLANEOUS. 

Joseph  Joachim. — After  all,  we  have  got  this  great  viol- 
inist for  this  season.  He  arrived  on  Tuesday,  in  company 
with  Dr.  Mendelssohn,  his  friend  and  master.  We  trust  the 
Philharmonic  will  not  let  him  go  without  hearing  him  once 
more. 

Cerito,  St.  Leon,  and  Perrot. — The  choregraphic  stars 
of  Her  Majesty's  Theatre  are  beginning  to  shine  in  great 
number.  The  above  three  celebrities  arrived  in  London  on 
Tuesday, 

Vibuxtemps,  whose  recent  triumphs  at  St.  Petersburgh 
were  recorded  two  numbers  back,  is  expected  in  London 
to-day. 

Balfe. — In  eulogizing  the  readiness  with  which,  *^  /  due 
Foscari,  was  produced  at  Her  Majesty's  Theatre,  when 
L'  Elisir  d'Amore,  was  compelled  to  be  delayed,  owing  to  the 
indisposition  of  Lablache,  The  Times  of  Monday,  in  an 
admirably  written  article,  pays  a  just  tribute  to  the  m6rits  of 
Mr.  Balf6,  the  indefatigable  conductor.  The  writer  says,  that 
^*  To  be  in  such  a  state  of  forwardness  with  one  work  as  to 
produce  it  directly  the  chance  of  another  fails,  is  an  instance 
of  good  generalship  that  might  everywhere  be  imitated  with 
advantage.  Let  a  special  meed  of  praise  be  awarded  to  Mr. 
Balfe,  who,  at  the  shortest  notice,  was  able  to  summon  round 
him  all  the  persons  under  his  direction.  From  the  commence- 
ment of  the  present  season,  the  conduct  of  Mr.  Balfe  amii 
circumstances  of  unprecedented  difficulty,  has  been  distin- 
tinguished  by  an  ability  and  indefatigable  zeal,  perhaps 
without  parallel.  His  band  is  not  only  under  his  conduct, 
but  may  be  almost  said,  to  be  of  his  tuition."  This  is  nothing 
more  than  true,  and  nothing  less  than  just. 

Staubigl. — This  great  basso  has  arrived,  and  wiU  shortly 
appear  at  Her  Majesty's  Theatre,  with  Jenny  Lind. 

Madame  Clare  Hennelle. — This  clever  and  popular 
vocalist  will  arrive  in  London,  for  the  season,  oa  the  25th 
inst.  Her  success  in  Paris  during  the  winter  Las  been  un- 
usually brilliant.  She  has  frequently  sung  at  the  court  in 
presence  of  the  royal  family,  and  at  the  hest  cf  the  benefit 


268 


THE  MUSICAL  WORLD, 


concerts  her  Dame  has  figured  conspicuously.  Her  friends 
here  will  be  delighted  to  welcome  her  back,  for  few  in  ^ler 
calling  are  more  privately  respected,  and  probably  esteemed, 
than  Madame  Cl^re  Henn6lle.  She  will  be  accompanied  by 
her  charming  daughter,  Mdlle.  Blanche  Hennelle,  who  is  also, 
we  believe,  destined  for  the  musical  profession — in  which 
case  she  is  sure  of  success,  since  nature  has  been  prodigal  in 
her  favour. 

Mdllb.  Fakny  Ellsler  and  Mdlle.  Dumilatre,  the 
celebrated  danseuaes,  both  engaged  at  the  Royal  Italian  Opera, 
arrived  in  London  on  Wednesday. 

WiLMERS. — Another  pianist  of  this  name,  who,  if  report 
speak  not  false,  is  a  second  Leopold  de  Meyer,  is  going  to 
pay  London  a  visit  during  the  present  season. 

Thalberg. — This  popular  gentleman  has  decided  upon 
favoring  London  with  his  presence  during  this  most  eventful 
season.  What  all  the  pianists  that  are  coming  expect  to 
achieve  in  the  pecuniary  department  it  puzzles  us  to  guess. 
One  only  can  be  *'  lion  at  a  time." 

M.  Bezbth,  a  talented  violinist,  and  pupil  of  David,  has 
arrived  in  London  for  the  season. 

Mr.  Jones. — ^The  vocalist,  whose  successful  career,  in 
most  of  the  first  theatres  in  the  North  of  Italy,  we  have  from 
time  to  time  recorded,  has  returned  to  England,  after  an 
absence  of  nearly  three  years. 

JoLEs  ScHULOFF.— This  piaulst,  a  new  star  in  the  horizon 
o{ pianism,  will  shortly  arrive  in  London.  He  gave  his  last 
concert  in  Paris  on  the  20th.  M.  Schuloff  is  known  as  a 
composer  of  brilliant  morceaux^  which  have  achieved  very 
oonsiderable  popularity. 

Madame  Bishop  terminated  her  second  engagement  with 
Mrs.  Macready,  at  Bath,  on  Saturday  last.  The  success 
attendant  on  her  second  engagement  surpassed,  if  possible, 
that  of  her  first.  Madame  Bishop  left  Bath  on  Thursday,  for 
Dublin,  where  she  is  engaged  by  Mr.  Calcraft,  to  re-appear 
for  a  certain  number  of  nights.  The  fair  artiste  opens  on 
Monday  in  Norma,  and  repeats  afterwards,  Sonnamhula, 
The  Love  Spell,  and  Anne  Bolena,  and  will  also  perform  in 
Donizetti's  celebrated  opera,  Linda  di  Chamouni,  translated 
expressly  for  her.  This  opera,  one  of  the  author's  best,  has 
never  been  perfcurmed  on  the  English  stage. 

ADVERTISEMENTS. 


Warren's    20   Ghdnea   Cottage    Piano-Fortes 

f 


ARE  NOW  SELLING  AT  THB 

Manufactory^  71^  Leadenhall  Street 

(Removed  from  1  and  2,  Liverpool  Street,  Bishopsgate  Street,) 

These  iDstram^ts  are  well  manufactured  of  the  best  seasoned  wood,  FINE 
FULL  TONB  AND  GOOD  TOUCH.  A  two  years  warranty  given  with  each  instru- 
ment. ESTABLISHED  TWENTY-ONE  YEARS,  The  only  house  in  London 
where  a  good  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only).    ^iALL  PROFIT  AND  QUICK  RETURNS  I 

JOHN  WARaSN,  71,  XieadenliaU   t.,  opposite  Aldvate  Pomp. 


TO  AMATEURS  AND  PROFESSORS  OF  THE  VIOLIN. 
J,   STEWART'S 

REGISTERED  VIOLIN  AND  TENOR  HOLDER. 
J.   HART 

RetpectAiDy  inlbnns  Amatenn  and  Profenora  of  tbe  Tiottn  snd  Tenor,  tbat  Itt  if 


firsrviolinists  cJ 'the  c(mnVi7rwhoh'avc  acknowledged  its  superiority  by  adoptisf 
tbe  same,  conceiving  it  to  be  the  grand  desideratum  to  tbe  above  instruments, 
JUST  IMPORTED,  A  CASE  OF 

FINE    ROMAN    STRINGS, 

Of  which  a  fresh  supply  will  be  received  every  three  months. 

J.    HART'S 

Musical  InBtruBMnt  Warehouse,  14,  Princes. street,  Uoha, 

Where  may  be  seen  a  fine  collection  of  Cremona  and  other  Inntrunients,  com- 
prising Stradiuarius,  Ouamerius,  Amati,  and  other  celebrated  makers. 

DR.    STOLBBRG'8   VOICB   X.OZBNGB 

Is  acknowledged  as  the  best  specific  after  three  years*  trial,  for  impro^og 
the  voice  and  removing  all  affections  of  the  throat,  strongly  recommended  lo 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
thioats.  .  , 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop:—  .      *,. 

«*Deab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respectmg  tbe 
efficacy  of  Dr.  Stolbero's  celebrated  Lozenob  is  perfectly  true,  as  ye^^f- 
day,  feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  toolc 
several  of  the  Losenges,and  my  voice  was  very  clear,  and jny  »nroat  quite 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ^J?^^"*^?"*! 

Barclav  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyara ; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Chuichyard;  Sanger,  aiKl 
Dielrichsen  and  Hannay,  Oxford -street ;  and  retail  by  all  re^pfclable 
ChymisU  in  the  Kingdom. 

FEMALE 
AMERICAN     SERENAdERS. 

8T.     J  A  M  E  S's    ASSEMBLY      ROOMS, 

{Late  Crochford'e),  St,  JAMSS'e  STREET, 

Mesdames    CORA,  JUMBA,  WUSKI,  MIAMI,  VA^ICO, 

WOMBA,    and    ROSA, 

The  vounir  ladies  whose  immense  success  in  Manchester  has  been  made  a  ueme 

ot  eulogy  by  the  Provincial  and  Loudon  Press,  will  have  the  honotir  oT 

appearing  for  the 

FIRST     TIME     IN     LONDON, 

At  the  above-named  fttshionable  and  aristocratic  Establishment, 

Wednesday*  April  21,  1847- 

It  is  the  intention  of  these  accomplished  Dark  Ones  to  give  a  3erieg  of  Sob^ 
Mutlcale*,  Morninz  and  Evening ;  Morning  Performances  at  half-past  T«to 
o'clock.  Evening  at  half-past  Eight  o'clock.    Admissios  Half  »-Crown. 

THE    FEMAUS 

AMSRXCAN   8IRINABSR8, 

St,  James's  Assembly  Rooms,  St.  James's  Street* 

Messrs*  D'ALMAZNE  and  Oo«, 

SOHO  SQUARE, 
Have  the  honour  to  announce  that  they  are  the  Proprietors  of  aU  tbe 

MUSIC 

Sunir  by  the  Female  Amerlcaia  Serenaders, 

The  wh  ole  being  their  Copy ri|^  The  Sonffs  are  illustrated  by  caupualtdy  Wn- 
minated  portraits  of  the  Ladies  in  Gold  and  Cotours.  by  Mr-  Brandar^  to  be  hwl 
of  all  respectable  Music-seUers  in  the  United  Kine dom.  Family  Tickete  to  ad- 
mit Six  Half-a-Guinea,  to  be  had  of  Messrs.  D'ALMAINE.  The  ahigle  adais- 
aions  are  Half-a-Crown« 

BEETHOVEN    ROOMS/. 

76,  HAKLEY  STREET. 
This  suite  of  Rooms  have  just  been  superbly  decorated,  arranged,  ventilaled, 
and  adapted  for  chamber  music  and  musical  soirees  of  a  high  order,  with  an 
elegance  and  comfort  not  to  be  obtained  in  any  other  suite  of  rooms  m  London. 
They  have  been  chosen  during  the  last  two  seasons  by  the  Beethoven  Quartett 
Society,  tor  the  great  advantage  they  possess  over  all  concert  rooms  in  L^radon,  in 
consequence  of  the  music  room  being  so  situate  that  the  noise  of  the  street  can  in 
no  way  reach  it,  which  has  always  been  so  great  an  objection  in  other  places. 
For  terms  apply  to 
M.    JULLIEN,    ai4,    ifEGBNT    STRSVT.  _ . 

N.B.— These  rooms  having  been  arranged  expresslvfor  musical  puipoaea,  will 
only  be  let  for  soirees  musicales,  music  classes,  pitvate  eoirdes,  kctturea,  ftc 
being  unsuitable  for  loir^  dansantes,  or  dancing  academy. 


THE  MUSICAL  WOKLD. 


259 


ROYAL    ITALIAN     OPERA, 

COVENT        ^^^ 


GARDEN. 

The  Nobllitr,  Geotry,  and  Sabicriber*,  ure  regpecUUly  informed  that 

On  TUESDAV  NEXT,   APEIL   aOfh, 

WiU  be  perfiWDMd  tke  Open  of 

LA     SOHKAMBULA» 

The  principal  Characters  by 

MADAME    PERSIANI, 
MDLLE,     CORBAKI, 

(Her  flrtt  appearance  this  season). 

SIGNOR      MARIO, 

(Hia  first  appearance  this  sesson)»  and 

SIGNOR      TAMBURINI. 

To  conclnde  with  a  new  Ballet,  entitled 

tA    RIXNE    DES    FEES, 

In  which 

MDLLE.    DUMILATRE 

(Her  first  appearance  this  seaton), 

MDTsLE,    BADERNA   &   M.   PBTIPA 

.♦T^**^  ®£5^  *^^?^^  *°  ^  obUined  at  the  Box  office,  Bow-street ;  and 
gOwmenBeale,  and  Co.'s,  901,  Regent^treet,  The  doors  wiU  be  opened  at 
Ma^t,  and  the  performance  to  commence  at  half-past  Eight  o'clock. 


H  ISTORI  CAL       CONCERTS. 

EXETER  HALL. 

THE    COnrc;.UDING   CONCERT 

(Of  a  Series  of  Four) 

inwtratfi»  ^i  tiK  l^fototB  of  Cnglfeft  Focal  iWu»fc, 

Win  be  h^d  at  EXETER  WALL, 

OH    MOHDAT    BVBNINO^    APRII.    19th. 

r^^^S^^S^^^^f^^^'^^?^^^^^^  «»««»«  «>'  Atiwood,  Bishop, 
SiJS^  ^"KEfcJP' VS»  ^9^J!^  Russell,  Stevens,  Shield,  Smith,  Sttiace,  and 

Jebbe.       Prmdpd  Vo«l  Performers: Mrs.  W.    H.  Weiss,   Miss  Dolby, 

^S;J^^!S^\^^^^^A>^^  ^-  "•  Se«:iiin,  and  Mr.  J.  A.' NoveUo.  The 
Cboros will  consttt^opwards  of  600  members  of  Mr.  Hullslk*8  Upper  Singing 
wl22L'?i.2l^^'J^**??'  °i  '"'^-  ^»"y'"  ^"<^«rt  Band.  Tickcti-Area,  2s.l 
XSS!L^?i  ts6d.;  Reserved  Seats,  78.-may  be  had  of  Mr.  Parker) 
Publisher,  44f,  West  Strand ;  and  of  the  principal  mnsicseUers. 


WILSON'S      SCOTTISH     ENTERTAINMENTS. 

OH    MOlTD^f'   BVSVINa,   APBII.    19,    at   8    o'Cloek, 

MR.   WILSON 

will  give  his  ENTERTAINMENT,  entitled 
'•AN     HOUR     Wr     BURN6/' 

AT  THK 

MUSIC  HALL,  STORE  STREET, 
in  which  he  wiU  sing  a  selection  of  the  favourite  songs  of  the  poet  and  recite  the 
^llS^i5*^°*r^^^*"'  o»Sh«nter.    In  the  secondare,  M??w5wn  5mring 
^^I^^iTSS"^  under  m;r  Pladdie-The  first  rflast  of  the  Trumpet- We're 
a  noddm'— l^lochgomm.    Private  boxes  tor  six  penons,  15s. ;  tor  ^ht,  -ff  1. 


SACBBD    HABMONZC    SOCIETY, 

EXETER    HALL. 

On  FRIDAY  next,  AprU  the  ftdrA  and  O^th  1847, 

Will  be  Ferformed 
DR.      MENDEL.8eOHN'8      ORATORIO 

ELIJAH, 

I  r!iSf  *H»"«d  of,  except  a  limited  number  of  those  at  lOs.  6d.,  for  the 
land  SSth,  and  at  as.  lor  the  asth,  iiersons  desirous  or  attending  the  perfor- 


TkkeU  1 


Mr.Ries, 


*•  •'e  JJ«n»ted  to  make  immediate  application  to  the  prindoal  muMc-sd- 


MUSICAL    LIBRARY,   ORGAN,   AND    PIANO 

or  THK  £ATE 

JOHN  CAPEL,  Esq, 

MESSRS.    WZNSTANLEV 

ARE  INSTRUCTED  TO  SELL  BY  AUCTION. 

At  the  Reftidence,  No.  32,  Russell  Sqaare, 

ow 

MONDAY,    aoth    Of  APRIXi, 

A   FINE   TONED   ORCAN    BY   ALLENi 

Containing  10  Stops, 

A  84  OctaTe  Horisontal  GRAND  PIANOPORTSj  by  CoUard^ 

AND  THE 

VALUABLE   COLLECTION    OF   MUSIC, 

Including  a  fine  Copy  of  Marcellos'  Psalms,  the  Works  of  Handel,  Haydn,  Mo- 
zart, Beethoven,  Latrobe,  Dr.  Boyce,  and  others,  a  choice  selection  of  Glees  and 
Madrigals,  and  about  50  complete  Opens,  all  in  good  condition.  To  be  viewed 
on  Wednesday  aiid  Thursday,  asrd  and  a4th  inst.,  and  morning  of  Sale,  when 
Catalogues  may  be  obtained  at  the  Residence,  and  of  Messrs.  Winstaklkt, 
No.  10,  Paternoster  Row. 

MADAME  ANNA  BISHOP, 

Will  return  from  the  Provinces  to  London,  for  the  whole  season,  the  firti 
week  in  Afay.--ProfessionaI  applications,  directed  to 

No.    fi8,     ORSAT    QUEBN    8TRSST,    LXNOOXiN'S    tKU, 

will  be  attended  to. 


PIANOFORTES    CHEAP. 

The  Large  and  Valuable 
STOCK    OF     PIANOFORTES, 

Manufkctured  by 

IUDTTEI^    4    @®- 

Is  now  Selling  off  at 
4,  NEW  CAVBNDX8B  ST.,  PORTXJkND  PXJkOB,  IiONDON. 

IN  CONSBQUENCB  OF  A  DISSOLUTION  OF  PARTNERSHIP. 

The  Instramente  consisting  of  mahogaov  and  rosewood  grands,  semi-grandst 
cabinet,  cottage,  and  piccolos,  are  made  with  the  patent  soundinx-board,  metallic 
plate,  check  action,  and  alt  the  latest  improvements.  The  Pianofortes  made  by 
Zeiiter  and  Co.  have  always  enjoyed  a  preference  amon^  the  nobility  and  gentry, 
having  been  honoured  with  the  patronage  of  her  Msjesty  the  Queen,  the  Ducbe»s 
of  Sulherlsnd,  &c.  The  peculisr  construction  ot  the  sounding-board  insures 
their  srreater  durability,  and  the  firm  tone  is  well  known.  Parties  desirous  of 
poMessing  one  of  these  superior  instruments  may  now  purchase  the  same  on  very 
advantageous  terms.  Grands,  heretofore  from  130  to  145  guineas,  are  now  sell- 
ing at  50/*  to  70/.,  and  others  in  proportion.  The  premises,  No.  5,  have  been 
recently  closed. 


FAIR      COMPLEXION. 

Under  the  Patronage  of  the  Nobility  and  Gentry, 


ORIENTAL    BOTANICAL    PftEPARATION, 

For  removing  almost  instantaneously  cutaneous  eruptions,  ft-eckles,  pimples,  spots, 
and  other  discolorations  of  the  skin.  After  one  application  of  the  Botamc  Extract, 
which  must  be  used  twice  a  day,  a  wonderful  change  will  be  perceived,  and  in  the 
course  of  a  few  days  the  complexion  will  assume  a  beautifbi  transparent  roseate 
hue  appearance.  The  extract  to  apply  is  of  the  most  agreeable  nature,  and  the 
first  application  will  prove  its  wondernil  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

GEORGB  H.  J.  COCKBURN,  O,  Aldffate,  London; 

And  Barclay  and  Sons,  Farringdon^street,  London ;  in  bottles  at  aa.  9d.  and  46. 6d 
each;  also  by  Sanger.  150,  Oxford-street;  Keating,  St.  Paul's  (hurch  Yard; 
Johnson.  68,  Comhill:  Hannay  and  Co.,  63,  Oxford  street ;  Butler  and  Co.,  4, 
Cheapside ;  Edwards,  St.  Paul's  Churchyard ;  Prout,  229,  Strand ;  and  of  all  other 
ChemisU  and  Perlumera  in  the  kingdom. 

PIANOFORTES. 

Parties  in  want  of  a  really  good  PIANOFORTE,  at  a  moderate  price,  will  do  well 

to  call  at 

J.  C.  JONES  AND  CO.'a, 

a,  Hanway-street,  Oxford-street,  a  few  doors  on  the  right  fh)m  Tottenham-court- 
road,  whu,  from  their  intimate  acquaintance  with  every  kind  of  instrument  made, 
liave  endeavoured  to  combine  the  separate  good  qualities  of  each  with  all  the 
latest  improvements,  therefore  for  tone,  touch,  durability,  and  appearance  these 
Instrumenta  are  not  to  be  surnassed  at  the  price. 

Instrumeuta  tuned,  repaired,  exchanged,  and  lent  on  hire* 
Tuning  by  the  year,  one  gumea.    Second-hand  Pianos,  from  8  to  80  guineas. 


26(5 


THE  MUSICAL  WORLD. 


THOMAS    BAKER'S 

MODERN    PIANOFORTE   TUTOR. 

Has'tbe  honor  to  announce,  that  he  lias  just  published  the  above  work,  which 
he  flatt^s  himself  will  be  found  the  desideratum  so  long  souglit  after  by  the 

?rofe&iion.  Notwithstanding'  the  improvements  that  nave  taken  place  in 
ianoforte  Playing  within  the  last  ten  years,  no  deviation  has  been  made  in 
the  system  of  teachmg  from  Tutors  of  the  Old  School ;  in  consequence,  many 
gifted  with  brilliant  talents  have  been  unable  to  execute  the  music  of  the 
present  day.    For  this  reason  the 

MODERN    PIANOFORTE   TUTOR 

Has  been  introduced,  and  met  with  the  greatest  success  from  the  elite  of  the 
profession,  who  have  universally  adopted  it.  The  work  is  divided  into  two 
parts :  the  first  being  a  complete  Tutor  in  itself,  containing  the 

RUDIMENTS  OF  MUSIC, 
aftules  for  tibe  Jpomation  of  t^e  f^anto,  SbcaUs, 

FINGER    EXfiROISSS,    *e. 

Interspersed  with  Morceaux  from  the  works  of 

BeethOTen,  Mosart^  Spolur,  Weber,  Meyerbeer,  Rpeh*Albert, 

Rossini,  Bellini,  Donisetti,  Arc— Price  8s. 

The  second  part  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
the  most  refined  style  of  Modem  Playing  ; 

ninstrated  with  nnmerous  Examples  Sl  Exercises^ 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Pianistes  of  the 
MoDBRN  School  :  with  Selections  fron^  the  Pianoforte  Compositions  of 
Herz,  Dohler,  Thalbero,  &C. ;  in  fact,  everything  necessary  to  constitute 
a  first-rate  Pianist    Price  88.,  or  158.  the  entire  work. 

PubliBhed  by  M.  JUL1.IEN  &  Co., 

AT  THE  ROYAL  MUSICAL.  CONSERVATORY, 

214,  REGENT  STREET,  and  45,  KING  STREET, 
Where  all  the  Compositions  of  the  above  Author  may  be  had.  . 

JULLIEN'S  ALBUM  for  1847. 

M.  JvLLiEN  hat  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSICAL     ANNUAL    FOR    IS47 

Is  now  PuMished,  and  will  be  found  by  far  the  best  work  of  the  kind  that 
has  ev9T  appeared  ;  containing  no  less  than 

Thirty  Pieces  of  Vocal  and  Fourteen  of  Inatmmental  Kosle, 

The  greater  part^  which  have  never  before  been  published,  the  copyrights 
having  been  purchM^d  expressly  for  thisVork,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  bus  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  taken  during  the  brilliant  scene  exhibited  in  that 
splendid  arena  of  the  occasion  of  M.JULLI  EN'S  GRAND  BAL  MASQUE; 
theotheraVIEW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
CERTS,  the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  life-like  and  elegant.  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  the  admired  Pas,  La  Castigliani.  An  original  subject, 
**  The  Fortune  Teller,"  illustrating  Baker'i  beautiful  ballad  of  that  name. 

The  whole  of  this  department  of  the.  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRAN  DA  RO,  Esq.,  whose  pencil  only  has  been 
emploved  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
vast  Muperiorily  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributors,  where  will   be  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  addition  to  tne  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  contains  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c.,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Continental  diletanti.    Price  18s.  and  £1  Is. 

ROYAL   CONSERVATORY   OF    MUSIC, 

214,  Regent-Stbeet,  and  45,  Kinq-Stkeet. 


SOVfiRKIGItf 


No.  5,  St.  JAMES'S  STREET,  LONDON. 


T^nuUit* 


Sir  A.  Brydges  Henntker,  Bart. 
B.  Bond  Cabbell,  Esq.,  M.P. 

IHrtdan, 
Chairman,  Lieutenant  Colonel  Lord 

Arthur  Lennox. 
Deputy-Chairman,  T.  C.  Granger, 

EAq.,  M.P. 
John  Aihburrier.  Esu.,  M.D. 
T.  M.  B.  Batard,  Esq. 
Philip  P.  Blyth,  Esq. 


Henry  Pownall,  Eaq. 
Claude  Edward  Scott,  Eaq. 

Henry  Broadwood,  Esq.,  M.P. 
Sir  James  Carmichael,  liart. 
Ctiarles  Karebrotber,  Esq.,  Alderman* 
William  Tultoh  Fraser,  Esq. 
John  Gardiner,  Esq. 
Aaron  Asher  Goldsmid,  Esq. 
Henry  William  Pownall,  Esq. 
Bankers.  Sir  Clande  Scott,  Bart.,  and  Co. 
Solicitors,  Messrs.  Davies,  Son,  and  Campbell. 
Assurances  on  the  lives  of  persons  in  every  station  of  life  and  every  part  of  the 
world,  ifranted  on  a  plan  which  combines  the  utmost  amount  of  tienefit  to  the 
families  ot  the  assured  at  deaths  with  every  attainable  advantage  during  U/t, 
which  the  system  of  Life  Assurance  is  capable  of  affording. 

It  affbrds  perfect  security  in  a  subscribed  Capital,  which  guarantees  the  prompt 
settlement  of  every  claim,  wi|h  participating  and  non. participating  rates  on  the 
lowest  scale,  especially  for  terms  of  years. 

The  Assured  can  anticipate  or  obtain  tbe  advance  of  the  full  amount  of  the 
Policy,  on  giving  approvrd  available  security  for  a  certain  number  ot  annual 
payments,  as  explained  by  the  Pl-ospectus. 

Every  facility  is  affbrd^d  to  persons  assuring  the  lives  of  others,  so  as  to  render 
such  Policies  effectual  securities. 

A  new  plan  of  gradual  or  accumulative  Assurance,  particidariy  adapted  for 
young  lives,  and  for  such  as  cannot,  without  inconvenience,  undertake  the 
payment  of  a  fixed  premium,  secorinj^  at  once  provision  in  case  of  premature 
death,  and  an  accumulating  fund,  available  during  life,  should  occasion  require. 
Annuities,  Endowments,  Advances,  ond.  Loans,  on  Uberal  terms. 
Detsiled  Prospectuses,  with  forms  of  Proposal,  and  every  information,  may  be 
had  on  application,  either  personally  or  by  letter,  at  the  Company's  Offices. 
The  usual  commission  to  Solicitors  and  Agents. 

H.  D.  PAVKifi*oBT,  BtcrMmjf, 


THE  PATENT  HAHMOSIUM. 


This  beautiful  Instrument  possesses  the  softness  of  the  voice  with  the  variety  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Organ.  It  is  ttiually 
suitable  forflacred  Music,  or  the  Dance,  and  adapted  for  the  Drawing  Room, 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lurr  and 
Son,  sole  agents,  where  the  PATENT  HARMONIUM  can  be  heard  from  10  till  4, 
daily;  and  where  can  be  inspected 

LIFF  k  SOX'S 
.    Elegant  Aftsortment  of  PIANOFORTES^ 

Made  by  experienced  workmen,  and  thorooglily  seasoned  wood,  all  of  which  Is 
prepared  .on  the  premises.    Tney  are  warranttnl  to  stand  well  in  Tune,  and  ae 
prepared  for  extreme  climates:  prices  one-third  less  than  usually  charged. 
Instruments  taken  in  exchange,  and  a  liberal  allowance  to  dealers. 
LUF^  and  SON,  103,  <}reat  RiuiseU  Street,  Bloonusbvrr. 


N.B.— The  terms  of  Mr.  JULIAN  ADAMS,  the  eelebrated 
performer  upon  the  Patent  Harmonium,  can  be  had  of  WW 

and  SON. 

Fribted  and  Publishe.1,  for  the  Proprietors,  at  the  "Nassau  Steam  Press,** 
by  AViLLiAM  SpBNcsa  Johnson,  60,  St.  Martin's  Lane,  in  the  ransh  of  St. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex ;  where  all  communications 
for  the  Editor  are  to  be  addressed  post  paid.  To  be  had  of  G.  Pnrkess,  Dean 
Struct,  Sobo ;  Stransre.  Paternoster  Row ;  Wisebeart,  Dublin;  and  all  BookaeUtrs* 

-Saturday,  April  17th,  1847.  Digitized  by  \^OOQ  It: 


(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Tsmii  of  Siibscri^tlim,  |i«r  Anavm,  16s.  Stamped ;  Ifis.  Unstamped  j  to  bo  forw«rded  by  Money  Order  or  Pootatfo  0tampo 
to  the  PubUober,  W.  8.  Jobnson,  ''Nassau  Steam  Press/'  OO,  St.  Martin's  Lane,  Obarln*  Orossi 
it^Aannal  Sabserlbero  only  (wbose  names  are  registered  at  the  Ofice)  are  entitled  to  an  Admtoaion  to  the  Oonoort,  audi 

a  Pieee  of  Musie^  (reirnlsr  Mnsio  sise)  Monthly. 


Na  17.u-TobXXn. 


SATURDAY,  APRIL  24,  1847. 


{ 


STAMPED,  FOUBPENCB. 


TO   OUR    R  CADERS. 

Ammal  SmbseribtTtwho^e  mmei  are  entered  in  the  Booh  at  our 
Ojfieef  and  whose  Subscriptions  are  paid  in  advance  to  Christmas 
nextt  are  At^anm  entitUd.to  aji  Admission  th j^the  farthcominff 
jbumal  Concert. 

A  detaiied  amd,  elaborate  amfftis  of  Mendsissohris  Eujah, 
from  ths  pen  of  the  Editor,  is  prmaring^  and  wiU  appear  next 
W0tk  IN   AN    ENLARGED    NUMBER   of  the  *<  Musical 

WOKLD," 

HARMONIA* 

I  HAP.  I. 

Thb&s  are  many  apostles  of  Falsehood,  bat  Trath  is  in 
'want  of  disciples.  The  lies  that  are  begotten  by  the  apostles 
of  Adsohobd  upon  the  bodies  of  Sophistry  and  Coiruption 
arei  so  nomeroas  that  the  heavens  are  darkened  by  them;  But 
Truth  shines  behind,  like  the  sun,  and  it  is  for  her  worshippers 
to  make  war  against  the  locust  host  of  lies,  and  dispersing 
them,  let  the  world  behold  the  full  glory  of  the  light  they 
have  for  a  while  obscjired.  We,  as  the  humblest  of  Truth's 
'&e^lles  shall  draw  swori  in.  tho  cause,  and  fight  her 
battles  against  her  enemies.  What  we  shall  say  will  offend 
many  and  hurt,  some ;  but  Truth  is  vital  to  the  health  of  art, 
and  the  interests  of  private  individu^s  are  as  dust  in  the 
balance. 

Lord  Bacon,  the.  wisest  of  philosophers,  in  his  golden  book, 
exclaims  against  the  idola  that  blind  the  eye  of  men's  judg- 
ments and  prevent  their  beholding  Truth  naked.  The  idola 
are  the  prejudiCeSj  which  are  bom  of  various  parents.  It  is 
for  those  who  would  behold  the  face  of  Truth,  and  make  it 
glorious  to  mankind,  to  wage  war  against  them  and  destroy 
them  utterly. '  They  are  stubborn  enemies  of  progress  ;  the 
poisonous  sophists  that  distort  and  vilify.  UntU  they  are 
swept  away,  the .  mind  cannot  comprehend  a  simple  pro- 
position. Let  it  be  then  our  task  to  uproot  them  from  the 
soil  they  render  sterile  ;  let  it  be  for  us  to  cast  tham  into  the 
fire,  until  they  be  consumed  and  stench  the  air  no  more. 
Like  good  husbandmen,  we  must  weed  the  pastures,  or  they 
will  not  bear  fruit. 

The  art  of  music  is  but  a  type  of  other  arts.  Its  growth 
is  fostered  or  stunted  by  favourable  or  adverse  circumstances. 
But  it  is  the  youngest  of  the  arts.  There  is  yet  tim6  to  save 
it  from  corruption.  From  examples  in  the  history  of  other 
arts  we  may  know  what  to  do,  and  what  to  eschew.  Let  us 
then  study  them  and  profit. 

first,  the  professors  of  music  should  be  brought  up  in  the 
eternal  principles  that  apply  to  all  art.  Next,  the  taste  of 
the  laity  should  be  educated.  If  an  artist  do  well  and  yet 
be  not  appreciated,  it  is  an  injury  to  art.  If  he  do  not  well 
and  yet  be  favoured,  it  is  an  injury  to  art.  But,  if  when  he 
does  well  be  be.  encouraged,  and  when  he  does  ill  he  be  ad- 


monished, it  is  a  glory  for  art.  .  To  promote  this  end,  for  the 
sake  of  art,  should  be  the  aim  of  all  criticism ;  but,  to 
promote  it  requires  certain  learning  and  endowments  that  not 
many  critics  possess,  and,  indeed,  at  the  present  time,  scarcely 
any.  We  shall  not,  by  a  process  of  logical  ratiocination,  en- 
labor  to  give  the  reason  of  this  deficiency,  but  shall 
endeavour  to  make  it  appear  as  if  it  were  ai^  inevitable 
consequence  of  the  facts  that  we  adduce,  and  the  obsenratioQs 
we  shall  make  upon  them. 

It  will  be  said  that  we  make  over-much  of  mufic,  and  mag- 
nify its  importance.  But  this  will  be  an  enor ;  for,  thou^ 
music,  like  history,  be  not  a  matter  of  miyiificeace  and 
memory,  like  poetry,  it  is  a  matter  of  Jd^nemeot  and 
aspiration.  Shelley,  tl^e  poet,  has  said,  that  ^'  Foetsare  the 
unacknowledged  legislators  of  the  world."  .  Translate  his 
meaning  largely,  and  he  is  right;  he  speaks  of  all  poets,  no 
matter  what  their  medium  of  expression.  jPoetry  ajid  music 
address  themselves  to  the  intellect  through  tho  medium  of  tke 
ear;  painting,  sculpture,  architecture,  throu^^  the  jfj^mHtiiBn  of 
the  eye.  There  is  no  art  that  addresses  itself  to  liseiBMHl 
through  the  organs  of  taste,  or  feeling,  or  smelling ;  therefore 
are  the  organs  of  hearing  and  seeing  the  greatest,  and  most 
magnanimous  of  the  senses ;  and  the  ear  and  the  eye  may  be 
likened  to  carriers  that  bear  the  mind  its  food  and  riches  ;  and, 
according  to  the  manner  of  its  nourishment  and  clothing  is  the 
health  or  sickness  of  the  mind.  The  important  office  of  these 
carriers  cannot  be  over  estimated  ;  on  them  depend  refinement 
and  wisdom,  and  according  to  their  burden  is  a  man  a  barbar- 
ian or  a  civilian  in  the  universal  meaning.  Therefore  Shelley's 
apothegm  should  be  written  in  gold,  and  inscribed  upon  the 
Temple  of  Truth :— <'  Poets  are  the  unacknowledged  legisla- 
of  the  world."    These  are  the  words  of  an  oracle; 

Would  the  world  be  better,  or  worse  had  Mozart,  Handel, 
Beethoven,  never  lived  ?  This  questiqn  has  been  often  asked 
but  never  answered.  I  say  the  world  would  have  been  much 
worse  for  the  want  of  them.  For  the  mind,  when  con- 
templating sublime  images,  is  admonished  of  its  immortality. 
That  which  is  body  can  corrupt  and  perish,  but  that  which 
is  ideal  cannot  be  effaced  ;  its  style  is  not  of  earth  but  of 
heavMi;  not  of  the  finite  but  of  the  infinite.  In  listening  to 
the  divine  music  of  these  mighty  poets  we  are  walking  with 
them  in  the  country  of  the  infinite.  Their  inspiration  is  from 
God»  and  is  a  proof  that  man  is  not  as  the  cattle ;  for,  if  man's 
mind  can  comprehend  what  is  inspiration  it  can  embrace  the 
enigma  of  imperishability.  Apd,  surely,  that  which  makes  us 
feel  and  know  we  are  immortal  is  of  the  highest  consequence. 
Of  how  great  import  is  it  then  that  art  should  be  rid  of  all  that 
clogs  its  wings  and  prevents  its  flight  upward,  that  it  be  not^ 
as  the  soul  in  a  weak  body,  or  as  the  fingers  on  a  defective  in- 
strument, unable  to  declare  the  hand  that  has  enforced  it. 


Digitized  by  \^OOy  ItT 


262 


THE  MUSICAL  WORLD. 


The  ff^ffeet  accompltshlttents  of  art  are  the  endeavours  of  tjie 
immortal  spirit  to  fly  up  to  the  anima  mundi  of  which  it  is  a 
part.  Spinoza,  in  forgetting  art,  left  out  what  would  have 
made  his  ethics  perfect.  He  overlooked  the  link  that  hinds 
the  finite  to  the  infinite.  For,  in  so  much  as  mathematics  is 
tangihle  and  finite,  is  it  inferior  to  art  which  is  intangihle 
and  infinite.  Mathematics  is  the  symhol  for  all  that  man  can 
seemingly  reduce  to  elements  and  know  entirely,  hut  art  is 
the  symbol  of  what  he  desires  to  know  and  cannot,  being 
human.  One  is  the  earth  we  tread  upon,  the  other  the 
heaven  we  aspire  to*  In  one  we  walk  step  hy  step,  in  the 
other  we  traverse  houndless  space  in  an  instant.  Reason  has 
harriers,  imagination  none. 

(To  be  continued,) 

TAMBURINh 

We  have  seldom,  if  ever,  experienced  a  feeling  of  deeper 
disappointment,  than  at  the  coldness  evinced  towards  Tam- 
burini  hy  the  press,  in  their  criticisms  on  his  first  and  second 
performances.  Had  this  artist  lost  half  his  voice,  he  should 
still  have  lived  in  our  memory  as  one  of  the  greatest  favorites 
that  ever  won  praise  from  an  English  audience,  and  worthy 
of  higher  homage  fi'om  our  critics  than  that  demi-eulogy  which 
courtesy  demands  for  the  most  ordinary  first  appearance. 
Tamburini  left  London  four  years  ago,  in  the  zenith  of 
his  reputation ;  he  has  since  been  engaged  at  St.  Petershnrgh, 
and  in  other  continental  towns,  where  his  successes  have  heen 
great.  In  Berlin,  the  year  hefore  last,  his  performances 
caused  an  unusual  sensation.  During  Fomasari*8  engage- 
ment at  Her  Majesty's  Theatre,  certain  of  the  I^ondon 
journals,  ourselves  among  others,  perceiving  the  incompetency 
of  that  singer,  called  for  Tamburini  to  supply  his  place. 
Fornasari  was  immoveable,  and  the  Morning  Posit  gave  out 
that  Tamburini  had  lost  his  voice,  and  was  growing  old. 
Did  the  Morning  Post  ever  hint  at  Lablache  growing  old  ? 
No— but  were  the  artists  to  change  places  to-morrow, 
Lablache,  with  the  Morning  Post,  would  be  too  old  to  play 
Me^husalem,  while  Tamburini  would  be  more  youthful  and 
powerful  than  ever,  with  his  lungs  purified  and  invigorated 
by  the  Scandinavian  hree^/es,  which  did  not  injure  CasteUan. 
But  facts  are  stubborn  things,  and  here  are  a  few  which  may 
perhaps  make  the  critic  look  a  little  foolish.  Tamhurini 
was  bom  in  th6  year  1800.  Donzelli  was  fifty  the  first 
year  he  came  to  London.  Ambmgetti  was  older  than 
Tamburini  is  now,  when  he  appeared  at  the  King's 
Theatre,  Ruhini  was  four  years  older  than  Tamhurini 
when  he  left  the  stage,  and  who  could  say  he  had  lost 
his  voice?  But  whether  Tamburini,  horn  in  1800,  he  old  or 
young,  it  matters  little  as  long  as  a  fart  of  more  importance  is 
before  us,  which  simply  is,  that  Tamburini  has  not  lost  his 
voice  at  all,  M'e  seldom  remember  bavins:  heard  him 
sing  better  than  on  Thursday  night,  in  the  second  representa- 
tion of  Semiramide.  Assur  is  one  of  the  most  arduous  parts, 
vocally  speaking,  that  could  be  undertaken  by  a  barytone. 
The  music  is  high  for  this  class  of  singers,  and  the  part  is 
long  and  trying;  nevertheless,  the  artift  was  as  capable 
and  e^ctive  a^  ever ;  his  intonation  was  faultless,  and  the 
manner  in  which  he  dtlivered  his  opening  recitative,  showed 
him  equal  to  himself  in  hi«  best  days.  Now,  viewing  all 
these  things  under  one  light,  perceiving  that  no  welcome 
could  he  accorded  too  heartily  to  so  old  and  honored 
a  favorite,  that  no  too  great  leniency  could  he  shown  to  the 
once  supreme  artist,  even  had  ail  his  power  left  him,  witnessing 
his  uproarious  reception,  witnetoing  the  delight  of  the  audience, 
we  were  not  a  little  astonished  to  find  the  great  artist,  the 


great  IkvQritei  who,  on  the  opera  hoards,  should  have  been  as 
welcome  as  an  old  friend  at  a  feast,  overlooked,  or  treated  with 
no  more  consideration  by  some  of  our  cotemporaries  than  if  he 
were  a  third-rate  singer,  who  was  making  biB  debut.  Verily 
this  passeth  understanding. 

THE  BEETHOVEN  QUARTET  90QIETY. 

The  third  meeting  on  Monday  night  attracted  a  large 
audience  to  the  Beethoven  Rooms.  The  appearance  of 
Joseph  Joachim  among  the  executants  brought  back  old 
associations ;  and  the  odour  of  the  lately  applied  white-wash 
having  fied,  on  the  wings  of  the  wind,  to  its  home  among  the 
tertiary  deposits,  everything  felt  more  comfortable,  looked 
more  comfortable,  and  smelt  more  comfortable.  And  now 
for  the  programme,  which  friend  Rousselot  had  provided  for 
his  guests.     It  was  as  under : — 


Qii«rtet 

in 

C  minor, 

No. 

4, 

Op. 

18. 

Quartet 

in 

Eflar, 

No. 

10, 

Op. 

74. 

Quwrtet 

hi 

A  minor, 

No. 

lfl» 

Op. 

138. 

Thus  the  three  periods  of  the  great  composer*s  life,  a,nd  the 
three  phases  of  his  style,  were  illustrated  according  to  the 
excellent  plan  laid  down  by  the  originators  of  the  society. 
The  C  minor  quartet  was  composed  in  1791,  and  dedicated 
to  the  Prince  Lichnowsky,  who  was  lucky  in  having  his 
name  perpetuated  by  association  with  so  many  master- pieces. 
It  was  played  by  Joseph  Joachim,  Sainton,  Hill,  and  Rous- 
selot. The  E  fiat  quartet  was  composed  about  18l3— the 
precise  epoch  not  exactly  known— and  appears  to  have  been 
dedicated  to  nobody,  which  was  a  great  compliment  to  the 
world  at  large.  This  was  performed  by  Saintoui  Joseph 
Joachim,  Hill,  and  Rousselot.  The  A  minor  quartet  was 
composed  in  1825-6,  and  dedicated  to  the  Prince  Gaiitziui 
who,  as  we  have  already  hinted,  was  a  zealous  amateur,  but 
a  sorry  patron.  It  was  executed  by  Joseph  Joachim,  Sainton, 
Hill,  and  Rousselot.  Whereby  it  will  be  perceived  that 
Joachim  led  the  first  and  third,  and  Sainton  the  second. 

It  was  worth  going  twenty  miles  on  foot  to  hear  little 
Joachim  play  the  first,  and  one  hundred  to  hear  him  play  the 
last  quartet.  All  those  qualities  which  we  had  to  commend 
in  his  style  and  mechanism  three  years  ago,  have  now  ripened 
into  maturity ;  and  where  before  we  had  the  precocious  wonder 
we  have  now  the  accomplished  master.  Who  knows  if  the 
diadem  of  Paganini  be  not  endangered  by  this  boy  of  seven- 
teen summers  ?  We  see  it,  as  it  were  in  a  vision,  tottering 
on  his  brow ! 

Sainton  was  admirable  in  his  quartet,— the  second,  in  which 
HilPs  tenor  variation  in  the  andante,  and  Rousselot*s  violon- 
cello bit  in  the  scherzo,  were  highly  relished  by  the  amateurs. 
The  performance  was  altogether  delightful.  At  the  next 
meeting  four  quartets  will  be  piven  : — Nos.  2,  6,  11,  and  17. 
The  zealous  efforts  of  M.  Rousselot  are  likely  to  preserve  the 
status  of  the  Beethoven  Quartet  Society  in  all  its  original 
dignity.  Vieuxtemps,  who  has  arrived  in  London,  will 
doubtless  be  heard  at  the  next  meeting,  or  the  one  imme- 
diately following,  in  case  that  Joachim  be  engaged  for  two. 


MUSIC  AT  MANCHESTER. 

(From  our  CorrM/tOndent.) 
Hakorbavss  Choral  Soci»rTT.— Mendblsbohn's  ' BUJah.'— Our 
Free  Trade  Hall,  to  recently  the  scene  o<  Jiillien's  triumphs,  with  Herr 
Pi»chek,  ft  -.,  was  last  night  the  scene  of  a  much  more  brillinnt  triumph 
—the  triumph  ot  musical  genius  of  the  highest  order  — Jullii-n  is  a  great 
man  in  his  meiier,  but  all  his  greatest  achievements— all  his  elabOimte 
conducting— great  a  star  ts  he  is  amoogst  us  when  he  comes  to  gift  tlie 

Digitized  by  V^OOy  ItT 


THE  MUSICAL  WORLD. 


268 


cheering  influence  of  h»  musical  light,  that  star  pales  before  Kuch  as 
ahone  resplendent  last  night  in  the  presiding  genius  of  Mendelssohn  I 
Never  was  Hargreaves  Concert  so  attended  before  1  every  bench,  every 
seat  in  that  vast  ball  bad  its  occupant  long  before  seven  o'clock,  and 
numbers  ha<)  to  stand  the  whole  evening.  We  never  remember  to  have 
10  many  of  our  leading  families  present  at  any  former  concert  ot  this 
Society ;  indeed  we  learn,  that  at  the  eleventh  hour,  many  have  paid  a 
whole  season's  subscription  for  the  sake  of  obtainmg  the  usual  number 
of  three  tickets,  to  which  each  subscriber  is  entitle«l,  so  eager  were  they 
to  be  present  at  the  first  performance,to  a  Manrhester  audience,  of  Men- 
deU  ohn*s  latest  and  lereatest  work,  '  Elijah.'  The  Hail  was  literally 
crammeit  «ith  beaming,  >et  eager  and  expectant  faces,  when  Dr.  Men- 
delssohn made  his  bow  to  them,  precisely  at  seven  o'clock,  and  his  ap- 
pearance was  greeted  with  two  distinct  and  hearty  rounds  of  applause. 
We  shall  not  attempt  to  give  any  analysis  of  the  work,  or  to  criticise 
every  portion  of  the  performance— you  will  have  to  review  the  compo- 
sition in  criticism  on  some  of  its  performances  at  Exeter  Hall— so  that 
duty  will  be  undertaken  by  more  efficient  and  competent  hands ;  suffice 
it  if  we  give  you  a  general  idea  of  the  stylf  of  its  production  here,  and 
of  its  complete  and  satisfactory  success.  We  must,  before  doing  so.  pay 
a  tribute  of  gratitude  to  Mr.  Surman,  of  Exeter  Hall,  to  whose  perseve- 
ring kindness  and  assistance  the  committee  of  the  Hargreave  are  deeply 
indebted ;  and  but  for  which,  *  Elijah'  would  not  have  been  produced  in 
the  way  it  has  been  if  indeed,  its  performance  had  not  altogether  l>r«iken 
down.  We  are  told  that  the  band  parts  liad  never  been  sent  down  by 
the  publishers  up  to  Friday  Ust,  and  after  the  performance  of  the  oratorio, 
on  that  evening,  at  Exeter  Hall,  Mr.  Surman  packed  up  the  orchestral 
parts  u»ed  on  that  occasion,  and  brought  them  himself  to  Manchester; 
thus  enabling  the  band  to  have  a  first  reheaisal  ou  Saturday  evening 
only;  they  had  a  second  on  Monday  evening,  conducted  by  Mendelssohn 
himself,  when  the  overture  and  all  the  chorusaes  were  rehearsed ;  a  further 
abort  rehearsal  ol  band  and  princii^als  took  place  oii  the  morning  of  the 
concert.  This  was  all  the  preparation  the  band  had,  or  could  have,  for 
want  of  the  music ;  the  choir  had  been  pretty  well  drilled  twice  a  week, 
for  the  last  three  weeks,  by  our  indefatigable  conductor,  Mr.  John  Wad- 
dington,  the  chorus  part  having  by  degrees  been  furnished  by  Messrs. 
Ewer  &  Co. 

The  principal  singers  were  the  same  b9  at  Exeter  Hall,  and  were  on 
that  acccunt,  well  up  In  their  parts— they  were  all  perfect— four  better 
singers,  or  four  voices  better  adapted  to  the  muaic  allotted  to  them,  than 
Miss  Birch,  Miss  Dolby,  Mr.  Lockey,  and,  tho'  last  not  least,  Mr.  H. 
miillips,  could  not  have  been  seeured.    Mr.  H.  Phillips's  fine  conception, 
and  dramatic  delivery,  of  all  the  arduous  part  of  the  '  Prophet  Eiyah,' 
tended  qo  little  to  the  success  and  appreciation  of  the  work ;  then  Miss 
Birch's  beautiful  voice^ clear,  briUiajit,  and  musical  in  its  loftiest  flight 
-—was  ftU  that  could  be  desired  m  the  soprani  solos.    Miss  Dolby  de- 
lighted every  body  by  her  quiet,  chaste  style,  and  her  deep  tones  were  as 
heartfelt  as  any  that  have  been  heard  here  for  some  time.    She  has 
evidently  never  been  done  justice  to  before  in  Manchester.    Mr.  Lockey 
was  already  a  favourite,  and  is  vasdy  improved  since  he  was  here  before 
— he  gave  all  he  had  to  do  with  good  taste,  and  produced  quite  a  sensa- 
tion.   After  all,  Mendelsshon  was  the  great  card,  to  have  got  up  such  a 
work — in  the  presence  ot  its  author — in  the  full  zenith  of  bis  powers — 
and  of  his  fsme,  which  fills  all  Europe,  is  no  slight  honour  to  the  Har- 
greaves Choral  Society.    For  years  to  come,  the  concert  of  Tuesday 
night  will  be  looked  back  upon  with  the  most  delightful  reminiscences  by 
hundreds.    The  cpening  recitative  and  overture  were  a  most  effective 
beginning,  in  fact  all  went  smoothly ;   at  limes  there  were  little  t  its  of 
great  beauty,  that  can  be/<<^  but  not  described,  too  short  to  be  specially 
418  inguished  in  the  usual  way  by  a  buist  of  applause  or  an  encore,  but 
dispersed  t through  the  entite  woik.    Many  of  the  gems  would  have  been 
encored  no  doubt,  but  from  the  continuance  of  the  natiire  of  the  per- 
formance, no  sooner  is  the  choruit  or  the  air  flnlahed,  which  has  so 
delighted  you,  than  another  hps  commenced  and  is  going  on  with  new 
beauties,  beloie  you  have  rime  to  think  about  it,  else  how  much  should 
we  have  liked  to  have  heard  repeated  the  air  by  Mr.  Lockey,  "  U  with 
ftU  your  hearts,"  the  beautiful  double  quarteit,  "For  he  shall  give  his 
•ngels,"  which  was  admirably  done;  five  resident  vocalists.  Misses  Ken* 
iMths,  Messrs.  Clough,  Sheldrict>,  and  James  Isserwood,  taking  part  in  it 
with  Misses  Birch  and  Dolby,  and  Mr   Lockey ;  but  for  their  length  we 
would  have  cricorecl  if  we  could,  every  one  of  the  little  episodes,  the 
Btory  in  each  is  so  closely  adhered  to,  the  music  so  dramatic  and  descrip- 
tive; the  first  betwixt  the  widow  and  El^ah,  with  the  lestoratton  of  her 
aon ;  the  second,  Elijah  and  the  Barlites,  in  which  we  must  confess  there 
was  much  apathy  amongst  the  audience  at  the  splendid  chorus,  "  Baal  I 
we  cry  to  thee,"  which  was  sung  in  a  manner  wrrthy  of  the  coniPositior 
— grfater  praise  our  chorus  could  not  hpve  or  desire — in  fact  the  cho- 
nis>es  throughout  were  marvellously  perfect  andcflScient,  yet,  strange  to 
say,  not  one  chorus  was  encortd.    The  neit  scene,  where  Elijah  sfends 
the  youth  to  look  towards  the  sea<— the  Maponse  **  Then  la  nothing,"  by 


Miss  Birch,  with  the  descriptive  holding  high  note  for  the  abQva,  pro- 
duced great  effect;  and  the  grand  chorus,  "Thanks  be  to  God,"  closed 
the  flist  part  very  capitally.  In  the  second  part  we  had  two  encores, 
the  lovely  trio  of  angels,  **  Lift  thine  eves  to  the  mountain,"  by  the  two 
prime  donne;  and  Miss  Kenneth,  and  Miss  Dolby's  air,  "  O I  rest  in  the 
Lord,"  as  sweet  a  bit  of  pure  devotional  melody,  and  of  vocalrism  too,  aa 
ever  we  listened  to.  The  other  great  songs  in  the  second  part,  Misa 
Birch's  "  Hear  ye  Israel,"  Mr.  Phillips's  "  It  is  enough  "  and  "  For  the 
mountwins,"  were  very  finely  sung.  The  fourth  dramatic  scene  hetwixt 
Elyali  and  Jezebel  was  quite  as  successful  aa  the  three  in  the  first  part ; 
and  the  quaitett  and  chorus,  "Holy,  holy,  Is  Ood  the  Lord,"  and  the 
quartett,  "  0 1  come  every  one  that  thirsteth,"  were  moat  exquisitely 
sung,  and  both  narrowly  escaped  encorea.  The  compoaer  vaa  Ipudly 
cheered  at  the  conclusion  of  the  final  chorus,  and  right  weil  did  he  iperit 
the  applause.  His  El^eh  will  live  for  sges^we  Uke  it  better  than  hia 
Paulus— it  is  more  coropMe  and  perfect  as  a  whole— there  if  much 
greater  variety  and  contrast,  by  its  being  of  a  more  dramatic  charact4^i — 
and  throughout  there  is  such  appropoiiUene9M — every  thing  one  bean  is 
as  it  seems  just  what  one  would  wish  to  hear  in  connexion  with  the 
story--  there  are  no  startling  efforts  after  novelty,  no  chromatic  runs  after 
difficulty— by  simple  and  ordinary  means,  Mendelsshon  has  produced  a 
work  abounding  in  originality,  yet  eminently  vocal  and  natural  in  what 
has  to  he  sung.  May  he  be  spared  to  a  gooid  old  age^  and  in  the  antumn 
of  his  life  may  his  genius  be  aa  fertile  of  its  greateat  work  aa  It  was  with 
his  great  predeoeasors,  Handel,  Haydn,  and  Beethoven  I  AU  honour  to 
the  Exeter  Hall  Society  tor  bringing  him  to  this  country  {— All  bo^ur 
tu  our  Hargreavea  Society  for  bringing  him  to  Mancheftcr,  apd  for  the 
production  ol  his  Elijah  I — All  honour  to  our  Leader— Mr.  Seymour. 
Conductor— Mr.  Waddington,  Band  %nd  Chorua,  for  their  wonderful 
success  in  its  performance,  considering  the  paucity  of  preparation^-  |Ugah 
will  be  wanted  again  next  season,  depend  upon  it,  and  although  we  can 
scarcely  hope  to  have  the  sanie  principals,  or  the  composer  with  us, 
there  is  no  doubt  the  music  will  be  belter  liked  as  it  becomes  better 
known  I  Ho  v  we  should  like  to  hear  it  again  on  Friday  next  in  London! 


Vila     JLWWEUEWEmB^ 

^fmrn  t(f  (Srfrmxn  of  0r6|(t. 

ComtiMutdftrom  pago  950. 

PART    II. CHAPTCR    XI. 

THg  VHIMSICAL  NElGHBpURS*  CI|ILP|IBN^4  VOT<t.* 

Two  neighbours*  children  of  good  family,  a  boy  and  a  girl,  of 
such  relative  ages  as  would  allow  them  afterwards  to  marry,  were 
suffered  to  arrow  up  together  with  this  pleasant  pron)ect,  and  the 
parents  on  both  sides  rejoiced  at  the  thoughts  of  the  ftiture  alii* 
anco.  But  it  was  spon  observed  that  the  project  appeared  to  fail, 
inasmuch  as  a  strange  repugnance  between  tbesQ  two  excellent 
dispositions  was  manifested.  Perhaps  they  were  too  similar  to  eaeh 
other.  Both  of  them  were  absorbed  within  themselves,  elear  in 
their  wishes,  firm  in  their  designs  i  both  of  them  singly  were  loved 
and  honoured  by  their  playmates.  They  wore  always  opponents 
when  together,  always  building  up  for  themselves  alone,  always 
destroying  one  another's  projects  when  they  met,  not  emulating 
each  other  in  endeavouring  to  reach  one  goal,  but  always  battling 
about  one  object.  They  were  thoroughly  well-conditioned  and 
amiable,  and  only  felt  hatred,  nay,  malice,  in  reference  to  each 
other. 

This  strange  stnte  of  things  bad  shown  itself  even  in  their 
childish  sports,  and  still  shovied  itself  with  increasing  years  s  and, 
as  boys  are  accu^^tomed  to  play  at  war,  to  divide  themselves  into 
parties,  and  to  give  each  other  battle,  so  did  this  daring  girl  once 
put  herself  at  the  head  of  an  army,  and  fight  against  the  other  with 
such  force  and  spite,  that  the  opposing  army  would  have  been  dis- 
gracefully put  to  flight,  had  not  her  single  adversary  shown  himself 
verv  brave,  and  at  last  disarmed  bis  opponent,  and  taken  her 
prisoner.  But  still  she  defended  herselt  with  such  violence,  that 
he.  to  save  his  eyes,  and,  at  the  same  time,  not  to  hurt  bis  enemy, 
a  as  forced  to  tear  off  his  silk  handkerchief,  and  with  it  to  tie  her 
hands  behind  her  back. 

This  she  never  torgave  him  ;  nay,  she  made  such  prirate  attempts 
to  injure  him,  that  tbo  parents,  who  had  long  paid  attention  to  these 
strpnge  passions,  came  to  a  mutual  understanding,  and  resolved  to 


«  Thja  Is  the  Ule  related  by  ^  lord's  ceaiBaiiion  te  Oharletle  aad  OMha,  aa 


264 


THE  MUSICAL  WORLD. 


part  tbe  two  hostile  creatures,  and  to  give  up  the  fond  hopes  they 
had  formed. 

Tbe  boy,  in  his  hew  position,  soon  distinguished  himself.  Every 
kind  of  instruction  succeeded  with  him.  His  patrons  and  bis  o«n 
inclination  both  destined  him  for  a  soldier.  Wherever  he  might 
be,  he  was  loved  and  honoured.  His  excellent  nature  seemed  only 
to  work  for  the  good  and  comfort  of  others,  and  without  any  dis- 
tinct consciousness,  he  felt  quite  happy  in  himself  at  having  lost 
the  only  adversary  whom  nature  bad  provided  for  him. 

The  girl,  on  the  other  hand,  went  at  once  into  an  altered  position. 
Her  years,  her  increasing  growth,  and,  still  more,  a  certain  inward 
feeling,  caused  her  to  withdraw  from  the  violent  sports  which  she 
had  hitherto  been  accustomed  to  practice  in  company  with  the 
boys.  On  the  whole,  it  seemed  that  something  was  wanting  to 
her ;  there  was  nothing  about  her  worthy  to  excite  her  hate.  She 
had  yet  found  no  one  whom  she  could  love. 

A  young  man,  older  than  the  former  adversary,  in  her  neighbour- 
hood,— of  rank,  property,  and  importance,  beloved  in  soclet  v,  and 
sought  after  by  ladies,  Mstowed  on  her  all  his  affections.  It  was 
the  first  time  that  a  friend,  a  lover,  a  servant,  had  troubled  himself 
about  her.  The.  preference  he  gave  her  above  others  who  were 
older,  more  accomplished,  more  brilliant,  and  had  more  claims  than 
herself,  pleased  her  much.  His  constant  attention,  without  intru- 
siveness— bis  fidthful  adherence,  on  the  occasion  of  many  unplea- 
sant contingendes — his  suit,  which  though  avowed  to  her  parents, 
was  culm,  and  only  hoping,  for  indeed  she  was  yet  very  young — 
all  this  prepossessed  her  in  his  favour,  while  habit  and  the  external 
relations  between  them  already  assumed  by  the  world,  also  did 
their  part.  She  had  so  often  been  called  a  bride,  that  she  at  last 
considered  herself  one  ;  and  neither  she  nor  any  one  else  thought 
that  any  further  ordeal  was  necessary,  than  for  her  to  change  the 
rijisr  with  one  who  had  so  long  been  reckoned  her  bridegroom. 

The  quiet  course  which  the  whole  affair  had  taken,  was  not  even 
hurried  by  the  betrothed.  On  both  sides,  all  was  suffered  to  go 
on  thus;  they  were  pleased  to  live  together,  and  wished  yet 
thoroughly  tb  eijoy  the  fine  time  of  year  as  a  spring  of  future  and 
Serious  life. 

In  the  meanwhile  the  youth,  now  at  a  distance,  cultivated  himself 
to  the  highest  degree,  gained  a  well-merited  step  in  his  destined 
career,  and  came,  with  permission,  to  visit  his  rriends.  Ho  was 
now  again  brought  into  contact  with  his  fair  neighbour,  in  a  very 
natural,  but,  at  the  same  time,  very  singular  manner.  She  had,  in 
latter  times,  fostered  only  kindly,  family  feelings,  such  as  would 
belong  to  a  bride,  and  was  in  harmony  with  everything  which  sur^ 
rounded  h^r.  It  was  not  worthy  of  hatred  ;  and  of  hatred  she  was 
incapable— nay,  the  childuh  hatred,  which  had  been  but  a  dim 
acknowledgment  of  internal  worth,  now  expressed  itself  in  joyous 
astonishment,  pleased  contemplation,  affable  concessions,  an  ap- 
proval half- willing,  half- unwilling,  and  inevitable  ;  and  all  this  was 
mutual.  A  lon^  separation  gave  occasion  to  longer  conversations. 
Even  their  childish  roily  seemed  as  a  comical  reminiscence,  now 
they  were  more  enlishtened,  and  it  seemed  as  if  that  tantalizing 
hatred  must  at  least  be  compensated  by  a  kind,  attentive  demeanour 
— as  if  that  violent  mistake  must  not  remain  any  longer  without  an 
express  mutual  acknowledgment 

On  his  side  all  remained  within  reasonable,  desirable  bounds. 
His  rank,  bis  position,  bis  endeavours,  his  ambition  so  abundantly 
occupied  him,  that  he  received  with  pleasure  the  kindness  of  ^e 
fair  bride  as  a  thankworthy  gift ;  without,  on  that  account,  consider- 
ing her  in  any  relation  to  himself,  or  grudging  her  bridegroom, 
with  whom,  moreover,  he  stood  on  the  best  of  terms. 

With  her,  on  the  other  hand,  appearances  were  quite  different. 
She  seemed  to  have  awakened  from  a  dream.  The  battle  with  her 
young  neighbour  bad  been  her  first  passion ;  and  yet  this  battle 
was»  under  the  form  of  repugnance,  only  a  violent,  and,  as  it  were, 
innate  inclination.  Even  in  her  memory  it  never  appeared  other- 
wise than  that  she  had  always  loved  him.  She  smiled  at  that 
hostile  pursuit,  with  arms  in  hand ;  she  wished  to  recall  his  dis- 
arming  her  as  the  pleasantest  remmiscence ;  she  fancied  that  she 
had  felt  the  greatest  happiness  when  he  had  bound  her ;  and  all 
that  she  had  planned  for  his  injury  and  annoyance,  seemed  to  her 
no  more  than  an  innocent  means  of  attracting  his  attention.  She 
cursed  the  separation — she  lamented  the  sleep  into  which  she  had 
fallen— she  execrated  the  lingering,  dreamy  habit  by  which  she 


could  get  such  an  insignificant  bridegroom.  She  was  changed, 
doubly  changed,  backwards  or  forwards,  as  one  may  please  to 
take  it. 

If  any  one  could  have  unfolded  and  shared  her  feelings,  which 
she  kept  secret,  he  would  not  have  blamed  her ;  for  indeed  the 
bridegroom  would  not  beer  a  comparison  with  the  neighbour,  when- 
ever they  were  seen  side  by  side.  If  to  the  one  a  certain  degree 
of  reliance  could  not  be  denied,  the  other  inspired  the  most  implicit 
confidence.  If  the  society  of  the  one  was  liked,  the  other  was 
desired  as  a  companion  ;  and  if  there  was  any  thought  ot  a  higher 
sympathy,  of  extraordinary  csaes,  doubts  might  have  been  enter- 
tained as  to  the  one,  while*  perfect  security  was  felt  in  the  other. 
For  such  peculiarities  there  is  in  women  a  certain  inborn  tact,  and 
they  have  both  cause  and  opportunity  to  cultivate  it. 

The  more  the  fair  bride  quite  secretly  nurtured  such  feelings,  the 
less  any  one  was  able  to  say  what  might  be  cited  in  favour  of  the 
bridegroom,  what  the  position  of  the  parties,  and  what  their  duty 
might  seem  to  counsel  and  command— nav,  what  an  unalterable 
necessity  might  seem  irrevocably  to  require ;  so  much  the  more 
did  this  beautiful  heart  favour  its  one  sided ness ;  and  while,  on  the 
one  hand,  she  was  indissolubly  bound  by  the  world  and  her  family, 
by  the  bridegroom  and  her  own  promise,  and,  on  the  other,  the 
rising  youth  made  no  secret  of  his  views,  plans,  and  prospects,  only 
acting  to  her  as  a  faithful,  and  not  over-tender  brother — his  imme- 
diate departure  being  one  of  the  topics  of  conversation, — ^it  seemed 
to  her  that  her  childish  spirit  of  former  days,  with  all  its  tricks  and 
violence,  was  again  reviving,  and  was  now  upon  a  higher  step  of 
life,  indignantly  arming  itself,  that  it  might  act  more  importantly 
and  distructively.  She  resolved  to  die,  and  thus  to  punish  for  his 
want  of  sympathy,  the  one  formerly  hated,  and  now  beloved  ;  and 
since  she  could  not  possess  him,  at  least  to  unite  herself  for  ever 
to  his  imagination— to  his  remorse.  He  should  not  get  rid  of  her 
lifeless  image — he  should  not  cease  to  reproach  himself  for  not 
having  known,  inquired  into,  appreciated  her  feelings. 

This  strange  fancy  accompanied  her  evcrvwhere.  She  concealed 
it  under  all  kinds  of  shapes  ;  and  though  she  appeared  to  people 
very  singular,  no  one  was  attentive  or  clever  enough  to  discover 
tbe  tnie  internal  cause. 

In  the  meanwhile, friends,  relations,  acquaintances,  had  exhausted 
themselves  in  preparing  various  festivities.  Scarcely  a  day  passed 
in  which  somethmg  new  and  unexpected  was  not  contrived—- 
scarcely  was  there  a  beautiful  spot  or  landscape  which  was  not 
adorned  and  arranged  for  the  reception  of  manv  joyous  faces.  The 
new  comer  also  wished  to  contribute  his  share  before  his  departure, 
and  invited  theyoung  couple,  with  a  more  select  family  circle,  to  a 
water  party.  Thev  went  on  board  a  large,  handsome,  well-deco* 
rated  ship ;  one  or  those  yachts  which  contain  a  little  saloon  and 
some  cabms,  and  endeavour  to  transfer  to  the  water  the  convenience 
of  the  land. 

They  went  along  the  great  stream  with  musid.  During  the 
peatest  heat  of  the  day,  the  party  had  assembled  in  the  places 
below  to  amuse  themselves  with  games  of  wit  and  chance.  Tbe 
young  host,  who  could  never  remain  inactive,  had  placed  himself 
at  the  rudder  to  relieve  the  old  captain,  vho  had  fallen  asleep,  and 
indeed  the  waking  man  had  need  of  all  his  foresight,  when  he 
approached  a  spot  where  two  islands  narrowed  the  bed  ot  the  river, 
and  while  they  extended  their  flat  pebbly  banks,  now  on  one  side, 
now  on  the  other,  formed  a  dangerous  shallow.  The  careful  and 
sharp  seeing  steersman  was  almost  tempted  to  waken  the  master, 
but  ne  took  courage,  and  went  towards  the  strait.  At  this  moment 
his  fair  enemy  appeared  upon  deck  with  a  wreath  of  flowers  in  her 
hair.  She  took  it  off,  and  threw  it  upon  the  steersman.  **  Take 
this  as  a  remembrance,"  she  cried.  '*  Do  not  disturb  me !"  he  cried 
in  return,  while  he  picked  up  the  vrreath ;  "  1  have  need  of  all  my 
powers  and  my  attention."  '*  I  will  not  disturb  you  any  more»" 
cried  she  ;  **  you  will  not  see  me  again."  So  saying,  she  hastened 
towards  the  fore  part  of  the  ship,^  from  which  she  sprang  into  the 
water.  Some  voices  cried,  **  Save  her — save  her— she  is  drowning!" 
He  was  in  the  most  frightful  perplexity.  The  old  master  wakened 
at  the  noise,  and  wished  to  take  the  rudder,  which  the  young  man 
wished  to  give  him,  but  there  was  now  no  time  to  change  the 
mastership.  The  ship  was  stranded ;  and  at  the  same  moment, 
casting  off  Uie  heaviest  articles  of  his  dress,  he  leaped  into  the 
water,  and  .warn  after  hi.  &ir  enenj^igiti,,^  by  ^UUgltT 


THE  MUSICAL  WORLD. 


265 


Water  U  a  kindly  element  for  him  who  is  familiar  with  it,  and 
knows  how  to  treat  it.  It  bore  him,  and  the  accomplished  swimmer 
governed  it.  He  had  soon  reached  the  fair  one,  wno  was  borne  on 
before  him  ;  he  caught  her»  and  managed  to  raise  and  carry  her. 
Both  were  borne  along  forcibly  by  the  stream,  until  they  had  the 
islets  far  behind  them ;  and  the  river  began  to  flow  kindly  and 
commodionsly.  It  was  not  till  now  that  he  took  courage,  and 
recovered  from  the  first  prossing  necessity,  in  which  he  had  acted 
only  mechanicflly,  and  without  reflection ;  he  looked  round  with 
lifted  head,  and  according  to  the  best  of  his  ability,  steered  towards 
a  flat,  bushy  spot,  which  pleasantly  and  opportunely  extended  into 
the  river.  Here  he  set  nis  lovely  prize  upon  drv  land ;  but  no 
breath  of  life  was  to  be  found  in  her.  He  was  in  despair,  when  a 
beaten  path,  which  ran  through  the  bushes,  flashed  upon  his  eyes. 
He  loaoed  himself  anew  with  his  dear  burden,  soon  saw  a  solitary 
dwelling,  and  reached  it.  There  he  found  good  people — a  young 
married  couple.  The  misfortune,  the  urgency  of  the  case  was 
speedily  tola.  AVhat,  after  some  reflection,  he  required,  was 
aflbrdea.  A  bright  fire  was  burning ;  woollen  coverlets  were 
spread  over  a  couch  ;  furs,  skins,  and,  other  articles  of  warmth  that 
were  at  hand,  were  speedily  brought.  Here  the  desire  of  saving 
surmounted  every  other  consideration.  Nothing  was  omitted  that 
could  recall  to  lile  the  beautiful  body,  which  was  half-stiflened  and 
naked.  Thev  succeeded.  She  opened  her  eyes,  saw  her  friend, 
and  embraced  his  neck  with  her  heavenly  arms.  Thus  she  remained 
for  a  long  time,  a  torrent  of  tears  streamed  from  her  eyes,  and 
completed  her  recovery.  '*  Wilt  thou  leave  me,"  she  cried,  "  when  I 
find  thee  so  again  ?"  **  Never !"  cried  he — "  never  I"  and  he  did  not 
know  what  he  said,  nor  what  he  did.  *'  Only  take  care  of  thyself,** 
he  added  ;  **  take  care  of  thyself  I  Think  of  thyself,  for  thine  own 
sake  and  mine." 

She  now  thought  of  herself,  and  remarked,  for  the  first  time,  the 
situation  in  «  hico  she  was.  She  could  not  feel  ashamed  before  her 
beloved^her  preserver ;  but  she  willingly  dismissed  him,  that  he 
might  attend  to  himself,  for  all  that  was  about  him  was  wet  and 
dripping. 

The  young  married  pair  held  a  consultation.  The  husband 
cflwred  to  the  youth,  and  the  wife  oflered  to  the  maiden,  the  wedding* 
dresses  which  were  hanging  up,  and  were  quite  complete,  so  as  to 
fit  out  a  couple  from  head  to  foot.  In  a  short  time  the  two  adven. 
turers  were  not  only  dressed,  but  adorned.  They  looked  charm- 
ingly, gazed  at  ei^ch  other  when  they  met,  and  fell  with  unbounded 
passion,  though  soon  smiling  at  their  disguise,  into  each  other's 
arms.  The  strength  of  youth,  and  the  excitement  of  love  perfectly 
restored  them  in  a  few  moments,  and  nothing  was  wanting  but 
music  to  summon  them  to  dance. 

To  have  passed  from  water  to  earth,  from  death  to  life,  from  the 
family  circle  into  a  desert,  from  despur  to  rapture,  from  indifference 
to  affection,  nay,  passion,  all  in  one  moment — this  the  head  was  not 
sufficient  to  bear ;  it  would  burst,  or  be  perplexed.  The  heart 
must  do  its  best,  if  such  a  mission  was  to  be  borne. 

Quite  absorbed  in  each  other,  it  was  not  till  after  some  time  that 
thiey  could  think  of  the  care  and  anzietv  of  those  left  behind  ;  and, 
indeed,  it  was  not  without  uneasiness  that  they  thought  how  they 
should  meet  them  again  "  Shall  we  fly  ?  Shall  we  conceal 
ourselves?**  said  the  youth.  **  We  will  remain  together,**  said  she, 
as  she  hung  from  his  neck. 

The  countryman  who  had  heard  from  them  the  history  of  the 
stranded  ship,  hastened  to  the  shore,  withont  further  enquiries.  The 
vessel  happily  came  sailin&r  up  ;  it  had  been  set  afloat  with  much 
trouble.  They  were  sailing  about  with  uncertainty,  in  the  hope 
that  the  lost  might  be  again  found  Therefore,  wheu  the  country- 
roan,  by  shouts  and  signals  drew  the  attention  of  the  people  in  the 
shin,  ran  to  a  spot  where  an  advantageous  landing  place  appeared, 
ana  did  not  desist  from  his  signals  and  shouts,  the  ship 
tnraed  towards  the  shore — and  what  a  spectacle  there  was  when  they 
landed !  The  parents  of  the  betrothea  couple  first  pressed  to  the 
bank  —  the  enamoured  bridegroom  had  almost  lost  his  senses. 
Thev  had  scarcely  learned  that  the  dear  children  were  saved,  than 
the  latter,  in  their  singular  costume,  came  out  of  the  bush.  They 
were  not  recognized  till  they  came  qui'e  close.  *'  Whom  do  I 
•ee  i^  cried  the  mothers — ^'**Whom  do  Isee?**  cried  the  fathers. 
The  rescued  ones  then  threw  themselves  at  their  feet.  "Your 
children,**  they  cried—"  ono  pair."    •«  Forgive  us !  **  cried  the  girl— i 


''  Give  us  your  blessing,"  cried  the  youth — **Give  tis  your  blessing," 
cried  both,  while  every  body  ^azed  in  silent  wonder.  '*  Your 
blessing ! "  was  heard  for  a  third  time  —  and  who  could  have 
refused  it  ? 

{To  he  c<mtinued.) 
S*  To  prevent  misandentanding,  it  may  be  stated  that  the  copyright  of  this 
translation  belongs  solely  to  the  translator. 

SONNET. 
No.  XXXI. 

When  I  recal  the  hist'ry  of  our  love, 

And  bring  its  various  incidents  to  mind, 

Such  times  of  bitter  agony  I  find, 
I  wonder  how  against  despair  I  strove. 
Then  1  find  other  passages,  which  prove 

That  e'en  when  all  around  look'd  roost  unkind « 

lA>ve  some  transporting  rapture  had  designed. 
Which  ev'ry  thought  of  anguish  could  remove ; 
And  plainly  in  that  faist'ry  can  I  see. 

How  by  some  secret  pow'r  our  love  was  fated. 

Binding  us  heart  to  heart  with  subtlest  charms. 
I  did  not  seek  thee,  and  thou  sought'st  not  me. 
But  suddenly  we  found  our  souls  were  mated. 

And  that  our  home  was  in  each  other's  arms.         N.  D. 

ANCIENT  CONCERTS. 

The  second  took  place  on  Wednesday  night,  in  the  Hano* 
ver  Square  Rooms.  The  attendance  was  good.  The  Concert 
was  uuder  the  direction  of  the  Duke  of  Wellington,  who  pro- 
vided the  following  programme. 

PART  I. 

Chonu,  Domioe  J«su  Christe,  (Reqniem  in  C  ninor,)  16I0B  by  Miss 

Messent,  Miss  Dolby,  and  Mr.  Lockey,  .  .  CUmhM. 

Air,  Where'er  yon  walk,  (Semele.)  Mr.  Lockey,  .  •  HamdH. 

Aria,  Verdi  Prati,  (Alcina)  Miss  Messent  ....  HatuU»\ 

Air,  In  inflincy,  (Artaxerxes)  \iiss  Dolby.         .  .  ,  Dr,  Ame. 

Alia,  Guardami  an  poco,  CLa  Souola  del  HaritatI)  Madame  Oaradori,  MarHmi. 

Air,  In  diesen  heilgen  Haleen,  (Zauberilote)  Herr  Staodigl,  .  .  Mozart. 

Solo  and  Choms,  N  on  tocaran  campanas  (national)  Madame  Caradori      MAmmri 

Aria,  Deb  vieol,  Dlle.  Jenny  Lutxer, »9mmr€. 

Parcghiere  Pieta,  Signor  Gardoni  Str^OOla  A.  p.  1680. 

Trio  and  Cboms,  Sound  the  load  timbrel.  Solos  by  Madame  Caradori, 

Miss  Dolby  and  Mr.  Machin AHion, 

Choms,  Worthy  is  the  Lamb,  (Messiah,)  ....     HtmM, 

PART  II. 

Overture  (Henri  Qustre,) G.P.MmiM, 

Air  and  Chorus,  Charmante  Gabrielle^  (Henri  Qoatre)  Madame 

Oradori,  .«..••• 

Glee,  Since  first  I  saw  your  fsce.  Miss  Dolby,  Messrs.  Lodcey, 

Barnbv,  and  Machin,  ,  ,  .  .     Fonf,  a.  d.  1690. 

Solo  and  S«mi-chorus,  Lieti  flori,  (Proserpina,)  BCadame  Coiadori,         Winter. 

ao^h«v«  ta  fen«t  rior,  «.»«,}  Cr-tton  Hen  8t.ndi,l.      Ba^ 
Aria.  O  cara  immagine,  (II  Flauto  Magico,)  Signor  Gardoni,  •     Jiosart. 

XN^Shi.r''l»»«-J»''y  **««'•*•     •     •     •  *«««^- 

Chorus,  Let  their  celestial  coDcerU,  (Samson)  .  •  .     Handei, 

There  was  little  or  no  novelty  in   the  above,  and  the 
entire  absence  of  instrumental  music,  with  the  exception  cf 
Martini 's  very  poor  overture,  made  the  selection  monotonous 
in  the  extreme.     Among  the  best  things  in  the  first  part  was 
Mr.  Lockey*8  air  from  Semele,  which  that  rising  vocalist  gave 
with  infinite  taste.     Miss  Dolby's  **  In  infancy"  was  also  a 
charming  and  irreproachable  specimen  of  quiet  and  expressive 
singing.     Staudigl  was  splendid  in  the  air  from  Zauberfiote. 
Signor  Gardoni  produced  a  most  favourable  impression  in  the 
quaint  old  air  of  Stradella,  which  he  rendered  with  consum- 
mate taste  and  purity.     Dlle  Jenny  Lutzer,  whose  retiremen 
from  public  life  has  been  a  matter  of  bo  much  regret,  an 
whose  return  will  give  so  much  pleasure  to  all   who  arc 
moved  by  good  singing,  was  heard  to  the  greatest  advantag 
in  Mozart's  beautiful  '*  Deh  vieni,"  in  which  she  displaye 
immense  feeling,  and  a  style  that  may  truly  be  termed  classi- 
cal.    This  lady  is  a  singer  of  the  right  school,  and  we  trust, 
will  be  a  frequent  attraction  at  our  concerts  during  the  present 
season.    In  the  second  act  we  were  much  pleased  with  Ford's 
beautiful  glee.  "Since  g^f,/ecrbT>^Tit!5yr^*'  "^ 


366 


THE  MUSICAL  WORLD. 


i^ 


exc«lleat]y  sung.  Standj^l's  air  from  the  Creation  lyas  a 
great  treat;  few  songs  ar«  better  suited  to  the  voice  of  this' 
great  6eJi&r  Oard^i^n  Mozart's  beautiful  '•'  O  cara  imma- 
gine,"  showed  the  stuff  that^>yas  in^im.  The  oftener  we  heai* 
t))ia  young  aud^ocpmplislied^fi^rer  the  more  we  like  him, 
and  our  prejudice  in^nis  favour  is  not  likely  to  -he  weakened 
by  healing  him  leave  BelUni  and  Donrzetti  fi^  awhile.'^  favor 
of  the  incomparable  Mosart,  whose  most  lovely  jsong  could 
hot  have  been  interpreted  with  more  .tendemes^-  and  truth 
than  by  the  popular  Italian  tenor  of  Her  Maieety's  Theatre. 
Mdlle.  Lutzer  also  won  golden  opinions  in  the  magnificent 
•*  Non  mi  dir,"  which  she  delivered  with  wonderful  aj;>imation 
and  skill ;  it  was  altegi^ther  a  most  cliarming  and  truly 
artistic  perfonnaticc.  Of  the  rest  of  the  concert  we  hav-ft-npthing 
to  say.  On  the  whole  it  was  a  dull  selection.  Sir  H.  bishop 
conducted,  and  Mr.  t^ucas  presided  at  the  orgAn.  The  cho- 
ftisses  were  more  neisy  than  correct,  and  the  band  was  not 
so  steady  as'  ft  might  have  been.  Among  the  auditors  was 
Jenny  Lind. 

eoNecftrs.  - 

Choeal  UAaMONisTS.^-^We  attended  the  sixth  ibeeting  of  this 
Society^  at  the  London  Tavern,  on  Monday.  The  selection 
consis  ed  almost  entirely  of  eztraets  from  Beethoven  and  Mendels- 
sohn, evincing  the  desire  of  the  comsiittee  to  maintain  that  pure 
taste  for  art  ^hich  was  originated  sothe  twenty  years -auo  in  the 
dty,  by  the  establishment  of  a  Society  entitled  "  The  Classical 
Harmonists,'*  and  of  which  the  Society  whose  performances  wo 
now  record  is  the  sueeessor.  The  first  part  consisted  of  Beethoven's 
'*  Mount  of  Olives."  There  was  no  paiticular  defect  In  its  per- 
formance bevond  a  general  want  of  nnish  which  an  efficient  re- 
hearsal would  have  obviated.  After  Converso's  madrigal,  "  When  all 
alonii.''  1575.  whieh  commenced  the  second  part,  and  was  encored, 
came  a  selection  from  Mendeksohn^s  musie  to  the  '*  Midgummer*s 
flight  Dream."  The  overture  and  scherzo  weie  played  by  the 
band  with  less  precision  than  we  have  been  accustomed  to.  The 
duet  and  chorus  of  fairies,  **  Ye  spotted  snakes,"  was  well  sung  ; 
but  the  notiumo  and  wedding  march  was  remarkably  deficient,  out 
of  tine,  out  of  tune,  and  altogether  wrong.  The  last  piece  in  the 
eeleetioa  was  the  solo  and  chorus  of  fairies,  *'  Ihro' this  house  givo 
glim'ring  light,"  which  was  effectively  rendered.  Mr.  Lockey 
sang  next  Mendelssohn's  canzonet  '*  The  garland,"  with  a  chaste- 
nem  of  style,  beauty,  and  pronunciation,  which  won  for  him  an 
una*nlmous  encore.  Miss  Wlnfams  san?  an  Italian  song,  bv  Rossi, 
"  Ah  rerdimi/  and  then  a  cantata  by  Mendelssohn,  translated  bv 
Mr.  Bartholomew,  called  *•  O  sons  of  art,**  wss  performejl.  Thfs 
cantata  tiras  written  expressly  for  one  of  the  great  open  air  German 
meetings,  we  believe  the  one  at  Bonn,  pome  two  or  three  years 
since.  It  consists  of  a  movement  in  B  flat  major  for  chorui  (male 
voices  only  throughout)  and  quartett  in  common  time  andUmte 
macftoso,  an  aliegro  in  three-four  time  in  F,  concluding  with  a  fine 
vivace  aliegro  movement  in  the  original  key.  It  is  a  magnificent 
work,  but  not  adapted  for  the  concert  room,  all  the  accompaniments 
being  written  for  the  brass.  These  instrument?,  moreover,  were 
berribljf  out  of  tune,  and  we  don't  know  when  we  listened  to  a 
cenpasition  of  Mendelssohn's  so  badly  performed  as  this  was.  The 
selection  from  Beethoven's  opera  of  "  King  Stephen,**  which  closed 
the  evening  was  not  much  better  performed,  and  in  concludini?  this 
account  we  are  bound  aa  impartial  critics  to  record  this  meeting  as 
having  made  a  decided  retrograde  movement.  However  much  we 
respect  a  society  profsssing  such  good  objects  as  does  the  Choral 
Harmonists,  we  cannot  allow  slovenliness  in  their  pertormances  to 
go  tinreproved,  especially  when  the  materials  are  good  and  only 
reqinire  a  little  proper  care  and  attention  to  be  well  developed.  The 
Misses  Williams,  Mr.  Lockey,  and  Mr.  Macbin  were  principal 
Mngers.  Mr.  Dando  led  the  band,  and  Mr.  Westrop  conducted  as 
usual,  both  gentlemen  using  their  endeavours  to  redeem  the  erratic 
disposition  of  their  lorces,  but  without  effect. 

ExETsa  Hall  —The  fourth  concert  concluded  the  proposed 
series  which  Mr.  Hnilah's  pupils  ha^  dignified  by  the  epithet 
••  iiiitoriefil.''_The  programme  was  selected  from  the  works  of 


Crotch,  Attwood,  W.  Ruatell,  Webbe.  Shield,  S.  Smith,  Dibd!n,\ 
Callcot,  Storace,  Stevens,  Horsley  and  Btshop.  On  the  whole  this  ' 
selection  suited  the  popular  ear  much  better  than  the  other  three, 
as  the  numerous  encores  testified,  it  contained  very  little  novelty, 
but  we  presume  that  novelty  was  not  essential  to  the  development 
ol  the  intention  of  these  performances.  The  execution  of  the 
choir  was  far  more  finished  and  far  more  energetic  than  at  the 
preceding  concerts.  The  glees>  sung  in  full  chorus,  were  more 
effective  than  -glees  are  usually.  The  prineipal  vocalists  were 
Miss  Dolby,  ^irs.  Weiss,  Messrs.  Manvers,  Seguin,  Novello, 
Clifford,  Gill  and  Ranch.  We  aanuot  praise  them  so  unequivocally 
as  the  choir.  Ti^oueh  there  xiere  many  encores,  few  were  entirely 
deiterved,  and  the  majority  a  ere  attributable  to  the  popular  style 
pf  the  music.  Mr.  begum's  bass  solos  in  Horslcy's  glee,  ^*  Cold  is 
Cadwallo's  tongue,"  is  entitled  to  all  commendation,  aiid  we  have 
never  hoard  a  purer  and  lovelior  specimen  .of  bailad-singing  than 
'Miss  Dolby's    '*  Nod  that  died  at  sea,'*  one  of  Dibdin's  most  ex. 

Suistto  inspirations.  The  other  demands  for  repetition  were 
ecidedly  injudicious,  and  hurtful  to  tho  general  effect  ^f  the  per. 
formance.  The  mania  lor  encoring  everything  has  of  late  become 
u  perfect  nuisance.  If  you  go  to  a  concert  now,  you  must  hear 
cnongh  for  half  a  dozen,  or  leave  before  it  is  half  over.  Mr.  Oliver 
May  was  the  accompanist,  and  Mr.  Bdward  May  the  conductor  of 
the  evening.  Both  did  their  duties  ablv,  and  Mr.  Willv':s  soleci 
but  eflicient  little  orchestra  was  of  the  (lighest  utility  in  the  cotirfa 
of  the  performances.  Now  that  the  series  of "  Historical  Concerts  * 
is  concluded,  it  may  not  be  out  of  place  to  say  a  word  or  two  on 
the  manner  in  which  their  proposed  object  hss  been  carried  out. 
We  regret  to  bo  com))ellea  to  urge  that  the  title  assumed  has 
proved  altogether  a  misnomer,  i  he  selections  from  the  dead 
composer^  have  been  ill  balanced,  unfavourable  for  the  most  part 
as  specimens  of  thoir  styles,  and  manifestly  incomplete,  llie 
name  of  Pinto,  one  of  the  greatest  geniuses  this  country  has  given 
birth  to,  has  not  appeared  once  in  tho  four  programmes.  And  yet 
Pinto's  oanzoneu  are  little  inferior  to  Hiiydn's  In  beauty  and 
ingenuity.  The  selections  from  Purcell,  for  the  most  part,  have 
boon  made  fVom  his  least  interesting  and  least  masterly  productions. 
The  specimens  from  the  cathedral  writers  have  been  bald  and 
scanty ;  and  yet  herein  consists  the  glory  and  richness  of  our  early 
Ichool.  Wesley,  one  of  the  best,  was  omitted  altogether  The 
piominence  accorded  to  such  insipid  and  worthless  com|/Ositions  ss 
those  of  He  ry  Lawes  and  others,  was  ill  coosidered  and  detri- 
mental to  the  end  proposed,  that  of  illustrating  the  history  of  the 
English  vocal  school  by  the  best  specimens  of  the  best  wt iters. 
Bat  the  most  incomplete  and  absurd  of  all  the  programmes  was 
the  fourth  and  last,  which,  assuming  to  illustrate  by  examples  the 
works  of  our  latest  composers,  leaves  out  nine  tenths  of  their 
names  from  the  programme,  in  the  entire  li«t  we  find  but  two 
names  of  living  composers,  Horsley  and  Bishop.  Where  were 
Samuel  Wesley,  Charles  Horn,  John  Barnett,  Balfe,  Wsdlaee, 
Macfarren,  Sterndaio  Bennett,  Edward  Lodor,  Rooke,  Lucaf, 
Henry  Smart,  Charles  Horsley,  Mudie,  RodwcU,  Alexander  Lre, 
&c.,  Ac,  the  least  of  wl.om  is  as  n.iich  entitled  to  consideration 
for  his  productions,  in  respect  to  their  influence  upon  the  English 
school  of  vocal  music,  as  the  migority  of  those  whose  names 
figured  so^consnicnottsily  ?  And  whst  business  had  Storace  in  tbe 
programme,  who  was  not  an  Englishman,  but  a  pilferer  from 
Martini,  Piccini,  Paesiello,  and  other  of  his  Italian  compatriots? 
The  truth  is,  that  the  atiempt  to  illustrate  a  subject  ot  so  much 
interest  and  importance,  in  four  concerts,  was  altogether  prepos- 
terous. Twelve  concerts  wonld  no  more  than  suflBce  for  its  ample 
consideration.  Under  these  circumstances  it  behoves  ns  to  pro> 
nounce  the  "  Historical  Concerts"  a  failure.  That  they  may  have 
materially  assisted  the  funds  dedicated  to  the  foundation  of  a  new 
music  hall  for  Mr.  Hullah,  we  hope  and  have  little  doubt — since 
the  attendauces  have  been  numerous.  This  object  was  praise- 
worthy  and  creditable  to  Mr.  Hullah's  pupih,  who  doubtless  felt 
much  gratitude  for  the  good  that  has  been  effected  by  that  gentle- 
man in  the  introduction  of  the  Wilhcm  method  of  voccl  class- 
teaching  to  this  country.  But  a  good  cause  is  damaged  by  a  flag 
that  bears  false  colors ;  and  the  designation  of  '*  Historical  Con- 
certs" being  fictitious,  was  injudicious  and  detrimentaL 

FcMALB   American  StasNADiaa.— When  tbe   London  publie    f^ 
hod  been  surteited  Ksftie  ad  natmeam  iiith  the  sable  vocabsis  of  iv^ 


THE  MUSICAL  WORLD. 


2ei 


traniiatlantSc  reeions.  and  at  the  moment  when  U  was  supposed  that 
wantof  interest  m  their  performances  would  have  hurled  them  for  etor 
into  oblivion,  up  starts  a  new  troop  of  candidates  of  the  same  dark 
complexion,  pretending  to  similar  eKTorts,  but  having  a  totally  dif- 
ferent claim  on  the  popular  sympathies.  The  new  American  Sere- 
oadert  are  composed  entirely  of  the  fair  sex,  and  are  exhibiting  at 
St.  James's  Assemble  Rooms  (late  Crockford's) :  a  temporary 
theatra  being  erectea  in  the  large  room  for  theif  performance. 
The  Company  eonsitts  of  sundry  ▼ocalists,  the  principals,  who 
aiog  solos,  or  m  concert,  and  a  band  of  female  choristers.  The 
eDtertalnicents  differ  bat  liule  from  those  given  to  the  public  at 
the  8t.  Jfame^*^  Thektrd  and  elsewhere,  but  ther  are  rendered 
infinitely  more  interesting  by  -their  t)eing  presented  by  members  of 
the  gentle  sex.  Perhaps  the  ladies  have  something  of  an  advantage 
over  the  gentlemen  in  their  performances,  these  ^ing  less  brusque, 
and  more  euphonious.  The  Female  Serenaders  have  been  evi- 
dently well  instructed,  for  their  voices  blend  together  capitally, 
and  tbechorus  chimes  in  with  great  effect.  The  Assembly-room 
haa  been  crowded  day  and  night  since  their  first  appearance,  and 
moat  of  the  nobility  and  gentry  of  the  metropolis  have  already 
Tiaited  Uie  Serenaders.  Their  performances  will  well  repay  a  visit 
to  the  Rooms  in  St.  James's  Street. 

DRAMATie  INTELLIGENCE. 

Hatmarket — The  School  for  Scandal  was  repeated  on 
Thursday  before  a  crowded  andelegant  aadience.  Sheridan's 
comedy  is  always  a  bontie  bouche  both  to  the  "  old  school" 
and  to  *^  Young  England."  The  former  will  neverthelese 
iigb  and  exclaim,  "  Ah,  I  remember  when  the  School  for 
Scandal  was  the  School  for  Scandal,  .  I  remen.ber  Miss  Far- 
ren,  Mrs.  Abington,  Mrs.  Jordan,  and  dear  Mrs.  Davison  in 
Lady  Teazle— ah  1  thiere  was  acting.  Where  now  is  your 
Lewis,  your  Elliston,  yonr  Jones,  your  Dowton  ?  We  shall 
never  seO  such  actors  again!  However,  I  must  say  Mrs. 
Nisbett  is  very,  very  handsome,  she  is  full  of  good  spirits  and 
vivacity,  and  her  l^ugh  ia  certait^iy  lieUoiously  joyov^  and 
fresh,  aiid  she  dresses  told  Idoks  the  Lady  Tea^e  to  perfec- 
tion ;  and  Mrs.  Qlover,  dear,  delightful  Mrs.  Glover,  there 
never  was  a  better  Mrs.  Candour  than  Mrs.  Glover's,  and  1 
will  allow  Farren,  yes,  Farren,  to  be  an  excellent  Sir  Peter, 
llts  serpen  scene  is  an  inimitable  piece  of  acting,  and  Hudson, 
too,  makes  a  good  rattling  Charles,  and  young  Lester,  I  will 
say  is  the  best  Sir  Benjamin  I  have  seen  fbr  many  a  long 
day>  he  both  looks  and  acts  the  part  inimitably,  and  so  take 
it  altogether  I  suppose  I  must  not  grumble  any  longer ;"  to 
which  *'  Young  England"  agrees,  and  says  "  he  is  quite  con- 
tent to  see  the  School  for  Scandal  as  now  acted,  and  that  he 
will  certainly  recommend  all  his  friends  to  go  and  see 
and  enjoy  it  as  he  has  done,  and  intends  to  do,  every  ni^ht 
that  the  bills  of  the  little  theatre  in  the  Haymarket  are  headed 
with  *'  This  eveniu!;  will  be  performed  Sheridan's  comedy 
of  the  School  for  Scandal." 

Pun cBsa's  -^On  Tl  ursday  evening  this  theatre  was  densly 
crowded  to  witness  the  debUi  of  a  lady  who  has  been  known 
for  some  time  in  private  circles  as  an  elegant  and  accom- 
plished ballad  singer.  She  is  sister  to  the  celebrated  pianist, 
Osborne,  and  has  been  latterly  studying  for  the  stage  with 
great  assiduity.  The  part  chosen  by  the  fair  debutante  was 
Amina  in  Sunnambula,  and,  if  we  may  judge  from  a  "first  ap- 
pearance,  we  must  say,  no  better  part  could  be  selected  to 
exhibit  her  vocal  and  histrionic  capabilities.  Her  perfor* 
manoe  of  Amina  was  highly  creditable,  and  as  a  first  attempt, 
must  be  considered  excellent.  Her  voice  is  a  mezxo  soprano 
of  good  quality  and  great  flexibility,  which  she  manager  with 
p^ect  ease.  She  has  fine  capability  of  expression,  and  her 
method  of  vocalisation  is  founded  in  the  best  school.  As  rn 
actress  she  ptomises  to  staiid  very  prominent.  There  were 
portiohd  of  her  ^erfotrndnce  which  were  really  great,  iiud 


proved  she  had  the  highest  requisite  for  tragic  acting— ab. 
straction  For  a  first  endeavour  we  have  seen  no  artist  more 
perfectly  at  home  on  the  stage.  The  fair  debutante  is  lady- 
like in  appearance,  and  possesses  a  countenance  of  great 
intelligence  and  expression.  She  may  be  pronounced  deci- 
dedly handsome.  The  applause  she  obtained  throughout  the 
evening  was  uproarious,  and  she  was  called  for  at*  the  fall 
of  the  curtain,  and  received  with  every  demonstration  of  en- 
thusiasm. The  opera  has  been  performed  so  frequently  of 
late  at  the  Princess's  and  undergone  so  many  criticisms  from 
our  pen  that  we  do  not  think  it  necessary  to  dwell  upon  the 
performance  in  this  ease.  We  may  sHy  that  Mr.  Allen 
played  Elvino  in  his  usual  artistic  style,  and  that  the  other 
executants  were  as  hitherto  respectable  in  their  several  parts. 

SuEREY  Theatre. — The  new  nautical  drama  in  two  acts, 
from  the  prolific  and  experienced  pen  of  Mr.  E.  Stirling,  en- 
titled the  ^ttcAor  of  Hope  or  the  Seaman's  Star,  continues  to 
attract  crowded  houses.  Mr.  E.  Stirling  as  the  Jew  Pedlar, 
and  Mr.  J.  T.  Johnson  as  Tom  Topreef,  a  true  Briti»h  tar, 
are  both  capital  in  their  respective  parts.  The  ladies  too  are 
excellent.  Mrs.  Ware's  Mary  Wheatly  and  Miss  Vaughan's 
Emily  Dunmore  merit  considerable  Approbation.  The  drama 
is  likely  to  have  a  long  run  and  to  bring  lots  of  money  to 
the  treasury,  and  to  add  anotiher  to  the  many  triumphs  of  Mr. 
E.  Stirling's  versatile  dramatic  talent. 

Frewch  Plats.— Mademoiselle  Rofce  Ch6ri  still  continues 
t»  attract  crowded  houses,  even  Her  Majesty* the  ftueen  sub- 
miU,  nothing  loth,  to  the  charm  of  her  empii-e.  On  Monday 
last  Her  Majesty  arrived  at  the  theatre  at  t4ght  o'clock,  ac- 
companied by  Prince  Albert,  and  remained  to  the  end  of  the 
performance.  Vn  Roman  Intime  was  given  for  the  l»8t  time, 
and,  considering  that  Mademoiselle  Rose  Ch^ri  and  Monsieur 
Rhozevil  have  alternately,  alone,  and  together,  to  fill  up 
father  better  than  an  hour,'it  riequires  no  small  degree  of 
talent  in  both  the  actdrs  to  do  this  without  creating  ennui  6f 
being  monotonous.  This  piece  was  followed  by  Mne,  or 
Le  Magn^tiome,  by  Messrs.  Scribe  and  Lockroy.  According 
to  our  Parisian  contemporaries,  we  expected  to  find  one  of 
those  neatly  constructed,  elegant,  and  interesting  pieces  for 
which  M.  Scribe  is  so  celebrated,  and  which  were  the  foun- 
dation of  his  reputation;  we  expected  moreover  to  find  a  part 
peculiarly  adapted  to  Mademoiselle  Rose  Chto's  capabilities, 
and  which,  written  expressly  for  her  own  peculiar  talent, 
would  bring  it  forward  in  bold  relief.  We  were  disappointed 
in  both  our  anticipations  ;  not  that  we  consider  the  piece  bad, 
but  rather  hung  on  a  rotten  impossible  frame- work,  and  clum- 
sily put  together.  Magnetism  has  never  had  any  hold  on  the 
public  mind  in  England  ;  it  has  suffered  from  the  ridiculous 
exaggeration  of  its  professors,  or  it  may  be  dupes,  from  the 
cheats  and  tricks  played  off  in  public  rooms,  and  tl.e  scanda- 
lous scenes  enacted  in  private  assemblies.  Even  were  it  a 
thousand  times  more  real  than  it  pretends  to  be,  the  public 
mind  is  closed  against  it,  and  fifty  miracles  would  not  raise  it 
from  the  dead.  Such  is  the  subject  choJ^en  by  Messrs.  Scribe 
and  Lockroy,  or  rather  written  by  the  latter,  for  we  prefer 
taking  it  for  granted  that  the  former  merely  lent  his  name, 
and  had  nothing  iurther  to  do  with  the  matter.  M.  Scribe 
has  too  much  tact  and  judgment  to  render  his  principal 
actress  ridiculous,  and  that  too  in  which  she  declares  her  love 
so  pure,  so  disinterested,  se  ingenuous,  and  devoted.  Fancy 
Monsieur  Rhozevil  in  the  position  of  a  Dupotet,  or  the  em- 
pire of  the  notorious  Alexis,-  his  hands  outstretched,  pawing 
the  air,  and  enticing  a  young  girt  along  a  gallery,  down  a 
staircase,  into  an  arm-chair;  there  questioning  her  as  to 
Whom  Bhe  loves,  what  is  his  name--^  name  Je  U  wiw— 


268 


THE  MUSICAL  WOKLD 


and  she,  after  the  customary  struggle,  breathing  forth  vows  of 
love  and  tenderness  and  exalted  plans  of  reform  for  her  dissi- 
pated lover. — Nonsense!— such  a  scene  is  enough  to  jeopardise 
a  reputation  less  firmly  established  than  that  of  Mademoiselle 
Rose  Ch^ri.  There  is  but  one  step  from  the  sublime  to  the 
ridiculous,  and,  unfortunately,  here  the  limits  of  sound  dis- 
cretion: were,  overstepped.  Such  a  scene  repeated  in  the 
second  act,  could  not  have  been  written  by  M.  Scribe. 
Otherwise  there  is  some  smart  writing,  although  rather  ha» 
aardk  at  times.  The  character  of  La  Baronne  de  Saint 
Savin,  well  played  by  Mademoiselle  AngMe,  is  an  amusing 
and  witty  conception,  and  gives  rise  to  some  laughable  inci- 
dents. Her  romantic  display  of  affection  for  her  admirers, 
her  talent  in  making  them  believe  that  she  never  lived  before 
2^nd  must  die  if  their  attachment  be  not  eternal,  although  she 
has  more  than  one  intrigue  to  answer  for,  and  a  husband  still 
alive  into  the  bargain,  served  greatly  to  enliven  the  play. 
The  acting  was  generally  good,  Mademoiselle  Rose  Ch^ri,  in 
spite  of  the  imperfections  of  her  part,  was  charming  and  inte- 
resting in  the  extreme ;  M.  Rhozevil  played  the  part  of  the 
repentant  rake  with  warmth  and  much  feeling.  M.  Langeval 
is  a  careful  actor,  and,  considering  that  his  is  all  up-hill  work, 
having  to  enact  for  the  most  part  either  a  heavy  father,  or  a 
tyrannical  husband,  or  a  despot  of  some  sort,  he  displays 
much  talent,  and  never  spoils  any  thing.  Mademoiselle 
C^lina  Fouquet  made  a  sprightly  and  coquettish  little  auber- 
giste,  and  added  much  to  the  success  of  the  piece  by  her 
bustling  gajety  and  hearty,  merry  laughter.  Rebecca  is  a 
Jewess,  who  has  fallen  in  love  with  a  certain  Count  Pallavi- 
cini,  and  who  is  beloved  by  Ascanio  ;  both  the  gentlemen  are 
in  prison,  and  Ascanio  at  the  request  of  his  relations  who  wish 
to  prevent  his  marrying  the  Jewess.  The  count,  who  is  con- 
demned to  die,  marries  the  Jewess,  intending  to  bequeath  her 
to  Ascanio,  but  a  revolution  takes  place,  and  he. is  obliged  to 
solicit  a^divorce  to  get  rid  of  his  wife ;  but  in  the  meanwhile, 
falls  in  love  with  her,  and  on  his  discovering  that  she  loves 
him  and  not  Ascanio,  he  revokes  the  divorce,  and  all  is  for 
the  ^bejst,  with  the  exception  that  Ascanio  is  done  out  of  his 
wife.  The  piece  is  rather  heavy,  and  would  lead  us  to  believe 
that,  even  as  Homer  occasionally  sleeps,  according  to  Horace, 
so  M.  Scribe  may  sometimes  be  caught  napping.  Mademoi- 
aelle  Rose  Ch^ri  dressed  and  looked  the  devoted,  innocent 
Jewess  to  perfection.  We  must  not  omit  to  mention  a  scene 
between  her  and  Mademoiselle  Duverger  which,  although 
bordering  at  times  on  the  scahreux,  was  well  received,  and 
excited  much  merriment  in  the  house. 

PROVINCIAL. 

The  Mancbsstbr  Madrigal  Soci  sty  .—This  lociety's  annual  as- 
sembly took  place  at  the  Town  Hall  on  the  evening  of  Thursday  last. 
The  auditory  was  numerous,  and,  of  course,  highly  respectable ;  and  the 
concert  was  in  every  way  calculated  to  afford  the  friends  of  the  members 
coDsiderabie  gratification. 

raOOEAMIf  ■•— PART.  I. 

Motet,  «<OLord,  incline  thine  ear,"  from  the  Gregorian  Mass  <' Pro  AngeUs." 
Madrigal,*' Spring  returns,"  Lnca  Marenxio,  I570.-Ditto,  «  The  white  delight- 
some swan,'*  Oraxto  Vecchi,  15S0— Ballet,  **  Dainty  line  swert  nymph,"  Thomas 
Morley,1509.~Madrigal,"  Ye  pearls  of  snowy  whitenea."  Giov.  Cfroce,  1590.- 
Dltto,  *<  Ladies  I  iUn  woald  warn  ye."Giov^.  Feretti,  1576.— Motet,  God  who 
madest  earth  andheaven/'  Ogden.  Madrigal,  **  Stay,  Corydon,"  John  Wilbye, 
1609.->Glee  (ftiU  choir), «  When  winds  bitathe  soft,"  S.  Webbe. 

PART  II* 

'<God  is  gone  np,"  Dr.  Croft,  ITM.-Madrigal,  "Die  not,  fond  man," 
srd,  181S.— Ditto.  "No  din  of  rolling  drnm,"  Ales.  Striggio,  1560.— 
JTou  that  wont,"  Thos.  Morley,  1595.— f-yening  Hymn,  *<  Tiie  nirht  is 

^ ParceU,l878.— Madrical,  *'  Where'er  my  Cynthia,"  Gioy.Pales- 

itto,  **  Come  again  sweet  love,"  Jno  Dowland,  1597.— Ditto,  **  Lady, 
"  John  Wilbye,  1598.— Ditt>,  **  All  creatorea  now,"  John  Bemiett, 
"  Let  ns  sing,"  Jeremiah  Sayille,.1667. 


the  society's  dever  maeatro  dd  ooro,  conducted  the 
wsday,  aii4  by  r  due  obserraiice  on  the  part  of  the 


vocalists  of  the  various  signs  and  marks  employed  by  their  author,  tended 
to  produce  that  light  and  shade,  which  render  the  madriieal  so  pleasing 
and  so  powerful  withal  in  its  operation  upon  the  senses.  The  applause 
bestowed  by  the  audience  at  the  conclusion  of  each  piece,  was  ample 
evidence  of  their  satisfaction,  and  served  to  illustrate  the  argument,  that 
both  the  quaintness  of  the  plain  counterpoint,  and  the  elaborate  character 
of  the  riccrcato  parts  of  the  madrigal,  may  be  fully  appreciated  where 
madrigals  form  the  substance  of  a  musicai  performance.  The  madrigals 
"  Stay  Cor>'don,"  &c.,  by  Wilbye;  "Die  not,  fond  man,"  frc,  by  Ward; 
and  "  No  din  of  rolling  drum,"  he,,  by  Striggio,  were  eiceUently  given. 

Macriadt's  Richelieu  .—*'  Circumstances  deprived  us  of  the  pleasure 
of  seeing  Mr.  Macready's  Richelieu,  on  Saturday  evening.  The  following 
is  furnished  by  a  critical  friend,  on  whose  taste  we  have  the  fullest 
reliance:— >" On  Saturday  evening,  Mr.  Macready  appeared  in  this 
arduous  character;  and  though  Richelieu  himself  finished  his  career  of 
caballing  and  intrigue,  of  imprisonment,  deprivations,  and  executions^  u 
early  as  the  age  of  58,  being  then  only  thirteen  years  after  he  had 
(according  to  Voltaire)  received  his*  patent  of  prime  minister,'  yet  It  ap- 
pears that  he  had  been  the  victim  of  a  disorder,  which  ultimately  ended 
fatally.  And  hence  we  think  Mr.  Macready  represented  the  cardinal  u 
feeble  from  his  malady — ^but  still  reUining  all  the  vigour  of  his  mind, 
which  had  only  been  excited  and  strengthened*  not  weakened  nor 
snbdued ;  and  from  the  niee  discrimination  evinced  in  the  exhibition  of 
the  contrast  between  bodily  weakness  and  mental  power,  we  think  tlwt 
his  conception  and  personation  were  just  and  faultless.  Whether  we 
give  precedence  to  his  more  tender  recollections  of  the  friendship 
between  himself  and  the  father  of  his  ward,  and  his  unceasing  efforU  to 
protect  and  promote  the  happiness  of  Julie,  the  irritability  and  contempt 
which  Richelieu  evinced  to  royalty  itself,  or  the  generous  pRrdon  of  Adrian 
De  Mauprat,  and  the  accompanying  expression  of  his  varying  countenance 
as  an  echo  to  the  words,  all  was  equally  effective.  The  scenes  that  were 
the  most  prominent  and  the  most  awful  (such  is  the  appropriate  epithet), 
were  that  in  which  he  bids  defiance  to  the  order  of  the  king  for  the 
appearance  of  Julie  before  his  majesty,— when  the  Carnival  draws  the 
hallowed  circle  of  the  church  around  his  charge,— when  he  summons  up 
all  his  energies  to  breathe  defiance  to  the  mandate  of  the  imbecile 
Lewis ;— and,  when  the  auditor  is  fearful  that  the  great  actor  has  either 
overstepped  the  bounds  of  nature,  or  must  bring  the  climax  to  a  rant,— 
he  sinks,  exhausted  and  powerless.  In  dignity,  he  reminded  us  of  John 
Kemble's  Lear,  in  his  better  days ;  or  Edmund  Kean's  Othello  when  he 
uttered,  in  his  deep  melancholy,  distracted  manner,  'Othello's  occupmtion'a 
gone;'  and  in  the  final  scene  of  all,  where,  after  playing  once  more  the 
'  old  fox,'  and  regaining  the  power  of  prime  minister  from  the  king,  he 
re-assumes  the  bodily  capacity  to  govern,  to  punish,  and  avenge,  and 
revels  in  the  luxury  of  retaliating  upon  his  enemies,— with  what  sarcasm 
he  treats  Gaston  d'Orl.eans,— with  what  contempt  he  banishes  Sieur 
Beringhen,  u  if  unworthy  of  the  honour  of  an  execution,— «nd  witb 
what  playful  dexterity  he  wards  off  the  sycophantish  applications  of  hia 
former  instruments.  It  is  nearly  invidious  to  select,  where  all  are  so 
perfect,  one  scene  from  the  rest,  for  though  one  may  exhibit  more  phy- 
sical  capability  than  another,  the  whole  was  characterised  by  such 
propriety  and  adaptation  of  voice,  manner,  and  action,  that  we  once  more 
pronounce  Mr.  Macready  in  the  very  first  range  of  all  actors,  living  or 
dead;  and  this  opinion  was  ratified  by  the  plaudits  of  a  very  full  house. 
It  were  unjust  to  omit  the  chute  performance  of  Mrs.  Charles  Gill,  in 
Julie.  Perhaps  her  happiest  effect  was  in  the  scene  with  the  cardinal, 
where  she  dissipates  his  fear,  contained  in  his  enquiries  if  she  bad 
yielded  to  the  importunities  of  the  king.  Her  answer  was  conveyed  in 
the  finest  expression  of  Indignant,  womanly  innocence.  Mr.  Brooke 
also  sustained  his  part  with  ability  and  judgment,"— JllancAeifrr  Qwirdian. 

GuiLFORo.— The  Choral  Society  gave,  on  the  16th  instant,  a  very 
intereating  performance  of  Sacred  Music,  which,  as  usual,  was  well 
attended.  Among  the  concerted  pieces  were  anthems  and  motctts* 
including  Weber's,  "  When  winds  breathe  soft,"  and  Dr.  Crotch's 
"  Methinks  1  hear  the  full  celestial  choir."  The  former  wm  well  rendered 
by  the  members  of  the  society  and  the  latter,  being  performed  by  the 
chorus  in  an  anti«room  while  the  solo  was  sung  In  the  open  ball,  had 
an  excellent  effect.  Miss  E.  Byers  and  Miss  Duval  were  the  only  pro- 
fessionals who  gave  their  assistance  on  this  occasion.  Miss  B.  gave 
Mendelssohn's  *'  Jerusalem,  Jerusslem,"  in  a  sweet  and  effective  manner: 
it  met  with  great  applause  and  was  re  demanded.  *'  The  Last  Day,"  a 
descriptive  hymn  by  Mrs.  Lemare,  the  conductor,  was  also  well  rendered 
by  this  lady.  Miss  Duval,  who  hu  a  fine  contralto  voice,  sang  "  But  the 
Lord  is  mindful."  also  from  St.  Paul,  while  the  daetts,  introduced  for 
these  ladies,  were  delightfully  executed.  Crofl's  anthem,  "  Hear  my 
Prayer,  Oli,  God  1"  was  among  the  best  performances  of  the  evenings 
the  interesting  programme  ckMing  with  Haydn's  chorus,  "The  Mar- 
vellous  Works."  The  concert  did  not  terminate  untU  a  later  hoar  UiRtt 
is  usual  at  the  society's  meetings,  but  the  aodieoce  were  well  pleased  to 
sit  Rttentively  to  the  huit.    A  review  of  the  perfoimRnceaof  the  Qoilfo^ 


THE  MUSICAL  WORLD. 


269 


ChDrtl  Society  will  show  that  from  the  complete  oratorio  every  descrip- 
tion of  choral  writing  is  io  due  coui  se  by  them  brought  under  the  notice 
of  the  locality,  while  for  the  general  accommodation  both  morning  and 
evening  concerts  are  given. 

Bath.-— Mr.  and  Mn.  Millar's  Soir^,  are  about  being  brouglit  to 
a  dose  for  the  season,  the  soiree  on  Wednesday  lut  being  the  last 
one  of  the  series.  On  that  occasion  some  delightful  compositions  were 
executed  by  Mr.  and  Mrs.  Millar  and  Miss  Perry ;  snd  Mr.  Julian  Adams, 
at  the  request  of  Mr.  MiUar,  obligingly  performed  two  fantasias  on  the 
piano-forte.  It  may  not,  perhaps,  be  out  of  place,  or  uninteresting  to 
our  readers,  to  mention  here,  that  Mr.  Millar  had  only  that  day  returned 
from  Leeds,  ^here  he  had  been  officiating*  on  Monday,  as  prtmo  tenore 
at  a  concert  given  in  honour  of  Sir  H.  R.  Bishop,  at  which  a  programme 
conaisting  of  sohie  thirty  pieces  selected  from  the  writings  of  the  talented 
composer,  was  performed  in  the  presence  of  an  immense  auditory,  con« 
docted  by  Sir  Henry  Bishop  himself,  attired  in  his  gown  as  a  Mus.  Bac. 
Mr.  and  Mn.  MilUr's  last  soir^  takes  place  on  Wednesday,  the  28th 
insiant."— Bo/A  Hendd, 

Bath.— The  last  concert  of  the  sesson,  at  the  Pump  Rooms,  came  off 
on  Saturday  morning  last,  and  was  very  fashionably  attended.  The  band 
under  the  direction  of  Mr.  Salmon;  performed  several  overtures  and 
pieces  witli  great  effect.  The  Lessees,  Messrs.  Green  and  Simms,  also 
provided  a  novelty,  in  engaging  Julian  Adams,  the  Pianist,  to  perform  on 
the  new  instrument  {the  Harmonium),'  whose  performances  were  received 
with  Immense  applause.  This  instrument,  although  occupying  less  space 
than  a  cottage  piano,  possesses  (when  the  full  swell  is  applied)  a  power  of 
tone  equal  to  a  large  organ,  and  the  mellifluous  softness  of  the  flute,  the 
silvery  tone  of  the  violoncello,  and  the  dfpth  and  power  of  the  double 
bass,  are  added  to,  and  blended  with  the  brilliant  tones  of  the  piano. 
The  instrument  has  a  single  row  of  keys,  to  the  extent  of  five  oc^wes, 
but  by  a  management  of  the  stops,  two  additional  octaves  are  produced. 
The  manipulation  of  the  keys,  the  working  of  the  bellows  with  the  pedals, 
and  the  constant  use  of  the  various  stops  to  give  effect  to  the  music. 
makes  the  performance  on  this  instrument  a  matter  of  no  slight  difR- 
culty,  and  this  will  probably  militate  against  its  becoming  as  grneral  in 
use  as  the  piano,  notwithtUnding  its  being  even  more  admirably  adapted 
for  the  drawing  room.  Mr.  Julian  Adams  performed  several  solos  of  his 
own  arrangement,  with  orchestral  accompaniments,  and  the  Harmonium 
bad  every  possible  advantage  in  the  full  development  of  its  powers,  under 
his  skilful  mansRement.  Bath  Herald,  April  Vih^  1847. 

MUSIC   AT  COVENTRY. 

(Frifm  a  Corretpondent,) 
Thb  Committee  of  the  Mechanics'  Institution  gave  a  concert  of  vocal 
and  instrumental  music  on  Monday  evening  in  St.  Msry's  Hall.  Our 
good  old  town  was  all  astir  at  the  announcement  for  some  days  previ- 
ousiy,  and  much  interest  was  uken  in  an  entertainment  which  might 
fairly  be  termed  a  novelty  here.  The  friends  of  the  Institution  also  were 
anxious  about  the  concert,  and  exerted  themselve»  to  the  utmost.  The 
consequence  was,  that  every  seat  was  occupied  long  before  the  perform- 
ance  commenced,  and  the  audience  appeared  really  bent  on  enjoying  the 
entertainment  about  to  be  presented  to  them.  Our  orchestra  was  small 
but  select.  Among  the  principsl  performers  in  the  band,  I  may  men- 
tion Gill,  of  Leicester  (first  violin) ;  Shargool  ^second  violin),  from  the 
Bbrmingham  ConcerU;  Mc  Ewan,  of  Hinckley  (tenor) ;  Lewis,  of  Lea- 
mington (violonceUo);  H.Elliston,  of  Leamington  (double-bass);  Douglas, 
(flute),  all  good  men  and  true.  The  programme  was  capital.  Among 
the  instrumental  performances  we  had  Beethoven's  Symphony,  No.  1, 
Op.  16;  Qnartett,  No.  6,  Op.  18;  of  the  same  com}Oser;  the  first 
movement  of  Haydn's  No.  6  Symphony,  and  the  overture  to  Oberon, 
all  of  which  were  played  in  a  most  crrditeble  manner.  The  vocal  per- 
formances were  confined  to  two  ladies  from  the  Metropolitan  Concerts 
via.  Miss  Uncoln  and  Madame  G.  A.  Macfarren.  Their  singing  afforded 
the  utmost  satisfaction,  and  fully  justiHed  the  Committee  in  engaging 
them.  Miss  Uncoln  has,  I  should  think,  a  megzo  eoprano  voice,  not 
remarkable  for  power,  but  under  admirable  management.  She  was 
encored  in  a  German  song  of  Kucken's,  "  We  met  by  chance;"  and  also 
in  a  canionet,  and  in  Macfarren's  duet,  "The  Fairy  ring."  In  Grisl's 
song  from  PuriUmi  she  was  hardly  so  good,  at  least  not  so  eifective,  but 
acquitted  heiMlf  respectably— and  that  is  saying  not  a  little  in  so  diffi- 
cult a  icena.  Madame  Macfarren,  cara  $poea  of  the  celebrated  composer, 
created  a  great  sensation.  She  has  a  fine  contralto  voice,  which  she 
uses  like  a  real  arUst,  and  shows  that  she  has  learned  in  the  very  best 
Sr^ '«  xt  «"Pn?  o'  Rossini's  eternal,  but  ncver-tiring  aria,  "Di 
Tanti  Miiti,"  was  chaste,  expressive,  and  highly  dramatic.  In  reciU- 
tive  Madame  Macfarren  exhibits  the  superiority  of  her  teaching.  In 
the  exquisite  song  from  Don  Quirote,  "  Sweet  were  the  houis  of 
infuicy,  she  was  encored  with  acclamation,  and  repeated  it  with 
incTMNd  effiBct.    She  was  also,  encored  in  a  song  of  Stemdaie  Bennett's, 


which  she  sang  in  German  words.  I  should  have  preferred  hearing  it  in 
Engli>h.  There  Is  every  apology  for  a  musician  of  any  nation  to  write  to 
Italian  words^the  language  woos  the  muse — but  none  but  a  German 
should  write  to  Qerman  words.  1  thould  have  preferred  infinitely  having 
heard  Madame  Macfarren  sing  Mr.  Bennett's  song  with  Irish  words,  it 
would  have  been  more  euphonious.  The  feature  of  the  entertainment 
was  decidedly  the  old  English  ballad  of  "  Cruel  Barbara  Allen,"  sung  by 
Madame  Macfarren  with  the  greatest  possible  taste  and  expression.  Of 
this  old  ballad.  Goldsmith  says,  "  that  the  most  refined  music  he  ever 
beard  was  dissonance,  compared  with  the  effect  pn«duced  upon  him  by  a 
carter  singing  'Barbara  Allen.'"  The  poetry  is  very  beautiful,  and 
involves  i  story  of  singular  pathos.  To  this  poetry  Macfarren,  the  com- 
poser, hit  written  music  at  once  simple,  tender,  and  melodious.  Indeed 
the  ballad,  as  sung  by  Msdame  Macfanen,  on  Monday  evening,  pre- 
sented the  audience  with  one  of  the  mo»t  delicious  songs  they  ever 
heard.  Much  Is  due,  doubtless,  to  the  plaintive  and  expressive  manner 
in  which  the  lady  rendered  it,  but.  neveitheless,  whst  we  have  stated  of 
the  music  must  ioe  true.  It  went  right  home  to  the  heart  of  eVery  hidi- 
vidua!  in  the  Hall.  The  balbd  wns  rapturously  encored.  The  concert 
wound  up  with  "God  save  the  Queen."  I  have  rendered  a  faithful 
account  of  the  concert  which  gave  unqualified  delight  to  all  present,  and 
the  getting  up  of  which  refl*cts  no  small  credit  on  the  Committee  of  the 
Mechanic's  Institution.  Now  that  music  has  obtained  a  footing  In  onr 
town,  snd  has  been  recognised  as  a  great  source  of  entertainment,  it  is 
to  be  hoped  that  the  projecton  will  not  halt  on  the  threshold,  but  per* 
severe  in  so  good  and  useful  a  cause. 

ORIGINAL  CORRESPONDENCE. 

Dbak  Editor.^ — For  the  voluntary  '*  movement,"  (in  the  Corelii 
question)  which  your  French  florid  correspondent  has  done  me  the 
honour  to  make,  I  beg  very  sincerely  to  thank  him,  although  it 
must  be  confessed  that  his  answer  to  the  original  question,  viz., 
**  Has  Correlli  in  any  known  passage  violated  or  departed  from 
the  laws  ol  harmony,  is  not  quite  so  satisfactory  to  my  sceptical 
antagonist,  as  it  would  have  been,  if  a  single  passage  (bearing 
proof  of  the  violated  laws  of  harmony)  in  either  the  solos,  concertos 
or  sonatas  of  the  erudite  contrapuntest  alluded  to,  had  been  pointed 
out.  Your  very  agreeable  "  French  Flowers,"  will  very  much  oblige 
by  opening  a  little  wider  in  some  convenient  comer  ot  the  "Musiod 
World "  of  next  week. — I  am,  my  dear  Mr.  Editor,  with  every 


apology  for  troubling  you,  yours  truly. 


Zeta. 


REVIEWS   ON    music. 

*^  The  Lord  ii  Kinff,"  Anthem,  for  two  voices  and  ckonu,  with  mccompa" 
niment  for  organ  orpiamtforle,  composed  6y  Jouh  Loogb  EixiaTON, 
Esq.— C.  LoMsnALi. 

The  author  exhibits  much  skill  in  composition.  The  Toice  parts 
are  well  written,  and  the  arrangement  is  good.  If  there  is  little 
inspiration  in  this  work,  there  is,  nevertheloM,  a  good  deal  of  merit 
ana  excellent  intention.  Tha  anthem  is  written  for  tenor,  bass,  and 
chorus. 


''  There  is  a  tongue  in  every  Inf,"  Recitative  and  Aria,  S.  M'Muanit, 

Mus.  Bac.  Oxon. — ^T.  Boosjky. 

We  can  speak  in  terms  of  great  eulogy  of  this  composition. 
But  there  is  an  *air  of  pretension  about  it  we  do  not  like,  and  the 
author  does  not  seem  to  follow  out  his  own  intentions.  There  is 
apparently  little  diflPorence  between  the  aria  and  the  recitative,  and 
both  might  change  place  without  any  disadvantaze.  Musically 
speakinff  the  song  is  well  written,  and*  the  accompaniments  are 
those  of  a  scholar. 


"  Promenade  Waltzes  for  the  piano,/,  Ricavl.^o  Lintex, — ^D'Almainb 
ani  Mackinlat. 
Mr.  Linter  is  one  of  the  popular  waltz  wi  iters  of  the  dav.  He 
has  a  certain  amount,  and  a  certain  quality  of  tune  in  his  com- 
positions, which  will  always  insure  him  succe  ss  with  a  majority  of 
the  public.  In  the  absence  of  any  particular  .merit  as  a  musician 
he  may  lay  claims  to  the  possession  of  that  wh.  vch  will  render  him 
a  favourite  with  a  particular  class.  To  that  clat^  we  strongly  re- 
commend the  above  waltzes  as  possessing  grei  \t  merit  of  their 
kind.  The  frontispiece  to  these  waltzes  is  a  ma^  Tnifieent  dravring 
done  in  sold  and  rich  colours,  and  is  certainly  \  worth  the  whole 
price  of  we  work. 


2^0 


THE  MUSICAL  WORLD 


"  FonUUnbleau  QuadtiUet."  6y  RiCAaoo  Lxntbr— 0'Auiaink  and 
Mackinlat. 
Another  set  of  Mr.  Ricardo  Lintcr's  compositions,  adorned  with 
finother  magnificent  frontispiece,  if  not  so  gorgeous,  more  beautiful, 
and  in  far  better  taste  than  the  last.  1  be  Fontainbleau  Quadri  les 
are  light  and  lively,  and  would  become  popular  if  heard  in  the  right 
place. 

••  The  Sea  Nymph'e  Song,"  writ  en  by  S.  F.  Smith.    The  mutic  by 
J.  Barnktt. — D*Alm\inb  and  Mackinlat. 
One  of  the  mcst  pleasing  songs  of  the  author  of  the  Mountain 
l^^h,  we  have  seen  for  some  time      The  words  are  not  very  in 
spiring,  but  Mr.  Barnect  has  created  the  poetry  and  music  both 
together. 

"  Happy  days  e^one  by  "  Ballad,  written  by  Mtss  Marian  Brofdbn,  $ung 
by  Mus  Clak\  Novbllo  and  comp'jeed  //y  J.  Cronin. 
A  neat,  unpretending  song,  with  a  flow  of  tunc  nut  euiirely'free 
from  the  trite  and  the  vulgar  Mr.  Cronin  steers  clear  of  any 
novelty  of  effects  in  the  or  arrangement.  The  words  of  Miss 
Brofdea  have  merit,  but  they  are  deficient  in  poettcskill.  The 
feeling  is  very  amiable. 

HCR   MAJESTY'S  THEATRE.        ^ 

Since  our  pen  was  last  employed  in  recording  the  proceed- 
ings at  this  establishmeDt.  Mr.  Lumley,  the  director,  has  returned 
from  his  travels  in  search  of  the  Swedish  Nightingale.  Mr. 
Lnm'ey  has  not  travelled  in  vain,  for  Jenny  Jjind  is  here. 
She  arrived  on  Saturday,  a  few  hours  later  than  Mr.  Lumley 
himself,  and  appeared  that  same  evening  in  a  box  at  the  Opera, 
looking  out  for  the  beauties  of  Verd  's  1  Due  Foscati^  which 
^as  repeated  on  that  occasion  for  the  third  time,  Coletti 
^ing  more  effective  than  ever  in  the  Doge,  Jenny  Lind 
teemed  much  amused  with  the  opera,  and  also  with  Lucile 
Orahn  in  the  6al/e<  of  OrifAta,  of  which  she  lemained  to  see 
the  greatest  portion.  Jenny  Lind  was  also  evidently  pleased 
with  Rosati  and  Marie  Taglioni,  both  of  whom  danced 
between  the  second  and  third  acts  of  the  opera.  The  house 
was  very  full.  So  great  was  the  curiosity  about  the  Lind, 
that  for  once  that  an  opera-glass  was  directed  to  the  staf^e  it 
was  thrice  directed  to  the  box  in  which  she  sat,  accompanied 
by  a  cavalier  and  a  dame.  So  many  eloquent  pens  have 
lately  attempted  to  describe  her  that  it  will  appear  presuming 
in  OS  to  follow  their  example  and  emulate  their  failure. 
Nevertheless,  for  the  sake  of  gratifyir*g  our  excellent  friends 
in  the  provinces,  who  glean  all  thei/  Opera  information  from 
our  pages,  we  shall  not  quake  b'jfore  the  task  we  have  set 
ourselves — that  of  drawing  in  f^ome  half  dozen  lines,  the 
picture  of  an  artist  who  has  cau.sed  more  commotion  previous 
to  her  appearance  (as  the  angr.y  moon  breeds  storms,  looking 
80  calm  the  while)  than  all  tl  je  foreigfi  luminaries  put  together, 
who,  for  the  last  half  ceixt,.ury,  have  lent  their  light  to  this 
qountry  in  the  period  of  Utie  harvest  time. 

Jenny  Lind  \t  young—  -of  the  middle  height — fair-haired — 
Mue-eyed — ^neither  stout,  nor  slender,  but  well  proportioned 
— ^neither  fat  nor  thin,  1  jut  enough  of  the  one  for  comeliness, 
and  enough  of  the  oth  ler  for  romance — meek-looking  when 
her  features  are  at  re  st,  full  of  animation  and  energy  when 
they  are  at  play — likr  3  Fate  when  she  frowns,  like  Love  when 
she  smiles — ^in  short  ,  the  very  maiden  of  the  German  poet's 
dreams,  the  jimgf  ran  of  Schiller's  Ideal.  Jenny  Lind  is 
neither  handsome  nor  plain,  neither  pretty  nor  ugly,  but 
something  that  h'  jvers  about  the  abstract  qualities  of  every- 
thing, catching  a ,  portion  of  them,  but  resembling  them  in 
nothing.  Her  face  is  like  the  water,  ever- changing  its 
expression  accr  jrding  to  the  influence  that  troubles  it  from 
irithoat ;  but  *  ft  is  fairer  than  the  water,  for  the  spirit  that 
Bves  within  is  ,  an  inefTable  spirit,  restless  and  unstable  withal,— 
^ow  dandng  ^  in  tier  e^esi  like  light,  now  playing  on  her  lips 


like  an  unbodied  joy,  now  lying  cosily  in  the  dimples  of  her 
cheek  and  chin.  But  what  madness  to  attempt  a  description 
of  that  which  is  not  to  be  described.  As  well  might  you 
count  the  sun-beams— with  as  much  profit  encbracc  a  wave  as 
it  flows  to  its  annihilation.  Jenny  Lind  is  what  neither  you4 
nor  we,  Reader,  can  account  for.  The  expressions  of  her 
countenance  are  as  the  fleeting  shapes  which  the  golden 
clouds  of  sunset  will  assume  ;  look  at  them,  and  if  you  be  a 
Turner,  catch  them  as  you  look  ;  but,  if  you  turn  aside  and 
look  again,  ihey  are  gone  for  ever— others  succeed,  but  not 
the  same — they  may  live  in  the  memory,  but  they  have  fled 
from  the  face  of  the  outward  world.  But  with  all  this  Jenny 
Lind  is  a  simple  German  maiden,  who  talks  and  laughs,  and 
eats  and  drinks,  and  shakes  hands  with  you  (the  sensation 
this  gives  you  is  rather  indefinable,  by  the  way),  and  does 
everything  else  but  sing  like  all  the  rest  of  the  world.  How 
she  does  this  will  be  for  us  to  tell  before  many  more  suns  sad 
moons  have  risen  and  set,  and  the  hours  that  entertained  them 
have  fled  away,  like  the  dark  arrow  in  the  noon. 

Now,  Reader,  we  have  attempted  to  describe  Jenny  Lind, 
for  your  pleasure,  and  have  failed  as  utterly  as  our  amiable 
friend  of  the  Observer  and  the  rest  of  them—but  we  hold 
ourselves  entitled  to  your  gratitude  for  having  made  an 
exposition  of  our  incompetency.  We  have  exceeded  the 
half-dozen  lines— but  the  subject  expanded  as  we  went  (»n. 

On  Tuesday  a  series  of  mishaps  turned  all  the  entertain- 
ments topsy-turvy.      Ernaui  was  announced,  but  when  we 
arrived  at  the  theatre  a  bill  was  placed  in  our  hands,  pleading 
the  sudden  indisposition  of  Madame  Castellan,  as  an  excuse 
for  substituting  two  acts  of  /  due  Foseari.     But  here  again  we 
were  to  be  disappointed.     Madaire  Montei.egro  was  indis- 
posed, and  Madame  Solari  was  compelled  to  act  as  proxy  for 
her  in  the  prominent  character  of  Lucrezia.    Nevertheless,  all 
went  favourably.     Madame  Solari,  a  well-looking  dame,  with 
a  pleasing  voice  and  unpresuming  manner*  sang  and  acted 
better  than  could  have  been  anticipated  under  the  circum- 
stances ;  and  Fraschini  and  Coletti  put  their  shoulders  to  the 
wheel,  and  pushed  the  cart  of  Time  on  pleasantly  enough. 
Then,  entirely  to  restore  good  humour,  the  admirable  Perrot, 
groaning  under  the  weight  of  laurels  won  from  the  Milanese, 
in   company    with  Fanny   Ellsler,   made  h'.s  first  bow  this 
season,  and  was  received  with   the   enthusiasm  due  to  the 
author  of  Esmeralda,  Catarina,  the  Pas  de  Quaire,  the  Pom 
des  Diesses,   and  so  many  masterpieces.     Perrot  had  com- 
posed a  fas  de  deux  for  the  occasion,   for  himself  and  the 
svelte  Rosati.     As  a  composition  it  was  worthy  the  genius 
of  the  prince  of  ballet-masters,  and  iu  execution  was  worthy 
of  the  feet  of  Perrot  and  Rosati.     Little  Marie  Taglioni  then 
came   on,    unconsciously,    and    unconsciously    danced    the 
Posnania,  which  being  encored  with  acclamations,  was  uncon- 
sciously repeated  by  the  unconsciously  bewitching  choregraph. 
How  divinely  this  little  inexplicable  paradox  would  mime  and 
dance  the  Somnambulist !     We  would  go  a  mile  to  see  her 
walk  in  her  sleep— albeit,  she  could  hardly  be  more  evidently 
unconscious   than   in  her  waking.      The  remainder  of  the 
entertainments  comprised  a  scene  from  La  Favorila,  is  whi<^ 
Gardoni  sang  with  his  wonte  delegance  and  feeling ;  and  the 
picturesque  ballet  of  T^Ai— Rosati  and  Marie  Taglioni  the 
fairest  flowers  in  the  I'erpsichorean  bouquet.     The  house  was 
well  filled,   and  the  audience  was  pleased,  in  spite  of  dia- 
appointments. 

Thursday  was  a  long  Thursday,  but  not  a  bit  too  long  fbr 
Mr.  Lumley's  pul>lic,  who  are  used  to  such  feasU  as  would 
shame  the  banquets  of  Trimalchio,  recorded  by  Petronius  in 
his  Saiyrkon.   The  fixst  course  consisted  of  L'JSUsir  fdmre. 


THE  MUSICAL  WORLD. 


371 


tbe  best  of  a]l  the  comic  operas  of  Donizetti.  It  was  thus 
cast : — Adina,  Madame  Castellan,  Nenr;orino  Signor  Gardoni, 
Belcore  Sig.  F.  Lablache,  Dr.  Dulcamara  Signor  Lablache. 
The  delay  which  Lablache's  temporary  indisposition  neces- 
sitated had  an  advantage.  Out  of  good  came  evil.  The  Elisir 
was  deferred,  but  it  doubtless  gained  another  rehearsal,  and  a 
rehearsal,  under  the  vigilant  and  sensitive  Balfe,  is  of  no  small 
▼alue  to  all  concerned.  At  all  events,  we  never  heard  an 
opera  more  perfectly  rendered  in  all  its  departments.  It  was 
a  splendid  realisation  of  the  Opera  buffa  of  Italy  in  its  best 
days,  and  as  the  music  of  Donizetti  is  quite  worthy  of 
Cimarosa,  the  illusion  was  complete  in  all  respects.  Lablache 
was  ineomparahle,  Grardoni  delicious,  F.  Lablache  admirable, 
and  Castellan  all  but  irreproachable.  A  printed  paper  was 
handed  to  us  at  the  beginning  of  the  evening,  requesting 
indulgence  for  the  lady,  on  the  plea  of  indisposition  ;  but 
whatever  might  have  been  her  ailment,  it  was  very  slightly 
observable.  Gardoni  was  unanimously  encored  in  *'  Una 
fnrtiva  lagrima,"  which  he  sang  with  exquisite  fepling.  His 
influenza  has  nearly  left  him,  and  ere  long  he  will  be  quite 
himself,  and  in  condition  to  prendre  sa  revanche  in  the 
Pnntani.  At  the  end  rf  the  opera,  Castellan,  Gardoni,  and 
Lablache  were  ail  recalled,  and  cheered  **  to  the  echo." 

There-appearance  of  Cerito  was  the  next  event  of  importance. 
Tliis  charming  danseuse,  the  originator  of  the  ••  Realism  " 
apostrophised  by  the  eh  quent  writer  of  the  Times — or  rather 
explained  by  him,  for  to  his  philosophical  acumen  we  owe 
the  classification  of  Terptichorean  acl.iev.ements  into  schools — 
the  originator  of  the  "realism"  of  which  Marie  Taglioni 
is  a  fascinating  disciple,  made  her  rejitr^  in  a  divertissement 
from  the  last  year's  ballet  of  Lalla  Roohh^  and  was  welcomed 
with  acclamations  in  the  pas  de  shawls.  But  this  was  only 
an  inauguration.  It  was  not  till  later  in  the  evening,  in  the 
justly  celebrated  pas  de  quatre  from  the  Lac  des  Feh  (the 
only  feature  of  that  forgotten  baliet  which  the  edax  rerum  has 
not  swallowed),  that  Cerito  was  her  inimitable  self — we  say 
inindti^ble,  for  sui  generis  she  has  no  competitor.  In  this  her 
frolicking  abandon,  her  airy  and  astonishing  vaults  and 
bounds,  and  her  classical  and  exquisite  poses,  worthy  of  being 
immortalised  by  the  chisel  of  a  Baily,  excited  the  ususJ 
admiration.  St.  L^on,  the  happy  spouse  of  the  fair  danseuse, 
was  the  partner  of  her  feats,  and  was  received  with  the 
warmth  due  to  his  great  merits,  and  leaped  and  twirled  round 
with  the  elasticity  of  Indian  rubber,  and  the  celerity  of  a  tee  • 
totum  in  full  spin.  The  famous  step  d  deux,  in  which  Cerito 
and  St.  I. don  traverse  the  stage  in  a  succession  of  incredil>le 
bounds,  cutting  capers,  as  the  term  goes,  in  bottomless  space, 
was  vociferously  encored,  and  the  wht)le  dance  excited  con- 
tinuous plaudits.  Mdlles.  Cassan  and  Honore,  those  admirable 
cor^phtes,  were  efficient  supporters  of  the  subordinate  parts  of 
the  pew,  and  ambitiousily  emulated  the  achievements  of  their 
renowned  sistet  of  the  dance.  Previous  to  the  pas  de  quatre 
we  should  lave  stated  that  Marie  Taglioni  executed  her 
famous  pas  de  Rosierh,  from  Coralia,  with  her  usual  success, 
being  loudly  encored  in  her  revolving  variation,  which  she 
performs  with  such  winning  placidity  and  unconcern. 

The  last  course  of  this  lyric  and  choregraphic  banquet 
consisted  of  the  ballet  of  Orithia,  of  which  we  have  already 
rendered  account.  LucOe  Grahn  danced  with  her  accustomed 
fire  and  animation  and  was  rewarded  with  the  applause  she 
never  fails  to  elicit.  A  new  pas  de  deux,  composed  by  M. 
Paul  Taglioni,  for  Rosati  and  Marie  Taglioni,  was  named  in 
the  bills,  but  did  not  occur  while  we  were  present.  Rosati, 
indeed,  was  absent  the  whole  evening,  which  perhaps,  was  a 
tsibute  paid  to  the  reMri^  of  the  celebrated  Cerito. 

ii 


The  house  was  brilliantly  attended  Her  Majesty,  Prince 
Albert,  and  suite,  were  present,  and  what  is  quite  as  important, 
the  much  talked-about  Jerny  Lind,  whose  appearance  is 
looked  forward  to  with  a  frenzy  of  excitement. 

ROYAL  ITALIAN  OPERA. 

We  have  received  innumerable  letters,  extolling  our  impar« 
tiality  as  exhibited  in  our  notices  of  the  two  Italian  Operas, 
We  may  here  be  permitted  to  express  an  opinion  that  there  is 
nothing  whatever  to  extol  in  our  humble  e€brts  to  present  the 
readers  of  the  "  Musical  World"  with  a  true  history  of  the 
doings  at  both  theatres.  We  are  the  partisans  of  neither,  and 
we  are  in  the  pay  of  neither.  Though  we  hold  to  the  opinion 
we  have  all  along  expressed,  that  two  large  establishments 
for  the  representation  of  Italian  music  and  French  ballet 
exclusively,  are  more  than  even  T/)ndon  can  desire,  and  m  va 
than  even  London  can  afford  to  support,  and  that  the  one 
least  ably  directed  must  ultimately  go  to  the  wall,  we  are  not 
the  less  zealous  in  our  hope  that  both  may  succeed,  sinee  their 
success  involves  the  well-being,  and  even  livelihood  of  so 
many  deserving  persons  and  artists  of  various  denominations. 
That  this  hope  is  unaccompanied  with  faith  in  the  result,  is 
not  the  fault  of  our  scepticism,  but  the  offspring  of  analogical 
reasoning,  not  to  be  overpowered  by  any  argument  eontralhsX 
has  up  to  this  moment  been  broached.  But,  once  for  all,  in 
declaring  our  intention  to  proceed  as  we  have  begun,  we  lay 
claim  t«»  no  other  reward  than  what  is  naturally  accorded  to 
all  faithful  and  unbiassed  chroniclers  : — that  of  the  eonfidence 
of  the  public  in  what  we  find  occasion  to  record,  and  reason- 
able deference  for  the  opinions  we  are  led,  by  circumstances 
as  they  may  occur,  to  advance. 

The  performance  on  Saturday  began  with  Rossini's  Semim 
ramidCj  given  for  the  fourth  time  during  the  present  season, 
Grisi  both  sang  and  acted  magnificently,  better  than  we  have 
yet  heard  her,  even  during  the  present  season,  the  ibsorbing 
circumstances  of  which  have  wound  up  her  admirable  talents 
to  the  highest  pitch  of  exertion.  We  never  saw  her  lookirg 
more  beautiful,  or  nrore  fully  in  prsses<aion  of  health,  energy, 
and  all  those  faculties  that  have  combined  to  constitute  htr 
the  queen  of  her  divine  art.  The  presence  of  Her  Majesty 
and  Prince  Albert,  who  for  the  first  time  honoured  the  Royal 
Italian  Opera  with  their  presence,  seemed  to  have  put  the 
inimitable  artist  on  her  mettle,  and  the  bursts  of  approbation 
that  continually  grct-ted  her  exertions  showed  how  entirely 
the  audience  (the  mobt  brilliant  of  the  season)  appropriated 
her  transcendant  capabilities.  Alboni,  whose  pos»ition  as  a 
first-rate  ca^te/n'ce  is  now  placed  beyond  discussion,  displaye^^ 
all  those  excellencies  that  stand  recorded  in  our  pa  1 3.  Itisa!I 
very  well  to  talk  of  Pisaroni,  but  when  talent  reaches  a  certain 
condition  of  perfectne^s,  it  is  not  possible  to  go  beyond  it; 
and  this  we  confidently  state  to  be  the  case  in  respect  of 
Alboni,  than  whom,  with  infinite  respect  for  the  past-worthip 
and  the  "laudatores  tempora  acti"  sneered  at  by  Horatius 
Flaccus  in  his  Ars  P  letica,  we  do  positively  assert,  and  do 
faithfully  believe,  that  a  more  admirable  coniraUo^  both  natu- 
rally and  artistically,  never  adorned  the  dramatic  arena.  The 
largo  of  her  cavatina,  exhibited  with  all  the  oily  richness  of 
voice  that  we  have  hitherto  remarked — and,  happily,  a  shade 
less  redundancy  of  style,  was  encored,  and  a  similar  compli- 
ment was  paid  to  the  cabaletta  of  the  duet  with  Grisi,  in 
which  both  singers  were  as  perfect  as  natural  gifts  and  con- 
summate art  could  make  him.  Tamburini,  though  still 
suiffering  from  hoarsness,  acted  splendidly,  and  sang  very 
little  the  worse  for  his  indisposition.  The  orchestra  and 
chorus,  under  Costa,  were  almost  faultless-^to  say  q^t 


272 


THE  MUSICAL  WORLD- 


faultless  would  be  to  outrage  truth — for  it  is  in  humanity  to 
err  sometimes,  and  all  that  skill  and  industry  can  effect  is  to 
render  that  erring  as  infrequent  as  practicable.  The  Odalisque 
followed,  in  which  Fleury,  as  usual,  danced  very  gracefully. 
But  we  hope  to  see  her  soon  in  something  more  attractive. 
To  vie  with  Her  Migesty's  Theatre  in  the  ballet  department 
demands  something  more  than  the  Royal  Italian  Opera  would 
appear  as  yet  to  have  dreamed  of. 

Tuesday  night  will  be  long  remembered  by  those  who  were 
present  at  the  Royal  Italian  Opera.  The  admirable  Mario 
made  his  rentrke,  and  a  new  ballet  of  the  right  sort 
was  introduced  for  the  debut  of  Dumilatre,  a  graceful  and 
clever  danseuse^  already  known  to  this  country  through  the 
medium  of  the  spirited  Mr.  Bunn.  The  opera  for  the  occa- 
sion was  La  Sonnamhula^  the  masterpiece  of  poor  Bellini's 
graceful  talent.  Persiani  was  the  Amina ;  and  whether  it 
was  the  presence  of  her  redoubtable  rivaU  Jenny  Lind,  about 
whom  the  whole  world  is  in  arms  at  present,  or  the  influence 
of  La  Diva,  Grisi,  who  was  conspicuous  in  a  private  box, 
beaming  with  beauty  and  intelligence,  or  whether  it  was  the 
stimulus  of  acting  with  the  accomplished  Mario — or  one*  or 
ail,  or  none  of  these  incentives  to  exertion — we  know  not, 
but  certain  it  was,  that  she  never,  in  our  recollection,  sang 
so  divinely.  Her  execution  of  the  "Come  per  me  sereno," 
in  the  first  scene,  and  the  '*  Ah  non  giunge."  in  the  last,  was 
absolute  perfection.  The  graces  and  fioriture  she  introduced, 
varying  them  in  the  encore  with  surpassing  facility,  were 
astonishing.  Jenny  Lind  appeared  to  observe  her  with 
intense  interest,  and  no  doubt  said  within  herself,  *'  This  is  a 
rival  not  to  be  despised — Amina  is  one  of  my  pet  parts,  and 
I  must  look  out  for  my  laurels."  But  we  opine  that  Jenny 
kind's  stronghold,  in  this  respect,  will  be  her  dramatic  ability, 
in  which  particular,  beyond  a  certain  quiet  grace  and  un- 
affected earnestness,  Madame  Persiani  does  not  shine. 

Mario,  the  pleasant,  welcome  Mario,  must  have  a  paragraph 
tp  himself.  His  appearance,  as  the  Elvino  of  the  evening,  was 
welcomed  with  acclamations,  loud  and  long  continued.  Three 
salvos  of  applause  were  not  considered  enough  to  honour 
him,  but  a  fourth  must  perforce  be  added.  The  first  few 
notes  he  uttered  proclaimed  the  voice  of  the  graceful  tenor 
as  full  toned  and  grateful  to  the  ear  as  ever.  Throughout 
the  evening  Mario  sang  in  his  very  best  style,  which,  it  is 
needless  to  say,  is  a  style  approachable  by  few  other  artists. 
In  the  finale  to  the  second  act  (the  opera  being  distributed  in 
three  acts,  contrary  to  Bellini's  intention),  his  passionate  and 
truthful  expression  was  the  theme  of  general  admiration; 
and  in  the  air,  *'  Ah  perche  non  posso,*'  he  touched  all  hearts 
}fy  the  pa^os  and  sensibility  he  infused  into  the  andante, 
which,  contrary  to  precedent,  was  unanimously  encored-- a 
compliment  ordinarily  reserved  for  the  cabalet(a,  and  to 
which  Mario's  beautiful  singing  on  this  occasion  entitled  it 
strongly  as  ever. 

Tamburini  quite  delighted  the  audience  by  his  graceful  and 
natural  acting  in  Count  Rudolpho,  to  which  part  he  gave  a 
prominence  that,  rarely  accompanies  it.  His  "  Vi  ravviso" 
was  sung  as  finely  as  could  be,  and  was  received  w:th  loud 
applause.  It  was  honourable  to  this  great  artist  to  have  thus 
consented  to  give  importance,  by  the  prestige  of  his  name,  and 
the  excellence  of  his  talent,  to  a  part  of  subordinate  interest. 

Our  readers  will  not  have  forgotten  Mdlle.  Corbari,  in 
whose  favour  we  waged,  last  year,  a  crusade  against  the 
critic  of  the  Morning  Chronicle,  who  was  inveterate  in  his 
hostility.  Things  have  now  changed,  and  we  pre  happy  to 
compliment  the  zealous  advocate  of  the  Royal  Italian  Opera 
or  the  handsome  manner  in  which  he  has  recognized  Mdlle. 


Corbari,  in  her  new  position,  as  one  of  the  contraltos  of  that 
establishment.  To  do  other  than  praiae  the  young  artist  for 
the  charming  and  ingenuous  manner  in  which  she  sang  and 
acted  the  not  very  agreeable  part  of  Lisa,  rescuing  it  by  her 
agreeable  manner  from  much  of  its  unpleasantness,  was  not 
possible,  and  the  Chronicle* s  appreciation  has  our  hearty  con- 
currence.    We  even  go  so  far  as  to  quote  his  words  : — 

•'  Madlle.  Corbari  wm§  received  also  with  much  applause.  She  has  a 
beautiful  voice,  and  has  gained  ground  as  a  singer  since  her  debut  laat 
season,  but  she  still  lacks  sUge  ease  and  experience." 

We  do  not  perceive  the  **lack'*  complained  of.  We 
admired  the  unobtrusive  acting  of  Mdlle.  Corbari,  no  less 
than  her  fresh  voice  and  agreeable  method  of  using  it.  She 
has  wonderfully  improved  in  confidence,  and  her  talent  has 
now  full  play  The  air  of  Donizetti  which  she  introduced  is 
sufficiently  effective  for  the  purposes  of  the  scene,  although, 
with  the  Chronicle,  we  are  uncompromising  enemies  to  all 
interpolations,  omissions,  abstractings,  or  remodifyings  of  the 
original  scores  of  no  matter  what  composer — even  Verdi. 
A  composer,  to  be  justly  condemned  or  praised,  must  be 
allowed  to  speak  for  himself.  If  you  cut  him  short,  or  cram 
words  into  his  mouth  that  he  would  not,  or  could  not  himself 
utter,  you  have  no  right  to  complain  that  he  has  not  spokea 
to  the  purpose.  At  the  end  of  the  opera,  Persiani.  Tamburini, 
and  Mario  reappeared  before  the  curtain,  amidst  loud  cheerirg. 
Corbari  might  decently  have  accompanied  them^  but  we 
suppose  the  fair  young  artist  was  not  sufficiently  presuming. 
But  why  did  not  her  more  experienced  comrade,  Madame 
Persiani,  bring  her  forward  ?  It  would  have  been  a  graceful 
action  on  her  part. 

We  have  small  room  left  to  record  the  entire  success  of  the 
new  ballet  of  M.  Albert,  which,  under  the  title  of  La  Reine 
des  F4e8,  was  entirely  and  deservedly  successful.  A  sketch 
of  the  story  is  not  possible  here.  Let  it  suffice,  that  it  is  the 
wedding-day  of  Teresa  and  Robert,  and  that  festivities  conse- 
quent thereon  are  taking  place.  There  is  a  haunted^  house, 
and  a  terrible  baron.  Argant,  Uie  terrible  baron,  is  in  love 
(desperately)  with  Flora,  a  beautiful  fairy  {La  Reine  desFiei) 
whom  he  has  "  seen  in  flashes  of  lightning,"  as  the  ballei- 
book  has  it.  But  Ulrich,  a  young  hunter,  falls  among  the 
fairies  by  some  accident,  sees  Flora  in  a  dream,  gets  by 
some  accident  into  the  haunt  of  the  fairies,  in  the  tower,  loves 
Flora,  is  loved  by  Flora,  makes  love  to  Flora,  is  accepted  by 
Flora,  and  persuades  Flora  to  leave  fairy-life,  and  resigning  ino- 
mortality  and  etheriality,  to  become  mortal  and  substantial  in 
the  shape  of  his  earthly  wife.  The  scenery  and  decorations  of 
this  ballet  are  worthy  of  the  Royal  Italian  Opera,  which  sits 
on  the  throne  of  old  Covent  Garden,  famous  of  yore  for  its 
scenic  wonders.  Grieve  has  outdone  himself  in  a  couple  of 
tableaux,  representing  the  descent  of  the  fairies,  and  the  home 
of  the  fairies,  which  are  ingenious,  novel,  and  beautiful.  They 
were  acknowledged  by  loud  plaudits.  "  If,"  as  a  humourous 
companion  remarked,  •*  Dumilatre  had  not  made  the  ballet^ 
the  ballet  would  have  made  Grieve.**  But  Grieve  did  not 
want  making;  he  made  himself,  years  ago,  by  his  ball-scene 
in  Gustave  III,  at  this  very  theatre.  The  dancing  of  Mdlle. 
Dumilatre  in  Flora,  the  Fairv  Queen,  was  in  the  highest 
degree,  elegant  and  poetical.  If  not  a  rival  to  the  more  agilfe 
of  the  great  dancers,  Dumilatre  yields  to  few  of  them  in  the 
grace  and  variety  of  her  poses,  and  the  floating  elasticity  of 
her  movements.  She  was  received  throughout  with  the 
warmest  applause ;  a  tribute  justly  due  to  her  refined  and 
ingenious  performance.  Petipa^  from  the  Academe^  Boyale, 
in  Paris,  also  appeared  in  the  part  of  Ulrich.  He  is  a  good 
dander,  and  a  clever  mimist,  and  was  mudi  applauded  in  a 


THE  MUSICAL  WORLD. 


213 


bdlliant  pas  de  deux  with  Damilatre.  The  dances  and 
groaplngs  were  all  artistic  and  effective.  The  pas  de  deux  of 
Mdlle.  B^rtm  and  M.  MabtUe  deserves  a  word  apart,  for  the 
skill  with  which  it  was  executed,  and  the  applause  with  which 
it  was  greeted.  The  ballet  was  entirely  suceessful,  and 
Dumilatre  and  Petipa  were  forced  to  reappear  at  the  fall  of 
the  curtain.  The  music  of  M.  Curmi,  by  the  way,  is  suffi- 
deutly  showy  and  tuneful.  M.  Mellon,  the  conductor  of  the 
baUeti  may  be  commended  both  for  zeal  and  ability.  He  will 
soon  get  used  to  his  part,  which  is  one  of  no  slight  importance. 
One  line  must  suffice  for  the  long  Thursday.  Ibe  per- 
formance included  an  act  of  Semiramidey  and  an  act  of  Soa- 
nambula.  The  singers  were  Grisi,  Alboni,  Tamburini,  Mario, 
Persiani,  Corbari,  &c.,  &c.  The  new  ballet  followed  with 
increased  effect.  The  house  was  crowded.  In  a  future 
number,  we  shall  have  a  word  to  say  about  this  fragmentary 
representation  which  hardly  consorts  with  the  spirit  of  the 
Royal  Italian  Opera  Piogramme. 


MADAME   BISHOP   IN   DUBUN. 

{From  our  CorrupondonL) 

Wbdnisdat  Night,  1 1  o'Clock. 

I  have  just  returned  from  the  Theatre  Royal,  and  the  post 
leaving  to-morrow  morning  at  6,  I  have  only  time  to  say  a 
few  words,  and  to  inform  you,  that  Madame  Bishop  is  once 
more  amongst  us,  and  that  she  performed  Norma  to-night 
with  immense  success.  She  was  received  by  a  very  crowded 
house,  with  deafening  cheers,  which  continued  so  long, 
that  the  orchestra  commenced  playing  several  times,  and  were 
obliged  to  give  way  to  the  hurricane.  I  have  not  time  at 
this  hour  to  speak  critically  of  the  performance  of  die 
prima  danna^  who  was  visited  during  the  evening  with  great 
applause,  received  several  encores,  and  was  called  for 
at  the  fall  of  the  curtain  with  a  repetition  of  all  the  previ- 
ous manifestations  of  enthusiasm.  Madame  Bishop  has 
certainly  worked  her  way  right  into  the  hearts  of  the  Dublin 
folk.  She  is  decidedly  one  of  the  greatest  favorites  that  has 
appeared  in  this  city.    I  have  not  time  to  write  more. 

C.R. 


MISCELLANEOUS. 

EzsTSR  Hall. — We  cannot  afford  our  readers  an  account 
of  the  second  performance  of  Elijah^  which  took  place  last 
night,  as  no  tickets  were  sent  us.  This  is  entirely  inde- 
pendent of  our  promised  analytic  notice  of  Dr.  Mendelssohn's 
Oratorio.  We  may  state  as  matter  of  information,  that  Her 
Majesty,  Prince  Albert,  and  suite,  attended  the  performance 
at  Exeter  Hall  last  evening. 

Miu  J.  Cohan. — We  perceive  by  our  advertisement  sheet, 
that  this  gentlemen  purposes  giving  a  recital  -of  piano- forte 
music,  at  the  Hanover  Square  Rooms,  en  which  occasion,  he 
will  perform  part  of  a  piano-forte  sonata  of  his  own  composi- 
tion ;  a  sorata  of  Beethoven  for  piano  and  violin,  in  conjunc- 
tion with  Blagrove.  Miss  Dolby  and  Miss  Birch  are  among 
the  vocalists  engaged. 

Madame  VxsTais  and  Me.  Charles  Mathews  concluded 
their  engagement  in  Dublin  on  Tuesday  last.  It  proved  a 
▼ery  unprofitable  speculation  for  the  manager. 


Mdlle  VKaA.— -The  vocalist  and  her  brother,  M.  Vera,  the 
compoaer  and  accompanist,  have  arrived  in  London. 

Mademoiselle  Fannt  Elsblir  will  make  her  first  appear- 
ance at  the  Royal  Italian  Opera  on  Saturday  next,  in  a  new 
grand  ballet  written  expressly  for  her. 

Viardot  Garcia. — The  Berlin  Journals  are  loud  and 
incessant  in  their  eulogiums  on  the  merits  of  this  artist.  Her 
voice  and  execution  are  extraordinary,  and  have  created  a 
sensation  almost  unparalleled  in  the  annals  of  the  lyric  stage. 
The  enthusiasm  with  which  she  is  constantly  greeted  seems 
to  prove  the  reiterated  opinion  of  the  Prussian  journalists, 
that  the  mantle  of  her  illubtrious  sister  Malibran,  has  appro- 
priately fallen  upon  her.  Alice,  in  Robert  le  Diable,  is  a  task 
for  the  powers  of  even  a  first  cantatrice,  and  for  this  pAft 
Madame  Viardot  Ghircia  was  on  a  late  occasion  announced. 
Mademoiselle  Tuezck,  the  Isabelle  of  the  evening,  was  taken 
ill,  an  event  which  would  have  set  the  opera  aside,  had  the 
principal  part  been  in  any  other  prima  donva*8  hands; 
Madame  Viardot  Garcia*  however,  rather  than  aUow  any 
disappointment  to  the  audience,  actually  undertook  and 
played  the  two  parts !  —  changing  her  costume  with  each 
change  of  scene,  and  representing  in  one  opera^  the  two 
opposite  characters  of  a  princess  and  a  peasant ! ! !  The 
enthusiasm  of  the  audience  was  at  its  height,  and  she  was 
vociferously  called  for  at  the  end  of  each  act;  when  the 
curtain  fell,  the  house  rose  en  nasse^  and  greeted  her  with  an 
absolute  storm  of  uproarious  applause,  richly  earned,  not  only 
in  the  performance  of  so  unexampled  a  feat,  but  even  more 
in  the  unaffected  readiness  with  which  it  was  undertaken.  As 
it  is  justly  observed  in  the  German  papers,  far  from  lowering 
her  dignity  by  the  condescension,  Madame  Viardot  Garcia 
has  added  to  it,  and  she  will  doubtless  find  its  just  appreciation 
in  the  public  patronage  and  applause. — {From  the  Royal 
Italian  Opera  Programme,) 

Mdlle.  Molina  di  Memdi. — This  young  vocalist,  a  cousin 
of  the  late  Mad.  Malibran,  and  of  Pauline  Viardot  Garcia, 
the  living,  has  arrived  in  London. 

ViEuxTEMPS. — The  celebrated  violinist  and  composer,  has 
arrived  in  Liondon  for  the  season,  and  will  play  at  the  next 
meeting  of  the  Beethoven  Quartet  Society. 

Herr  Hoelzxl. — This  esteemed  German  basso^  and  agree- 
able vocal  composer,  has  arrived  in  London  for  the  season. 

Madame  Anna  Bishop  arrived  in  Dublin  on  Saturday  last. 
She  appeared  in  Norma  on  Wednesday  and  not  on  Monday 
as  we  announced.  She  will  shortly  appear  in  Linda  di  Cha^ 
mounif  in  the  principal  character  of  which  she. created  so  much 
sensation  at  Rome  and  Naples. 

Royal  Italian  Opera.  —  Meyerbeer's  grand  Opera, 
Roberto  il  Diavolo^  has  been  prepared  for  this  Theatre,  and  is 
in  active  rehearsal.  The  cast  will  embrace  nearly  the  whole 
strength  of  the  Operatic  Company.  The  principal  characters, 
we  understand,  will  be  sustained  by  Mesdames  Grisi  and 
Persiani,  with  the  Signori  Mario,  Salvi,  Marini,  and  Ronconi, 
or  Tamburini. 

Mrs.  Butler,  lale  Fanny  Kemble,  makes  her  first  ap- 
pearance in  London  for  several  years,  on  Monday  evening, 
at  the  Princess's  Theatre.  She  will  perform  Julia,  in  the 
Hunchback,  and  on  Wednesday  she  will  appear  in  Juliet,  the 
part  in  which  she  won  her  first  favors  with  the  public. 

Haymarxbt.— A  new  five-act  comedy  is  in  rehearsal  at 

this  theatre.  C^  r^rAi  i  ■  # ^ 

Digitized  by.  VrrOOy  H^ 


274 


THE  MUSICAL  WORLD. 


8f  ANUH  Trbatricals  IN  LoNDON.-^The  Spanish  Com- 
pany who  are  performing  with  great  eclai  at  the  Opera-house 
in  Paris,  have  been  engaged  by  Mr.  fiunn,  and  will  appear 
in  due  course  at  Drury  Lane.  The  Spanish  Company 
consists  of  two  troops,  the  comedians  and  the  dancers. 
The  choregraphic  corps  are  spoken  of  in  terms  of  great  admi- 
ration, their  performances  being  novel  in  the  highest  degree. 
Cachuchas,  boleros,  tambourine  and  other  national  dances  are 
fxhibited,  and  display  extraordinary  powers  of  ability  in  the 
members  of  the  troop.  It  is  said  that  the  baiero  and  cachucha 
will  be  seen  for  the  first  time  in  England,  and  that  the  dances 
under  these  names  at  present  exhibited  on  the  operatic  stage 
and  elsewhere,  are  no  more  the  national  dances  of  Spain,  than 
the  jig  or  waltz.  M'e  await  thQ  coming  of  the  Spanish  double 
company  with  much  curiosity. 

SioNOR  Spbfanoski.  —  The  celebrated  violoncellist  has 
arrive    in  London. 

GoDEFROiD.— This  eminent  harpist,  whose  success  in  Paris 
durin<j:  the  winter  has  been  immense,  will  arrive  in  Tendon 
fi)r  the  season  on  the  25th.  The  h  irp  had  grown  quite  into 
discredit  among  the  Parisian  dilettanti,  but  Godefroid  has 
restored  it  to  favor,  and  such  has  been  his  vogue  that  the  stiff 
and  stately  Conservatoire  itself  was  compelled  to  engage  him 
for  its  recent  concert.  His  own  concerts  have  been  brilliant 
and  crowded.  The  public,  blas^  with  pianist  and  violinist^, 
found  something  novel  and  exciting  in  the  harp,  as  developed 
by  the  agile  fingers  and  agreeable  fancy  of  Godefroid. 

Julia K  Adams. — This  popular  performer  upon  the  patent 
harmonium  and  pianoforte  has  arrived  in  town  fur  the 
seaaon.  Mr  Adams  performed  upon  the  patent  harmonium 
at  a  *oiWe,  given  expressly  for  him  by  the  Earl  of  Mount 
Edgecombe,  on  Friday  evening  last,  at  the  noble  earVs  resi- 
dence at  Bath.  The  patent  harmonium,  from  its  original 
capabilities,  will  doubtless  prove  a  novel  and  interesting 
feature  at  the  London  concerts  this  season,  more  particu- 
larly at  the  nobility's  soir^est  for  which  it  is  so  peculiarly 
^apted. 

Bath  Harmonic  Society. — A  superb  French  clock,  bear- 
ing a  suitable  inscription,  has  been  present«^d  by  a  committee 
of  members  of  the  above  society,  to  Mr.  Bianchi  Taylor,  in 
acknowledgment  of  his  eminent  talent,  and  of  his  great,  inde- 
fatigable exertions. 

M.  and  Mad.  Curt  had  the  honor  of  a  private  audience 
with  his  Holiness  the  Pope  previous  to  their  dt;parture  from 
Rome,  where  they  were  also  elected  honorary  members  of  the 
'*  Congregazione  ed  Accademia  di  Santa  Cecilia."  After 
visiting  Naples,  Genoa,  Florence,  Bologna  and  Venice  (where 
they  performed  at  two  soirees  given  by  the  Duchess  of  Berry, 
in  presence  of  the  Imperial  Court),  they  gave  their  last  concert 
on  the  20th  of  March  at  the  Scala  in  Milan,  and  have  arrived 
in  London. 

Poses  PLASTiauKS.— The  Table'iiix  Vivans,  as  now  exhi- 
bited, are  far  from  being  the  novelty  generally  supposed. 
M.  Toqueville  in  his  history  of  the  reign  of  Louis  XV.  relates 
that  "  the  Regent  invited  the  Duch«,8s  de  Berry  to  his  suppers, 
and  he  adds,  that  one  evening  after  the  wine  had  been  freely 
circulated,  he  took  a  conceit  to  represent  the  Judgment  of 
Paris ;  the  Duchess  de  Berry  played  Venus,  and  two  of  the 
Regent's  mistresses  Minerva  and  Juno,  appearing  in  the 
costume  which  the  fable  ascribes  to  them  when  they  appeared 
before  the  son  of  Priam."  The  only  difference  is,  that  the 
exhibitions  of  e  Regent  were  private,  while  those  of  our  day 
are  public. 


l¥arrea's    20   Oainea   Cottage   PiAno-Fortss 


ARB  NOW  8ELUNG  AT  THE 

Maaufectory,  71,  LeadenluOl  Street 

{Removed from  1  and  2,  Liverpool  Street,  Bishopegate  Sir0€U} 
These  iDStrumenU  are  weU  manufactured  of  the  best  seasoned  ^ooti,  FINS 
FULL  TONE  AND  GOOD  TOUCH.  A  two  yeara  warranty  friven  w«tli  fch  imtro. 
ment.  ESTABLISHED  TWENTY-ONE  YEARS.  The  only  house  in  London 
where  a  rood  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only).  SMALL  PROFIT  AND  QUICK  RETURNS  I 
JOHN  MTARRBWy  71,  IjeadenhaU  St.,  opposite  Aldcate  Pomp. 

30  to  50  per  Cent.  Money  Saved  by  nslnc  the  Mew  Patent 

UNIVERSAL    CAS  BURNER, 

Giving  the  most  Powerful  and  Purbst  Ugbt  at  the 

INCREDIBLE     PRESSURE    OF    THREE- lENTHS, 

mnilch  may  be  tested  and  seen  daily,  from  11  till  6,  at  tbe  Ofllee  ef  the 

PATEMTEES   AND   M A NUFACTURER8» 
eO|  St.   Martin's  Lane,  Gbarinc  Cross. 


Th  b  Pxtentee«  beg  to  call 

irablic  attention  to  tbe  fol- 
owing  fticts.  The  advan- 
tages resulting  from  tbe 
invention  are  various  and 
striking.  Independently  of 
a  saving  oi  ao  to  SO  per  cent, 
tbe  combustion  is  perfect, 
and  the  brilliancy  produ» 
ced  superior  to  anv  light 
hitherto  discovered.  Itemits 
neither  smell  nor  smoke, 
and  bums  steadily  for  any 
]ienod;  and  such  is  lU 
purity,  that  itneither  alTecu 
or  soils  the  most  delicate 
colour  or  tbe  finest  fabric. 
Objections  have  been  made 
to  the  introduction  of  gas 
in  dwelling -houses,  to  the 
expen»e  of  fittings,  to  its 
destruction  ot  furniture^ 
draperies,  gold  moulding. 


&C.J 

obviated  by  tbe  "  PxTpir  r 
UniybrsalGasBurniiu" 
As  tbe  cost  of  laying  on  gss 
ia  much  lower  than  la  com- 
monly supposed,  it  is  adapt- 
ed  for  pnvate  dwellmcs,  as 
well  as  for  dab  bOQw^ 
cburchsa,  botsis,  nian<iliM- 
tories,and  public  baildings. 
One  of  the  small  bsnMrs  Is 
amply  saffident  te  light  a 
good  sised  room,  at  a  sum 
immeasarably  tower  tbaa 
spirit,  ( il,  or  candie,  with 
the  avoidance  of  waste  or 
trouble. 

The  meriu  of  the 
'Rnmer,*  iu  brillisncy  snd 
economy  surpassiiig  every 
other  known  light,  are 
shown  by  the  annexed 
authentic  opinions  :— 


EXTRACT  flftmi  the  Proceedings  of  the  Institution  of  Cinl  Bnrineefs 
Tuesday,  36th  May,  1940,  Sir  Joh  n  Rrnnib,  President,  in  tbe  Chair. 
•*  A  gas  burner  of  a  novel  and  ingenious  construction  was  eski<>ited. 
The  prindpal  novelty  was  the  introduction  of  a  streanr  of  air  to  tbe  centre 
of  the  flame  by  a  hollow  button  in  the  middle  of  the  burner.  Theairpassinf 
UP  through  the  hollow  stem  of  the  button,  was  heated,  and  passed  ont  by 
two  serie>  of  fire  bo'es  aronnd  the  periphery,  and  impinging  with  roree 
on  the  flame  of  the  gas  curved  it  outwards  in  the  shape  of  a  tulip,  while  the 
oxvgen  ot  ihe  air,  mingling  with  thecarburett^d  hydrogen  gas.  produced  a 
very  perfect  comoustion.  The  flame  w/i«  quite  ttkite  down  the  top  oftks 
bttmer,  was  very  steady  as  was  amply  demonstrated  by  the  excellei^t  light 
of  the  Institution,  where  these  burners  have  been  used.  In  comparing  the 
consumption  of  these  burners  with  that  of  the  concentric  ring  iHimers  and 
trying  the  power  of  the  two  lights  bv  the  photom*  ter,  the  new  burner 
gave  a  better  light,  with  a  saving  of  rather  more  than  one*tbinl." 

CHRTI FICATB 

PoLYTBCHNic  Chrmical  SCHOOL.—"  In  testing  Garlc,  McNiell,  Sad 
Co.'8  Universal  Gas  Burner  with  one  of  the  beftt  shadowless  burners,  it 
ave  a  more  vure and hriUiant  light y  with  a  having  of  90  to  W  percent.^ 
GhOROR  Cribp,  Engineer,  RoRi.  LoNOBorroM,  Sttreterjfm 

CRR'IFICATR. 


"  In  a  series  of  experiments  made  upon  Clark,  McNIell.  and  Co  »s  PMent 
Bumpr,  its  supe  iority  was  satisfsrtorily  e«tsbllahcd  in 


Universal  Gas 


economy  and  the  quality  of  the  light,  tested  aRatniit  argand  bui  nera,  Nos, 
4  (13  holes),  anil  6  (15 1  oles).  it  afforded  a  saving  of  at  least  35  per  cent,  and 
against  three  fish-tail  burners,  No.  4, 4e  per  cent.  Tkn  cotour  and  krilHemep 
of  the  flame  it  Muperior  to  anji  other  burner.*' 

T.  W.  Kratbs.  CoMu/tino  Ch, mitt,  J  D.  Pa lmbr.  Meekamleal inspeet^. 
The  Uniyrrsal  Gas  Bornrr  msy  be  had  snd  seen  Irem  H  tufi 
St  the  Patentees  OflSce  snd  Msnufsctory,  60,  St.  Msrtin*s  Lsn^  f^--^- 
Cross. 


THE  MUSICAL  WORLD. 


iU 


TO    THB    MUSIC    PROFESSION. 


'NASSAU      S 


M      P  R  E  S  S/ 


TEA 

AND 

PUBLISHING     OFFICE, 

60,    ST.    MARTIN'S    LANE,    CHARING    CROSS. 

Brarjr  deiGription  of  CONCERT  PRINTING,  (Public  or  Private,)  consisting 
of  Pbooaammm,  Notbs,  TicrbtSj  Posting  bills,  Music  and  Musical 
Works,  kc,,  are  neatly  and  expeditionslf  executed  with  economy  and  ^ste  by 

W.    8.    JOHNSON, 

PBINTBB    TO    HER    MAJBSTY's'  THBATRB  21   TBARS I 

Wbere  also  may  be  bad  "The  Musical  World,"  and  all  Operas,  Comedies, 
Flays,  Farces,  Bnncsques,  and  the  whole  of  Webster's  unique  Acting  Drama. 

HANOVER  SQUARE  ROOMS. 

IVi  R.    J.    C  O  H  A  IM 

Has  the  honor  to  announce  that  his 

RECITAL  OF  PIANOFORTE  MUSIC 

«ill  take  place  at  the  above  Rooms 
On  Wednesdaj  BTttalnffi  May  ISth, 

when  be  will  perlbrm  the  tollowing  Morgeaux  ot  hit  &wn  eampotltion: 

Fi&tMliaf  on  *'  Der  Prevtckuit,** 

Faatasia  on  **  See  the  Conquering  Hero  cornea." 

Adairlo  and  Seberxe,  Arom  <* Grand  Sonata  in  A  flit." 

Moreeavx  da  Coneerti  introdacmg  two  Scherzos  and  a  March. 

Barlasque  variations  on  the  **  Carnival  of  Venice*" 

toobthbh  with 
BlM'  Chrai^d  variations  on  <*  Non  piA  Andraij''  and  in  conjunction  with 

Mr.  bCCGROVE, 
BMthoven's  Sonata  in  P  ibr  Piano  andTioUn. 

The  following  Eminent  Vocalists  will  assist :~ 
Hias   BIMCB,  Misa  DOIiBY,     and    Mra.  SBOVIN. 

Mr.  B.    HABTy     Mr.   SBOUIN,      and      Mr.    JOHN    PABBY. 

Instrumentalists  : 
Pf«iw/0rf#,  Mr.  J.  COHAN,    Mr.  W.  H.  HOtBiES,   and    Mr.  NOBLE. 

Violin,  Mr.  BLAGROVB. 
TSckets  may  be  procored  at  the  principal  Music  Pnbliahers,  snd  of  Mr.  Cob  ans 
St  his  residence,  aw,  Soho  Square. 

FAIR      COMPLEXION. 
Under  the  Patronage  of  the  Nobility  and  Gentry. 

COCSBOBS>a 

ORIENTAL    BOTANICAL    PAEPARATION, 

Por  removing  almost  instantaneously  cutaneous  eruptidns,  freckles,  pimples,  spots, 
snd  other  diacolorations  of  the  skin.  After  one  application  of  the  Botanic  bxtract, 
which  mMst  be  used  twice  a  day,  a  wonderfbl  change  will  be  peiceived,  and  in  the 
course  of  a  few  days  the  complexion  will  assume  a  beautii^l  transparent  roseate 
hue  ap  earance.  The  extract  to  apply  is  of  the  most  agreeable  nature,  and  the 
first  application  will  prove  its  wonderful  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

GBOBOB  H.  J.  COCKBUBN,  9,  Ald«ate,  London; 

And  Barclay  and  Sons,  Fsrringdon-street,  London ;  in  bottles  at  Ss.  9d.  and  4s.  6d; 
each;  also  by  Sanger.  150,  Oxford-street t  Keating,  St.  Paul's  ('hurch  Yard, 
Johnson,  66,  Corbbillj  Hannay  and  Co.,  63,  Oxiord  street;  Butler  and  Co..  4, 
Cheapatde ;  Edwards,  St.  Paul's  Churchyard ;  Prout,  229,  Strand ;  and  ot  aU  othei 
Cheiiiiatt  and  Perfumers  in  the  kingdom. 

MUSICAL    library,   ORGAN,   AND    I^IANO 

OP  THB  LATB 

JOHN  CAPEL,  Eiiq. 

MESSRS.   WINSTANI.EY 

ABE  INSTRUCTED  TO  SELL  BY  AUCTION, 

At  the  ResldeBce,  No.  32,  RusseH  Sqamre, 

ON 

MONDAY    VBXT,     Beth    of  APBIIii 
A    FINE   TONED   ORGAN    BY   ALLEN, 

Containing  10  Stops, 
▲  Bi  Oetawa  Bortsontal  GBAND  PIANOPORTB,  by  Collard^ 

and  the 

VALUABLE  COLLECTION   OF   MUSIC, 

ladadiagailtte  Copy  of  Marcellos*  Psalms,  the  Works  of  Handel,  Haydn,  Mo- 
sariL  Beethoven,  Latrobe,  Dr.  Boyoe,  ami  others,  a  choice  selection  of  Glees  and 
Madrigaia,  and  about  50  compie  e  ()pera»,  nil  in  good  condition.  To  be  viewed 
oa  VTcdaesday  a.>d  Thuisday,  SSrd  tiud  24th  inst.,  and  monungof  Sale,  wban 
OfttaSMuea  sMiy  be  obtained  at  the  Beatdenoe,  and  of  Messrs.  VTiNaTANLST, 
No.  10,  Paternoster  Row. 


GRATIS  I    GRATIS  I    GRATIS! 


Every  Person  who  shall  subscribe  for 

THB    DISPATCH 

During  the  Month  of  June  next, 

WILL  BE  PRESENTED  WITH  A  FINELY  EHQRAYBD 

PORTRAIT  OF  ELIZA  COOK. 


The  likeness  of  this  Poetic  Genius  is  most  striking,  and  the  EngraviD|p 
is  by  Adlard,  in  the  first  style  of  the  art. 

An  edition  of  the  Dispatch  is  published  at  Five  o'clock  ever^  Saturdav 
morning,  for  transmission  by  the  First  Trains  and  Morning  Mails,  so  that 
persons  residing  in  towns  850  miles  from  London  may  receixe  it  the  same 
evening. 

This  Edition  contains  the  London  Markets  of  the  week,  including  those 
held  on  Friday;  also  the  spirited  Letters  of  PltBLicola,  Caustic,  and 
CbNsoRius;  and  frequentlv  original  Poems  by  Elisa  Cook. 

Persons  desirous  ol  being  supplied  with  the  Weekly  Dispatch,  may 
give  their  orders  and  pay  their  subscriptions  to  any  News  Agent ;  or  to 
Mr  KicHARD  Wood,  at  the  DisPATrn  Ofpicf,  139,  Flekt-8TREet» 
London,  who,  by  a  remittance  of  28.,  or  Postage  Stamps  to  that  amount, 
will  supply  the  uispatcb  throughout  June  next. 

The  Terms  for  the  Dispatch  are,  per  Quarter       •    •    7s.    Od« 
Per  Year,  in  Advance      .^         •  •  •    £l     6s.    Od. 

Ditto  on  Credit,  payable  by  reference  in  London    €1  10s.    Od. 


To  the  Qneen'a  If  oat  Bxeellent  Majaatj,  and  tba  Brittah 
Army  and  NaTj. 

J.  KOHLER'S  NEW  PATENT  LEVER  INSTRUMENTS. 

J.  KoHLRK  having  brought  to  perfection  and  obUined  Her  Majesty's  Letters 
Patent  for  the  above  invention,  which  he  has  applied  to  the  C  RNOPEAN, 
TRUMPET,  CORNETKJ,  TROMBONES,  and  FRENCH  HORNS  he  ran  now 


to  these  Instruments  sre:  ,       ....«.., 

1.  All  the  Tones  and  Semitones  produced  by  the  Patent  Lever  are  quite  as  per* 
fact  as  ihe  Natural  Note*  on  the  Instiument.  ^    ,  ^        ^ 

2.  The  intervals  on  the  Diatomic  and  Ch  ronatic  Scales  are  perfect,  the  cam* 
pass  greater,  and  the  most  rapid  and  difficult  passages  may  be  |ierformed  with  a 
precision,  fireedom,  and  tulness  of  tone,  and  comparaiive  ease  to  the  perfnrmer. 

3.  Combinations  in  harmony,  which  never  beiore  could  be  penormed  at  aU  by 
any  Brass  Instruments,  maymw  be  executed  with  perf'Ct  ei^e,  and  Ten  or 
Twelve  Instruments  on  this  principle  can  produce  a  more  riih  and  sonorous 
effect  than  Twenty  Four  could  do  on  the  old  principles.  The  harshnesa  of  tone  la 
the  former  Brass  Instruments  is  entirely  done  away  with,  ahd  a  set  of  these 
Instruments  heard  together,  pioduces  Military  and  harmonious  effects  never 

These  Instruments  are  now  in  use  in  Hbr  Majesty's  Private  Baitd.  First 
LiPB  Ooard",  Royal  Horsb  Guards,  Grknadibr  Guahos,  FusilbbE 
Guards.  R«>yal  Ariillkry,  OOih  Rotal  Rivlbs,  &c.  ^,,„t„„,u 

Testimonials,  Drawings,  and  Prices,  forwarded  on  application  to  J.  KOHLBR'b 
Manufactory,  85,  Henrietta  sireel,  Cuvent-garden,  U>ndon. 


DR.   STOLBERG'S   VOICE   LOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years*  trial,  for  improving 
the  V  ice  and  removing  all  affections  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  ail  persons  subject  to  telaRed 

thioats.  .     ^  .,     .       «     .        t  I  ^ 

The  Proprietors  have  just  received  the  following  Testimonial,  amongst 
many  others,  from  Mauamb  Anna  Bishop:— 

"Deaf  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  Dr.  Stolbero's  celebrated  Lozbnoe  is  perfealy  true,  as  yt^'ter- 
day,  feeling  mysell  very  fatigued  (singing  nightly  at  the  Thciire),  I  took 
several  of  the  Losengfs.and  my  voice  was  very  clear,  and  my  »nroat  quite 
free  from  lelaxation.    I  am,  Dear  Sir,  Yours  truly,  ^^"^"'^[""^^ 

Barclav  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard ; 
W.  Ed%*ards  and  Newbery  and  Sons,  St.  Tsui's  Chuichyard :  Sanger,  .tOd 
Dietrichsen  and  Hannay,  Oxford  street  t  and  retail  by  all  respectable 
Chyniists  in  the  Kingdom. 


MUSIC    AND   DANCING. 

A  YOUNG  MAN  who  has  jiirt  completed  his  Pupilage  in  the  above  ProfessfOD, 

is  deriiiT^ot  m.itins  with  l  aturtijTn a. ^^^^^^f'^^'ii^^^tiS!!'  ^JSSSl 
mentandacomiortable  home  would  be  more  an  object  than  salary.-Addresa, 
A.  B.,  ^Mt-offiee,  Ipswich,  MhOL 


Digitized  by^^UOy  ttl 


2T6 


THE  MUSICAL  WORLD. 


THOMAS    BAKER'S 

MODERN    PIANOFORTE   TUTOR. 


Hm  tlw  honor  to  annofince,  that  he  has  iust  published  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratum  so  long  souglit  after  by  the 
profession.  Notwithstanding  the  improvements  that  nave,  taken  place  in 
Ffamofbrte  Playing  within  the  last  ten  years,  no  deviation  has  been  made  in 
the  system  of  teaching  from  Tutors  of  the  Old  School;  in  consequence,  many 
giftea  with  brilliant  talents  have  been  unable  to  execute  the  music  of  the 
prMMUt  day.    For  this  reason  the 

MODERN    PIANOFORTE   TUTOR 

Haa  keen  introduced,  and  m<*t  with  the  greatest  success  from  the  eUte  of  the 
proCMon.  who  have  universally  adopted  it.  The  work  is  divided  into  two 
pwti :  the  flrst  being  a  complete  Tutor  in  itself,  containing  the 

RUDIMENTS  OF  MUSIC, 
Iftttles  for  %  ;jfoniiMion  of  ijbe  f^aidi)  Jbcato^ 

,nNQ^9.   BKfSMGlU^,   die. 

Inl^l^tfrBed  with  Morceaux  from  the  works  of 

8MlhaTtii>  KQSi|Jrt,''  Spolir,  ^Ve^or,  Meyerbeer,  Roeli«Albert, 

^qMlBlj  BeUlniy  poBisf  tti|  «ie.— Price  8s. 

The  second  part  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
the  most  refined  style  of  Modem  Playing  ; 

niustrated'witb  numerous  Examples  8(0  Szercises, 

On  all  the  various  PingeringA  adopted  by  the' most  eminent  Pianistes  of  the 
Modern  ScHeoL  :  with  Selections  from  the  Pianoforte  Compositions  of 
Herz,  Dohler,  Thalbero,  &C. ;  in  &ct,  everything  necessary  to  constitute 
a  flrst-rate  Pianist    Price  Ss.,  or  ISs.  tlie  entire  work. 

PnbUslied  by  M.  JUIXIEN  «r  Co., 

ATTH5  ROYAL  MUSICAL  CONSERVATORY, 

214,  REGENT  STREET,  and  45,  KING  STREET, 

Where  ail  the  Compositions  of  the  above  Author  may  be  had« 

JULLIEN'S  ALBUM  for  1847. 

M.  JUI.LIBN  his  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSICAL     ANNUAL    FOR    1847 

Is  now  Published,  and  will  be  found  by  far  the  best  work  of  the  kind  that 
has  ever  appeared ;  containing  no  lets  than 

Thirtr  Pieces  of  Vocal  and  Fourteen  of  Instromentml  Unslc, 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
Influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  Uken  during  the  brilliant  scene  exhibited  in  that 
splendid  arena  ofthe  occasion  of  M.JULLIEN'S  GRAND  BAL  MASQUE; 
theotheraVIBW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
CSRTS,  the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  lifelike  and  elegant.  To  tho<e  who  have  visited  the 
Theatre  on  either  occaMion,the  Albpm  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  goi|(eous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  the  admired  Pas,  La  Castigliani.  An  original  subject, 
'*  The  Fortune  Teller,"  illustrating  Baker'd  beautiful  ballad  uf  that  name. 

The  whole  of  this  departmmt  of  the  ALBUM  has  heen  under  the  actire 
tuperintendence  of  J.  BRANDARD,  Esq.,  whose  pencil  only  has  been 
employed  in  its  produaiop.  , 

Nothing  more  need  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
MM/  tuperivriiff  over  all  others,  than  to  call  attention  to  the  names  of  the 
C^ntribiUifrt,  where  will   be  jouad  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  rddition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  contains  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention' of  the  Continental  dileucti.    Price  18s.  and  £1  Is. 

ROYAL    CONSERVATORY   OF    MUSIC, 

214,  Bbgent-Street,  and  45,  King-Street. 


ftovBRjBsiear 


No.  5,  St.  JAMES'S  STREET,  LONDCMT. 


Shr  A.  Brydges  Henniker.  Bart. 
B.  Bond  Cat>bell,  Esq.,  M.P. 


7y««f#ft. 


Chairman,  Lieutenant- Colonel  Lord 

Arthur  Lennox. 
DBPUTY-CHAiRiiAN,  T.  C.  Granger, 

Eiiq.,M.P. 
John  Asbbumer,  Esq.,  M.D. 
T.  M.  B.  Batajd,  Esq. 
PhUip  P.  Bl>  tb,  Esq 


JjtTtti&ttm 


Henry  Pownall.  Esq. 
Qaude  Edward  Scott,  Kiq. 

M.P. 


Henry  Broadwood,  1    ^ 

Sir  James  Camicfaael,  1^   . 

Charles  Parebrother,  Baq.,  AVImnen. 

WiUiam  Tulloh  Praaer,  Esq. 

John  Gardiner,  Esq. 

Aaron  Asher  Goldsaoid,  Eaq. 

Henry  William  Pownall,  Baq. 


Bankers,  Sir  Claude  Scott.  Bart.,  and  Co. 
Soileitort,  Messrs.  Davtes,  Son,  and  Campbdl. 

Assurances  on  the  lives  of  persons  in  every  station  of  life  and  every  part  of  the 
world,  f  ranted  on  a  plan  which  combines  the  utmost  amount  of  beee^t  to  the 
families  of  the  assured  at  deaths  with  every  attainable  advimtage  dMk^  H/e, 
which  the  system  of  Life  Assurance  is  capable  of  affonling. 

It  affords  |)errect  security  in  a  subscribed  Capital,  which  guarantees  the  prooipt 
settlement  of  every  claim,  with  participating  and  non- participating  ratea  on  toe 
lowest  scale,  especially  for  terms  of  years. 

The  Assured  can  anticipate  or  obtain  the  advance  of  the  ftill  aAioont  of  the 
Policy,  on  giving  approvrd  available  security  for  a  certain  number  of  idunial 
payments,  as  explained  by  the  Prospectoak 

Every  liacility  ia  afforded  to  persona  assuring  the  Uvea  of  ottiers,  so  ae  toreeder 
such  Policies  dfectiuil  securities. 

A  new  plan  of  gradual  or  accumulative  Assurance,  particularly  adapted  hi 
young  lives,  and  for  such  as  cannot,  without  inconvenience,  undertake  Ihe 
payment  ofa  fixed  premium,  securing  at  once  provision  in  case  of  pnmmtan 
death,  and  an  accumulating  fund,  available  during  life,  ahonld  oceaskm  reqipiie. 

Annvitibs,  Endowments,  ADVANCsa,  and  Loans,  on  liberal  tenm. 

Detailed  Prospectuses,  with  forms  of  Proposal,  and  every  information,  may  be 
had  on  application,  either  personally  or  by  letter,  at  the  Company's  OAces. 

Ttit  usual  commiaaton  to  Solicitors  and  Agents. 

H.  D.  DAVSNPoaT,  Seeretary, 


THS  PATENT  HARMONIUM. 


This  beautiful  Instrument  possesses  the  softness  of  the  voice  with  the  variety  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Orsen.  It  ia  equally 
suitable  for  Sacred  Music,  or  the  Dance,  and  adapted  for  the  Dravring  Rooin| 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lor F  and 
Son,  sole  agents,  where  the  PATENT  HARMONIUM  can  be  heard  fh>m  10  tlQ  4, 
daily;  and  where  can  be  inspected 

LUFF  *  80S('S 
Eaegant  Assortment  of  PXANOFORTBS, 

Made  by  experienced  workm^  and  thoroughly  seasoned  vrood.  all  of  which  is 
prepared  on  the  premises.    They  are  warranted  to  stand  well  in  Tune,  and  are 
prepared  for  extreme  climates :  prices  one-third  less  than  usually  charged. 
Instruments  taken  in  exchange,  and  a  liberal  allowance  to  dealers. 

UJTT  and  SON,  lOS,  Oreat  Rnseell  Street,  Bloonuabmy. 


N.B.^'fhe  terms  of  Mr.  JULIAN  ADAMS,  the  celebrated 
performer  upon  the  Patent  Harmoniiun,  for  slTlnff  Inetraction 
and  Performing  atConcerte,  can  be  had  of  Geo.  IiUFFSi  SON. 

Printed  and  Publishetl,  for  the  Pronrletors,  at  the  **  Nassau  Steam  Preaa^^* 
by  William  Spbncbr  Johnson,  60,  St.  Martin's  Lane,  in  the  parish  ot  St. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex :  where  all  communicatiOQS 
tor  the  Editor  are  to  be  addressed  post  paid.  To  be  had  of  G.  Pnrkeaa,  Dcaa 
Street,  Soho ;  Strange,  Paternoster  Row :  Witebeart,  Dublin ;  and  all  Beokaelters. 

-Saturday,  April 24th, ia47.         digitized  by  \^OOy  It: 


(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

Tmwi  oi  0«taevfvlloa,  p«r  Amram,  lOa.  Stamped ;  ISs.  Unstamped  j  to  be  forwarded  by  Mottep  Order  or  Poata«e  fttwMpa 
to  %k%  P«bliolMr,W.  S.  JohBOon,  ''Maaaan  Steam  Preaa,"  60,  St.  Martla'a  Lane,  Obaria*  CroMi 
SaboarllMM  oalr  pwMS*  aamea  are  registered  at  the  Ottce)  are  entitled  to  an  AdmUalon  to  the  Concert,  and 
a  Piece  of  Mvaie^  (resnlar  Mnalc  aise)  Monthly. 


No.  18— VouXXIL 


SATURDAY,  MAY  1,  1847. 


5PRICB   THRKBPRNCB 
i  STAMPED,  FOUBPENCB 


TO  6UR  HEADERS. 
iftooKbors  whoM  namea  are  entered  In  the  Book 
a*  mar  OAoo,  and  whose  Snhaerlptlons  are  paid  in  adrance 
to  Ohr«atma«  next,  are  AX«ONB  entitled  to  an  Admiaaion  to 
the  Itotheomlnc  Amraal  donoert,  which  will  be  siven  in  Jnne 
or  Jnly  next. 

Th&B  week  onr  Snhsorthoni  are  presented  with  a  NOTTUBMO 
l^r  the  9EAMO  FOBTB,  cosaposOd  for  the  Mnaical  World,  b 
Mr.  S.  H.  ItlNDSAY  SLOPBK. 

FELIX  GODEFROID. 

We  have  much  pleasure  in  translating  for  our  readers  an 
article  on  the  above  excellent  artist  from  the  FetiUUton  of 
tbe  OmstUtditmel  Qi  April  the  15th.  The  comments  of  the 
writer,  ^.  A.  Fiorentino,  are  accurate^  as  far  as  regards  M. 
Godefrojd,  but  bis  ideas  become  hyperbolised  apd  vague  when 
be  attempts  to  reason  on  matters  musical.  Our  readers  will 
petoeive  this  before  they  reach  the  end  of  MM  ajtislj.    • 

*«  T  have  dow  to  speak  of  Felix  Godefroid,  one  of  those  rare 
aviiBls  wlls  rtcompense  us  for  the  misery  to  which  we  are  con- 
demned by  being  forced  to  hear  concert  sfter  concert  for  three 
months  e^ery  year.     Godefroid  is  on  the  harp  what  Paganini  was 
on  the  violin,  Thalberg  on  the  piano,  and  SerTsis  on  the  double- 
bass.   1  have  heard  him  frequently,  during  his  stay  at  Paris,  and  at 
each  performance  he  revealed  to  me  some  wonder  of  the  harp, 
which  I  bad  not  perceived  before.    Like  all  superior  artists,  Gode- 
froid, commenced  by  rendering  his  instrument  perfect.  He  enlaiged 
the  strings,  and  by  this  sim^e  means  quadrupled  the  sonority  of 
the  harp.     Instead  of  dividing  between  the  two  hsnds,  passages  of 
arpeggiOt  as  his  predecessors  were  invariably  wont  to  do,  as  they 
used  also  frequently  in  passages  embracing  the  common  scale,  he 
confines  these  entirely  to  the  nght*>hand,  and  his  left  remains 
entirely  at  his  disposal  to  complete  the  harmony,  and  to  increase, 
or  dimmish  tbe  power  of  tone,  and  to  add,  at  his  will,  morceaux 
conmeoced  and  continued  alternately  by  the  two  hands  at  once. 
M   Godefroid  has  discovered  new  effects,  enharmonic  combinations 
of  extraordinary  richness  and  power  by  various  managements  of 
the  pedals,  of  which  King  David  himself  had  not  the  knowledge. 
Add  to  these,  novelties  of  mechanism,  a  limpidity,  an  amplitude, 
an  equality  of  sound   most  admirable ;    add  rapidity,  neatness, 
vigour  of  execution  in  passages  ascending  and  descending  in  place' 
of  slurring  them  over  wkhout  force  or  accuracy ;  add  above  all 
the  inspiration,  the  verve,  the  genius  which  shape  and  fashion  all 
great  artists,  and  vou  will  still  have  but  a  feebla  notion  of  the 
talent  of  Felix  Godefroid.     His  studies  are  charming.     If  Godo- 
froid  were  not  a  virtuoso  rare  as  intelligent,  ho  w  ould  shine  in  the 
first  rank  among  composers.    There  is  nothing  more  serial,  or  more 
vaporous  than  his  Danse  de»  Sylphes ;  nothing  more  touching,  or 
more  sweet  than  bis  Melancholies  and  his  B4ve.    There  is  in  this 
last  morceau  a  song  sustained  by  the  right  hand,  with  harmonics 
in  imitation  of  the  violin,  surrounded  with  a  quantity  of  the  most 
delicate    and    Itght  broderies,  which    have   a   ravishing    effect. 
His  fantati£$   upon  Robert  le  Diable,  and  the  Fteysduitz  are 
models  of  arrai^ement,  skill,  and  taste.     His  Camaval  de  Venise 
—for  since  the  time  of  Paganini  all  artists  of  the  first  rank  have 
their  comava/— oommeaces  with  a  motive  after  the  Italian  manner, 


and  finishes  with  such  a  profusion  of  ornaments,  showers  of  pearly 
notes,  so  exquisitely  trestcd,  that  you  might  sny  with  good  reason, 
that  before  Godefroid's  time,  one  could  not  tell  why  arch-angels 
and  seraphs  preferred  the  harp  to  all' other  instruments.  The  life 
of  Godefroid  has  been  more  replete  with  adventure  than  a  romance 
of  Dumas,  or  a  drama  of  Souli^.  His  father,  an  honest  merchant 
of  Namurs.  having  in  his  commercial  transactions  Idst  everything, 
except  his  honour,  turned  for  consolation  to  music.  A  musician 
in  instinct  and  feeling,  without  having  learned  anything,  he  sang, 
composed,  and  played  on  every  instrument.  In '  a  few  years  ho 
redeemed  his  fortune  :  but  the  roonev  he  had  gained  by  the  flute 
was  soon  lost  in  traffic,  and  Dicudonn^  Godefroid,  having  no 
heritage  to  bequeath  to  his  children,  made  artists  of  them.  Jules, 
the  first-born,  whose  death  has  been  a  caube  of  so  much  regret  in 
the  musical  world,  acquired  on  the  harp  a  prodigious  talent,  and 
obtained  a  distinguished  name  among  composers.  Another  son 
became  a  tenor  singer.  Mademoiselle  Godefroid,  at  an  early  age 
was  engaged  2Apnnui  dotma  at  Douay.  As  for  the  little  Felix, 
he  followed  the  same  career  as  his  sister  at  the  age  of  seven,  and 
made  his  deb^t  with  eclat,  in  the  characters  of  Leontine  Fay.  Ho 
gained  a  real  triumph  in  the  F^e  Carabosse.  But  though  his 
career  was  brilliant,  it  could  not  long  enchain  his  adventurous 
spirit,  and  in  a  few  months  he  learned  to  play  in  a  superior  manner 
on  the  piano,  the  violin,  the  harp,  and,  I  believe,  even  the  bassoon. 
In  everything  ho  undertook  the  young  Godefroid  displaved  so 
fervent  a  will,  and  so  remarkable  an  aptitude,  that  his  father  decided 
ou  sending  him  to  Paris.  Admitted  without  difficulty  into  the 
Comer vatoire,  he  profited  by  the  instruction  of  Naderman,  the 
illustrious  master  of  Labarre,  and  Bochsa  the  greatest  harpist  of 
the  day.  At  the  age  of  fifteen  having  nothing  more  to  learn,  the 
little  Godefroid  found  himself  suddenly  thrown  on  his  own  resources 
in  the  streets  of  Paris,  possessing  marvellous  talent,  but  dying  of 
hunger,  like  many  other  victims  of  a  government  thai  would  tain 
pretend  to  patronize  art  His  family,  overwhelmed  in  difficulties, 
could  not  assist  him.  He  fell  into  the  most  frichtful  distresses, 
like  Chatterton,  Gilbert,  and  many  poets  and  musicians,  who  were 
too  proud  to  beg,  or  to  stoop  to  artifice  and  entreaty  to  procure 
them  a  livelihood.  He  composed  romances  which  no  one  would 
purchase  ;  he  offered  to  copy  music,  to  sing  in  churches,  to  play 
at  public  balls :  he  could  gam  no  employment.  He  spoke  to  the 
porter  of  the  hou!<c  in  which  he  had  his  miserable  apartment  to 
procure  him  pupils  for  the  piano,  at  such  a  trifle,  per  lesson,  as 
would  be  ridiculous  to  mention.  The  porter,  a  good  man  in  the 
main,  had  a  daughter  who  took  lessons  on  the  piano,  but  she  had 
no  master,  and,  moreover,  the  talents  of  Godefroid  inspired  neither 
father  nor  daughter  with  any  great  confidence.  They  refused  tho 
proffered  services  of  their  young  lodger,  but  to  soften  their  refusal, 
they  admitted  him  to  their  intimacy  and  their  table.  These  kind 
folk  lived  somewhat  at  their  ease  and  practised  hospitality  after 
the  ancient  manner.  The  porter  occupied  his  leisure  moments  in 
working  at  the  business  of  a  locksmith.  The  daughter  displayed 
some  ability  on  the  piano  and  guitar  Godefroid  not  being  able  to 
render  himself  useful  as  a  musician,  wished,  at  least,  to  make  him-  . 
self  useful  to  his  host  in  his  trade.  So  it  was— the  hand  that  drew 
souuds  from  the  harp  which  since  so  often  delighted  and  astonished 
the  public,  had  recourse  to  beating  iron  on  an  anvil  and  blowing 
4he  bellows.    The  bells  of  the  Hotel  de  V  Universe  were  partly 


278 


THE  MUSICAL  WORLD. 


fasbioiied  by  Felix  OodefroM.  la  th«  ftiett  lime  bis  brother  Jfii«s 
died,  and  the  regret  he  hettd  pro1l()ttilt)«4  (A  every  side  for  th« 
deith  bf  ri»e  celebrated  »rtUt,  Mded  pblgiiftncy  to  his  gffef.  **  t 
too,"  said  he  to  himself,  weeping,  ^  would  become  celebratcu,  it 
they  would  but  hear  roe."  By  some  fatality  of  circumstance  no 
one  would  hear  him.  Erard,  tne  protidence  of  artists,  gave  way 
to  tho  vulgar  prejudiced,  ^hich  would  not  admit  that  in  the  same 
family  there  could  exist  two  young  artists  of  such  jrare  endowments. 
He  consented  at  length  to  hear  the  youn^  Godefroid.  But, 
obstacles  of  another  nature  retarded  their  interview— obstacles 
M'hich  never  fail  to  compromise  the  advancement  of  tho  artist, 
Godefroid  had  not  clothes,  siifficiently  decent,  in  which  he  could 
with  propriety  appear  at  the  house  of  bis  protector.  At  last,  by 
the  assistance  of  his  kind  landlord  he  was  fitted  with  a  dress,  and 
forthwith  repaired  to  the  Rue  de  maille.  He  was  received  in  that 
mansion  of  universal  hospitality  with  affectionate  cordiality.  As 
usual  a  larite  auditory  was  assembled.  The  domestic  brought  a 
harp  and  the  young  artist  was  requested  to  try  the  instrument. 
What  passed  that  moment  in  the  heart  of  poor  Godefroid  those 
only  can  understand  who  have  set  their  whole  life  on  the  cast  of  a 
die.  He  preluded  with  sufficient  courage,  but  his  hands  began  to 
tremble ;  the  tears  gushed  from  his  eyes,  and  he  no  longer  knew 
what  he  was  doing.  The  company  at  first  listened  to  him  with 
some  interest ;  to  interest  succeeded  indifference ;  to  indifference 
distraction  ;  then  followed  conversation  in  an  under  tone,  and  the 
poor  executant  was  no  further  minded.  At  this  moment  Franz 
Liszt  entered.  He  saluted  Madame  Erard,  shook  hands  with  the 
roaster  of  the  house,  and  spoke  of  the  weather  and  other  interesting 
topics,  as  though  Godefroid  and  his  harp  had  never  existed.  The 
poor  harpist  continued  his  performance,  not  daring  to  exhibit  his 
annoyance  at  the  interruption,  nor  to  cease  playing  his  sonata. 
On  a  sudden  Liszt  stopt  snort  in  the  midst  of  a  sentence,  listened 
for  an  instant,  and  springing  up,  cried  aloud,  '*  This  is  an  admirable 
artist  ;'*  then,  approaching  Gooefroid  with  that  burlesque  familiarity, 
which  is  one  of  the  principal  traits  of  his  character,  "  My  friend," 
said  he,  *'  what  are  vou  doing  at  Paris  ?  What  are  your  occu- 
pations?" "  I  work  with  a  smith  and  make  bells,"  answered 
Godefroid  with  simplicity.  The  spectators  regarded  each  other  in 
astonishment,  believing  the  young  man  had  lost  his  reason.  Liszt 
alone  understood  him.  "  Will  you  come  to  London  with  me  ?" 
he  asked.  Godefroid  did  not  know  how  to  reply.  He  turned 
his  troubled  looks  from  Liszt  to  the  harp,  and  from  the  harp  back 
again  to  Liszt.  **  Accept",  said  Erard  to  him,  «*  this  instrument 
which  has  proved  to  you  so  dear  a  friend  ;"  and,  at  tVe  same  time, 
he  slipped  into  his  hand  a  bank  bill  for  a  thousand  francs.  The 
next  day  Liszt  and  Godefroid  departed  for  London.  When  Listz's 
first  concert  was  announced,  the  name  of  Godefroid  figured  on  the 
bills  in  as  gigantic  letters  as  that  of  the  benificiaire,  whether  from 
chance,  or  a  generous  feeling  of  the  pianist,  we  cannot  say.  The 
English  who  measure  the  talent  of  an  artist  by  the  size  of  the  letters 
of  his  name,  ran  in  crowds.  This  was  for  the  young  harpist  a  grand 
ordeal  and  a  grand  triumph.  The  talent  of  Godefroid  no  longer 
stood  indebted  to  large  letters  for  a  proof  or  attestation.  On  nis 
return  to  Paris  the  artist  had  only  to  oe  heard  to  take  his  position 
at  once  in  the  first  rank  of  living  artists.  The  poor  and  modest 
^oung  man  who  was  compelled  to  drudge  as  an  assistant  to  a  smith, 
18,  at  this  moment,  one  of  the  most  prized,  most  fetdd,  and  most 
gaUs  of  all  the  artists  in  Paris.  Everywhere  he  plays,  his  success 
is  enthusiastic,  and  the  English  millionaires  who  swooned  away  at 
his  last  concert,  will  purchase  at  their  weight  in  gold  the  bells  of 
the  Hotel  de  rUnivers." 

The  above  biography  of  Felix  Godefroid  is  exceedingly 
interesting,  for  which  reason  wfe  have  given  it  insertion.  The 
article  of  the  Feuillitonisie  would  be  entitled  to  a  space  in 
our  journal  for  another  reason  also ;  viz.,  to  exhibit  a  fair 
specimen  of  that  inflated  and  plethoric  style  of  writing, 
which  too  often  is  found  occupying  the  columns  devoted  to 
criticism  on  %iusic  in  the  French  papers.  We,  by  no  means, 
include  in  this  censure  the  writings  in  the  Parisian  journals 
whose  pages  are  exclusively  devoted  to  the  art.  We  have 
9ofbened  down  the  article  as  well  as  we  could,  nevertheless, 
enough  remains  to  show  the  hyperbolical  style  of  the  author. 


The  notice  of  M .  florentino  exhibits  as  pTofouod  an  ignbianoe 
oil  mattert  mttsicAl,  us  on  ihatlers  AnglicaU  We  forgive 
the  sapient  l^itte  his  witless  renaarks  on  Biiglish  ikillUmaSires, 
gi(;antic  capitals,  and  the  purchase  of  bells  at  their  weight  in 
gold;  but  we  would  pray  him,  when  he  next  indites  the 
biography  or  sketch,  of  a  musician,  that  he  would  confine 
himself  to  the  statistics  with  which  he  may  be  furnished,  and 
not  involve  himself  in  the  mysteries  of  an  art,  concerning 
which  he  displays  as  little  knowledge  in  the  explication,  as  a 
school  boy  in  the  fourth  form  might  be  supposed  to  do  of  the 
dialectics  of  Aristotle. 


MENDELSSOHN'S  ELIJAH. 

In  St.  Paul  Mendelssohn  achieved  the  greatest  work  of  its 
class  since  the  Mount  of  Olives.  In  Elijah  he  has  accom- 
plished the  greatest  work  since  St.  Paul,  It  is  something 
for  a  composei:  to  have  produced  the  two  finest  masterpieces 
of  his  time ;  and  this  Mendelssohn  has  done  in  the  two 
oratorios  here  mentioned.  The  8t,  Paul  was  first  performed 
at  the  great  triennial  Rhenish  Festival,  held  at  Dusseldorf, 
in  1836.  The  Elijah  was  first  made  known  to  the  world  at 
the  Birmingham  Festival,  in  August,  1846.  Thus  ten  years 
elapsed  between  the  appearance  of  these  two  chef  d*oeuvres, 
which  period  the  composer  employed  in  the  production  of  a 
vast  number  of  works,  in  almost  every  style,  not  one, 
the  smallest  of  which,  has  escaped  celebrity. 

A  long  analysis  of  Elijah  appeared  in  the  Musical  World, 
at  the  epoch  of  the  Birmingham  Festival.  In  resuming  the 
subject  now,  we  are,  consequently,  spared  a  quantity  of  tech- 
nical detail,  which,  those  who  require  it,  will  find  in 
one  of  our  September  numbers  of  last  year.  We  shall  at 
present  merely  endeavour  to  give  some  notion  of  the  general 
design  of  the  oratorio,  and  the  poetical  spirit  in  which  the 
subject  has  been  treated  by  the  composer. 

The  original  version  of  Elijah  is  in  German.  We  owe  the 
English  translation  to  the  able  and  experienced  pen  of  Mr, 
W.  Bartholomew,  a  gentleman  well  known  to  the  literary 
and  musical  world. 

The  oratorio  begins  with  that  part  of  the  history  of  Elijah, 
the  prophet,  in  which  he  prophecies  the  drought,  as  a  sign 
of  God's  anger  and  vexation  at  the  idolatry  and  multifold 
transgressions  of  his  chosen  people.  Mendelssohn  has  happily 
introduced  the  prophecy,  in  a  recitative,  *'  As  God,  the  Lord 
of  Israel  liveth,"  for  Elijah,  whose  music  is  written  for  a  bass 
voice,  which  is  in  consonance  with  the  gravity  and  solemnity 
of  the  prophets  character.  The  opening  recitative  in  Handel's 
Israel,  where  the  Israelites  complain  of  the  cruelty  of  the 
Egyptian  task-masters,  will  be  recalled  here.  But  Mendels- 
sohn has  refined  and  developed  this  idea  by  the  solemn 
character  of  his  instrumental  accompaniments.  The  recitative 
leads  to  a  long  and  elaborate  instrumental  movement,  in 
which  is  depicted,  with  powerful  truth,  the  train  of  thought 
which  might  be  supposed  to  arise  in  the  bosoms  of  the  erring 
nation,  under  the  influence  of  so  awful  a  denunciation.  This 
movement  is  in  the  fugued  style — a  grave  subject,  in  the  minor 
key,  led  oif  by  the  basses-ptano,  and  worked  throughout  by  a 
kind  of  gradual  crescendo,  until  it  arrives  at  &  fortissimo  of  the 
whole  orchestra,  when  a  sublime  passage  of  simple  harmony 
leads  to  a  pedal,  in  which  the  violins  rush  with  impetuosity 
into  the  subject  of  a  chorus  of  the  people,  '*  Help  Lord,  wilt 
thou  quite  destroy  us  ?  **  This  is  a  gloomy  and  magnificent 
composition.  It  is  in  two  parts,  the  second  subject  being  set 
to  these  words,  '•  The  harvest  now  is  over."  The  expression 
of  the  whole  is  that  of  extreme  despair.  It  is  in  the  same 
key  as  the  overtare— D  minor.    A  recitative  chorueu  "  Tbi 

Digitized  by\^OOy  IC 


THE  MUSICAL  WORLD. 


279 


deeps  afford  no  water,"  a  very  effective  employment  of  choral 
means,  leads  to  a  duet  and  chorus,  *'  Lord  how  down  thine 
ear  to  our  prayer,"  in  A  minor,  the  characteristic  of  which  is 
the  continual  appearance  of  a  melancholy  phrase  of  supplica- 
don  on  those  words,  which  the  chorus  sings  as  a  kind  of 
r^affi-accompaniment  to  the  melody  of  the  duet,  delivered 
by  the  two  principal  voice  parts  on  the  words,  **  Zion 
spreadeth  her  hands  for  aid«"  The  art  of  the  composer  is 
here  shown  in  the  disposition  of  the  refrain^  which  appears 
in  almost  every  part  of  the  bar,  and  generally  unanticipated. 
The  effect  is  delicious,  and  the  whole  is  rendered  still  more 
lovely  by  the  peculiar  quaintness  of  the  orchestration,  which 
18  in  excellent  keeping  with  the  tender  melancholy  of  the  tune. 
The  contrast  of  this  duet,  half  sorrow,  half  prayer,  with  the 
terrible  despair  evidenced  in  the  overture  and  opening  chorus 
is  very  fine.  But  still  more  grateful  and  refreshing  is  the 
tenor  recitative  of  Obadiah,  *'  Ye  people  rend  your  hearts," 
which  conducts  to  the  heavenly  air,  **  If  with  all  your  hearts." 
The  key  of  £  fiat,  in  which  this  is  written,  produces  an 
exquisite  contrast  to  the  heavy  gloom  of  the  minor  modes  that 
have  hitherto  prevailed,  and  the  devotional  and  unadorned 
•tyle  of  the  air  itself,  with  its  soft  pnd  reposeful  accom- 
paniment, fills  the  mind  with  hope  and  faith  in  the  mercy 
and  goodness  of  the  Almighty.  Nothing  can  surpass,  in 
poetical  beauty,  the  effect  of  the  first  few  notes  of  the  recita- 
tive, to  which  the  tenor  quality  of  voice  administers  a  sort  of 
comfortable  effect — let  the  term  pass— of  which  we  cannot  find 
words  to  convey  a  notion  to  those  who  have  not  heard  it. 
Bat  the  eloquence  of  Obadiah  is  transitory.  The  people  are 
still  afraid ,  they  are  conscious  of  having  greatly  erred,  and 
are  fearful  of  the  consequences.  This  is  splendidly  developed 
in  the  first  part  of  a  chorus  in  two  divisions.  The  opening, 
in  C  minor,  is  angry,  petulant — nay,  almost  scornful.  The 
people  cry,  *'  Yet  doth  the  Lord  see  it  not ;  he  mocketh  at 
us.**  The  second  division  of  this  chorus,  however,  depicts  a 
better  feeling.  It  is  a  kind  of  chorale,  in  C  major,  "For  He, 
the  Lord  our  God,  is  a  jealous  God" — and  embodies  the 
justice  and  mercy  of  the  Almighty ;  how  he  will  punish  the 
evil  doer,  and  reward  those  who  keep  his  commandments.  The 
music  is  sublime — the  whole  orchestra  streams  forth  in  a 
glory  of  magnificence,  and  the  tones  of  the  organ  peal  out  in 
solemn  grandeur. 

An  angel  then  tolld  Elijah,  in  a  recitative  for  a  contralto 
voice  (**  Elijah,  get  thee  hence "),  to  go  to  the  brook  of 
Ch6rith  —  a  well-known  passage  in  scripture.  A  double- 
quartet,  for  two  choirs,  of  four  female  and  four  male  voices, 
"  For  he  shall  give  his  angels  charge,"  then  develops  the 
intention  of  the  Lord  to  uphold  and  protect  Elijah.  It  is 
written  in  the  key  of  G  major.  The  melody  is  exquisitely 
pure,  and  the  part- writing  masterly  and  flowing.  We  may 
refer  to  the  first  entrance  of  the  tenor  voice,  the  reprise  of 
the  first  motive,  and  the  coda,  as  exquisite  points  of  art,  worth 
all  consideration. 

The  brook  of  Cherith  being  dried  up,  an  angel  tells  the 
prophet,  in  another  contralto  recitative,  to  depart,  and  go  to 
Zarephath.  En  passant  we  may  remark,  that  all  the  reci- 
tatives with  which  the  oratorio  is  interspersed,  are  very 
nelodions  and  beautifully  constructed:  moreover,  their 
expression  of  the  words  is  sometimes  wonderful.  We  would 
cite  the  phrase  which,  in  low  impressive  terms,  accompanies 
the  words,  '*  And  the  barrel  of  meal  shall  not  waste,  &c."  in 
the  recitative  just  mentioned,  as  one  instance  from  a  hundred 
of  their  poetic  beauty.  The  scene  between  Elijah  and  the 
widow  is  one  of  the  most  masterly  passages  in  the  oratorio. 
The  supplications  of  the  widow  for  ^e  salvation  of  her  son— 


the  appeals  of  the  prophet  to  heaven — ^the  ultimate  recovery 
of  the  sufferer,  and  the  overflowing  gratitude  and  veneration 
of  the  mother,  are  all  expressed  with  fervour  and  vivid  truth, 
in  a  kind  of  fragmentary  duet,  consisting  of  an  air,  several 
accompanied  recitatives,  and  a  short  codetta,  in  the  form  of  a 
duettino.  The  air  in  which  the  widow  pourtrays  her  anguish, 
in  E  minor,  is  absolutely  heart-rending.  The  high  soprano 
tones  -of  the  voices,  the  shrill  piercing  notes  of  the  oboe, 
which  has  a  prominent  place  in  the  ordbestra,  the  forzandos 
of  the  tenors  and  violoncellos  on  single  notes,  which  seem  like 
sudden  darts  and  throbs  of  pain,  all  combine  to  make  a 
wonderfully  graphic  picture  of  anguish  and  despair.  The 
solemn  strains  that  accompany  the  prophet's  words  contrast 
most  beautifully  with  the  murmurs  of  distressed  humanity. 
The  widow's  sudden  hope  and  joy  at  the  indications  of  her 
son's  revival,  the  increased  majesty  and  grandeur  of  the 
prophet's  words,  accompanied  by  the  sonorous  voices  of  the 
trombones  and  horns,  and  the  united  exultation  of  the  two,  at 
the  end,  when  the  son's  life  is  ensured,  are  all  depicted  with 
graphic  power.  The  whole  is  climaxed  by  a  chorus  in  G 
major,  **  Blessed  are  the  men  who  fear  Him,"  apostrophizing 
the  glorious  attributes  of  God,  his  goodness,  wisdom,  power, 
and  mercy.  If  ever  faith  was  robed  in  splendour,  it  is  in  this 
truly  exquisite  outpouring  of  melody  and  harmony.  Nothing 
can  be  more  devotional  and  tender — ^nothing  fuller  of  hope  and 
more  soothing.  The  manner  of  the  instrumentation  strengthens 
the  peculiar  character  and  loveliness  of  the  melody,  which 
ever  flows  on  and  on,  like  faith  that  endures  and  dies  not. 
The  restless  movement  of  the  violoncellos  gives  the  notion  of  a 
hope  newly  bom,  that  stirs  the  mind  to  fresh  exertion,  and 
invigorates  the  frame  with  health  and  strength.  It  is  truly  a 
divine  hymn,  and  worthy  of  being  addressed  to  heaven. 
(To  be  continued.) 

MENDELSSOHN   AND   THE   PHILHARMONIC. 

The  visits  of  Mendelssohn  to  this  country  are  festivals  to 
the  musical  community.  England  has  reason  to  be  proud 
that  it  was  she  who  first  accorded  to  the  genius  of  this  extra- 
ordinary man  the  full  amount  of  recognition  that  was  its  due. 
The  fact  cannot  be  overlooked  that  Germany,  the  land  of  his 
birth,  was  slow  to  perceive,  and  slower  to  applaud  that  talent 
which,  now  that  it  has  attained  its  full  maturity,  ranks  among 
the  greatest  phenomena  of  the  age.  Some  writers  will  have 
it  that  England  is  quicker  to  comprehend  than  to  create.  The 
reproach  that  we  are  a  commercial  country,  and  not  an  Art- 
country,  is  a  standing  subject  with  our  neighbours.  The 
English,  say  they,  have  no  time  to  produce,  and  so,  to  cut  the 
matter  short,  they  purchase.  It  is  a  stale  retort  that  our 
poets  are  the  greatest  poets,  but  it  is  a  hard  one  to  get  over, 
nevertheless.  In  poetry,  at  least,  we  have  no  care  to  purchase 
— not  even  on  the  labour- exchange  system  of  Robert  Owen. 
True  we  have  our  periodical  dearths,  like  the  rest  of  the 
world,  and  we  apprehend  that  the  present  moment  is  one  of 
them.  One  small  farmer,  Alfred  Tennjrson,  possesses  the 
only  stock  of  any  value,  and  deals  out  morsels  here  and  there 
to  some  poor  labourers  that  still  continue  to  dig  in  the  soil  of 
poesy.  But  it  is  not  a  time  of  dearth  for  our  painters — at 
least  for  our  landscape-painters,  about  whom  the  Germans  and 
French  may  rail,  if  it  so  please  them ;  for  railing  is  one 
thing,  and  proving  a  fact  is  another.  However,  in  music,  we 
will  give  up  the  question  for  the  present.  Our  time  of  plenty 
has  not  yet  arrived — so  there  is  time  enough  to  wait  for  the 
dearth.  Meanwhile  let  us  go  on  purchasing.  It  will  not  be 
denied  that  we  have  been  in  the  habit  of  purchasing  the  best 
materials ;  and  out  of  these — ^selected,  as  they  arcj  from  all 


280 


THE  MUSICAL  WORLD. 


parts— we  may  one  day  make  a  stuff  of  our  own,  which,  com- 
bining their  most  striking  qualities,  shall,  present  a  whole 
surpassing  any  of  them. 

But  whatever  may  be  said  of  England,  it  cannot  be  urged 
that  her  musicians  do  not  appreciate  Mendelssohn.  The 
boasted  Conservatoire  of  Paris  is  now  only  beginning  to  find 
that  he  is  the  greatest  composer  of  his  age — a  fact  that  has 
been  known  to  England  for  ten  years  and  more.  When, 
fifteen  years  ago,  young  Mendelssohn  (that  sounds  more 
musical  than  **  young  Verdi*')  came  to  England,  with  some  MS. 
compositions,  he  immediately  obtained  a  hearing  from  the 
Philharmonic  Society,  which  has  never  been  known  to  pass 
over  the  claims  of  the  great  foreign  musicians  when  they  have 
deigned  to  pay  us  a  visit.  His  first  symphony,  in  C  minor, 
was  played ;  his  first  pianoforte  concerto  was  played,  himself 
at  the  piano ;  his  overture  to  ''^  Midsummer  Night's  Dream" 
was  played — besides  other  works  from  his  pen.  Since  then 
few  opportunities  have  been  neglected  by  the  Philharmonic  to 
make  his  works  known,  as  soon  as  published,  to  the  sub- 
scribers. On  this  point  we  can  afford  almost  unqualified  praise 
to  the  Society.  We  say  almost^  with  a  recollection  of  that 
disgraceful  occurrence,  some  three  summers  past,  when 
Mendelssohn,  engaged  to  direct  the  last  six  concerts  of  the 
season,  was  insulted,  on  some  miserable  pretext,  by  certain 
members  of  the  orchestra.  It  is  not  easy  to  forget  such  a 
stain  upon  our  honour  as  a  musical  nation,  and  we  must 
confess  that  it  was  with  as  much  surprise  as  pleasure  that 
we  saw  Mendelssohn's  name  announced  in  the  advertise- 
ments of  the  concert  we  are  about  to  review.  Her  Majesty 
and  Prince  Albert  attended  the  concert,  and  it  is  to  the  taste 
of  the  latter  illustrious  personage,  we  understand,  that  we  are 
indebted  for  the  following  magnificent  programme  : — 

PART    I. 

Sinfonia  in  F  (No.  8)   -  -  .  . 

Duetto,  *'  Quis  est  homo,"  Miss  A.  WilUtms  and 

Miss  M.  Williams  (Stabat  Mater)   - 
Concerto  in  G,  Pianoforte,    Dr.  Mendelssohn 

Bartboldy-  .... 

Aria,  "Ah  I  rendimi  quel  core,"  Miss  M. Williams 

(MItrane) 

Overture,  Euryanthe     -  .  -  - 

PART  IX. 

Sinfonia  in  A  Minor  (No.  3^     . 

Duet,  "Come  be  gay,,'  Miss  A.  Williams  and 

Miss  M.  Williams  (Dcr  Freyschutz) 
Overture  • 

Scherzo    ... 
Song,  with  Chorus,  "  Ycu 

spotted  Snakes,"  Miss  A. 

Williams,  and  Miss  M. 

Williams 
Notturno,  March,  &  Finale 

Chorus-  -  •  / 

It  is  not  to  be  wondered  at  that  the  room  was  crowded,  and 
that  the  anti-chamber  off  the  right  wing,  so  convenient,  at 
times,  to  the  directors,  should  have  been  open  to  the  public, 
and  crowded^  too.  To  have  rendered  this  pro<;ramme  un- 
assailable, the  duet  from  the  Slabat  Mater  should  have  been 
omitted;  it  was  unworthy  enrolment  in  sucb  a  catalogue  of 
chef  d*oeuvres. 

The  symphony  of  Beethoven  was  admirably  played,  on  the 
whole.  The  rallentando  of  the  second  subject  in  the  Allegro 
was  well  managed  by  Signer  Costa.  The  intermezzo  in  B 
flat  was  played  with  great  delicacy,  and  just  at  the  proper 
speed.  It  wa«  encored,  but  not  repeated,  the  presence  of 
Majesty  involving  a  certain  etiquette,  more  to  be  admired  for 
its  loyal  intention  than  for  its  musical  feeling.  The  Minuet 
and  Finale  went  excellently.    This  symphony  was  considered 


CA  Midsummer  J 
Night's  Dream.)  < 


Beethwen^ 

Rouini. 

Beethoven. 

F.Rom,  1686. 
C.  M,  ton  fVeber, 

MendeUsohn  Bariholdy 

C.  M.  von  Weher. 


Mendelssohn  Bariholdy 


by  Beethoven  as  one  of  his  best,  and  we  entirely  sympathise 
with  his  preference.  It  is  a  song  from  beginning  to  end. 
The  best  part  of  Rossini's  duet  was  the  cadence  of  the 
Misses  Williams. 

It  will  be  recollected  by  the  readers  of  the  Musical  World, 
that  Mendelssohn  played  the  G  concerto  of  Beethoven,  three 
years  ago,  at  the  Philharmonic.  For  our  opiikion  of  the 
work,  and  of  the  player  quoad  his  interpretation  of  it,  we 
refer  those  who  care  about  it,  to  our  review  on  that  occasion. 
Here  we  have  only  space  to  say  that  all  we  felt  then,  we  felt 
doubly  on  Monday  night,  and  in  recording  the  fact,  we  would 
fain  double  our  expressions  of  enthusiasm,  but  that  language 
fails  us.  In  a  word,  it  was  the  most  transcendant  perfor- 
mance we  ever  listened  to  ;  in  a  word,  the  concerto  is  the 
loveliest  of  BeethOven^s  concertos ;  in  a  word,  Mendelssohn 
is  the  greatest  pianist  in  the  world. 

Miss  M.  'Williams  was  very  effective  in  the  clever  and 
expressive  song  of  the  old  maestro^  Rossi,  scored  for  the 
orchestra  with  great  ability  by  Signor  Costa,  and  the  overture 
to  Euryanthe  went  like  a  whirlwind ;  but  not  like  a  musical 
performance.  The  Times  found  many  parts  of  it  *'  inarticu- 
late," and  many  parts  of  it  *'  a  scramble."  We  must  confess 
that  though,  like  Jezabels  courtiers  in  Elijah,  "  we  heard  it 
with  our  ears,"  we  could  not  distinguish,  except  in  the  slow 
rhapsody  con  sordini,  the  coupe  of  a  single  passage  for  the 
stringed  instruments.  This  is  called  energy  by  some  critids. 
We  cannot  find  a  word  that  suits  it  so  entirely  as  the  Fuooe 
of  Goldsmith*s  Birchidl,  in  the  Vicar  of  Wakefield. 

All  that  was  in  the  second  part  of  the  Concert  has  been 
criticised  by  us  over  and  over  again.  To  add  a  word  to  the 
masterly  analysis  of  the  A  minor  symphony,  from  the  pen  of 
Mr.  Macfarren,  which  our  readers  will  remember  in  the 
series  of  papers  published  under  the  head  of  The  Estimator^ 
would  be  an  act  of  presumption,  of  which  we  should  be  sorry 
to  be  guilty.  All  that  can  be  said  of  that  brilliant  and 
magnificent  work — the  orchestral  triumph  of  Mendelssohn — is 
there  set  forth  with  a  power  of  reasoning  and  a  felicity  of 
diction  beyond  our  ability  to  emulate.  It  is  enough  to  say, 
that  this  and  the  selections  from  the  gorgeous  and  picturesque 
music  of  **  A  Midsummer's  Night  Dream'*  were  performed  to 
admiration  ;  th6  occasional  mistakes,  and  the  prevalent  want  of 
finish  in  some  of  the  principal  wind-instruments,  forming  the 
sole  drawbacks  to  the  general  excellence.  But  we  are  in  too 
good  humour  with  the  general  performance  to  stop  to  specify 
this  in  detail.  A  word  or  two  in  conclusion,  however,  would 
not  be  out  of  place,  here,  in  respect  to  our  notion  of  the  dif- 
ference between  the  mode  of  conducting  adopted  by  Signor 
Costa  and  Dr.  Mendelssohn,  but  that  **  comparisons  are 
odorous." 

VBS     AVriSIVIBB, 

;froin  t^e  (Kcrman  of  Giit^t. 

CoMiUued/rom  page  265. 
PART    II.— CHAPTER    XI. 

The  narrator  made  a  pause,  or  rather  had  already  finished,  when 
he  could  not  help  remarking  that  Charlotte  was  in  the  highest 
degree  moye4  She  even  rose,  and  with  a  silent  apology,  left  the 
room,  for  the  story  was  familiar  to  her.  The  event  had  actually 
occurred  to  the  captain  and  a  female  neighbour, — not  exactly  as 
the  Englishman  had  told  it,  but  it  had  not  been  altered  in  the  prin- 
cipal features,  onlv  having  been  finished,  and  embellished  in  the 
details,  as  generally  happens  with  stories  of  the  kind,  when  they 
pass  first  through  the  mouth  of  the  multitude,  and  afierwards 
through  the  fancy  of  an  iugenious  and  tasteful  master.  At  last 
nearly  all  and  nothing  remain  as  they  were. 

Ottilia  followed  CharloUe,  as  the  tii|0.  friends  them8elvBaLde«|^|  p 


THE  MUSICAL  WORLD. 


281 


and  the  lord,  now  in  his  turn,  remarked  that  perhaps  a  fiiult  had 
been  again  committed,  and  that  something  known  to  the  family,  or 
connected  wirh  it,  had  been  narrated.  **  We  mast  take  care,**  he 
said,  '*  to  do  no  more  mischief.  In  return  for  the  good  and  pleasant 
things  wo  eigoy  here,  wo  seem  to  bring  the  lady-residents  little 
happiness.  We  will  endeavour  to  take  leave  in  a  becoming 
manner." 

"  I  must  own,"  sud  his  companion,  **  that  I  am  rivetted  here  by 
another  circumstance,  without  the  explanation  and  closer  know- 
ledge of  which,  I  should  be  unwilling  to  leave  the  house.  Yesterday, 
my  lord,  when  we  went  through  the  park  ^ith  the  portable  camera 
obteurot  you  were  too  much  occupiea  iu  selecting  a  truly  pictur- 
esque point  of  view  to  remark  anjrthing  else  which  was  taking 
plaee.  You  turned  out  of  the  high  road,  to  arrive  at  a  rarely 
penetrated  spot  by  the  lake,  which  presented  you  a  charming 
vi»-d-vtt.  Ottilia,  who  accompanied  us,  did  not  wish  to  follow,  but 
asked  to  go  to  the  place  in  a  boat  I  seated  myself  in  the  boat 
with  her,  and  took  delight  in  the  skill  of  tbo  fair  navigator.  I 
assured  her,  that  since  I  had  left  Switzerland,  where  the  most 
charming  girls  convey  us  on  the  water,  I  had  not  been  so  agreeably 
rocked  in  the  waves.  At  the  same  time,  I  could  not  forbear  asking 
her,  why  in  fact,  she  had  refused  to  take  that  side-path  ;  for  certainly, 
in  shunning  it,  she  had  shown  a  sort  of  painful  embarrassment. 
'*  If  you  will  not  laugh  mo  out  of  countenance,'*  she  answered 
kindly,  "  I  can  give  yon  some  information  on  the  subject,  although 
even  with  respect  to  myself,  some  mystery  prevails.  I  have  never 
entered  that  by-vray,  without  a  peculiar  shudder,  which  I  never  feel 
elsewhere,  and  which  I  cannot  explain  to  myself.  I  therefore 
rather  avoid  exposing  myself  to  such  a  sensation,  especially  as  it  is 
immediately  followed  by  a  head-ache  on  the  left  side,  from  which 
I  repeatedly  suffer.**  We  landed,  Ottilia  conversed  with  you,  and 
I,  in  the  meanwhile,  looked  out  for  the  spot,  which  she  had  plainly 
pointed  out  to  me  from  a  distance.  But  how  great  was  my  surprise, 
when  I  discovered  a  very  evident  trace  of  coal,  which  convinces 
me,  that  with  somo  digging,  a  fertile  stratum  might  perhaps  be 
found,  at  a  certain  depth. 

'*  Pardon  me,  my  lord  ;  I  see  you  smile,  and  know  very  well, 
that  as  a  wise  man  and  a  friend,  you  merely  regard  with  forbear- 
ance, my  passionate  interest  for  these  matters,  in  which  you  have 
no  faith  ;  but  it  is  impossible  for  mo  to  depart  hence  without 
making  the  lovely  girl  try  the  vibrations  of  the  pendulum." 

When  once  this  matter  came  under  discussion,  the  lord  was  sure 
to  repeat  his  opposing  reasons,  which  the  companion  heard  with 
modesty  and  patience,  but  still,  in  the  end,  adhered  to  his  own 
opinion  and  wishes.  He  also  repeatedly  declared,  that  the  matter 
was  not  to  be  given  up,  because  such  experiments  did  not  succeed 
with  anybody,  but  should  on  that  very  account,  be  considered  more 
seriously  and  profoundly,  for  then  certainly  would  be  revealed 
many  relations  and  affinities  of  inorganic  beings  among  each 
other,  and  of  oreanic  beings  with  respect  to  them,  and  also  among 
each  other,  which  aro  now  concealed  from  us." 

He  had  already  spread  out  his  apparatus  of  gold  rings,  marcasitcs, 
and  other  metalbc  substances,  which  he  always  carried  with  him  in 
a  handsome  box,  and  let  down  for  experiment,  pieces  of  metal, 
which  vibrated  upon  threads,  over  other  metals,  which  were  laid 
teneath.  '*I  concede  to  you,  my  lord,"  he  said,  *Mhe  wicked 
pleasure,  which  I  read  in  your  face,  because  with  me,  and  for  mo, 
nothing  will  stir.  My  operation  b,  however,  only  a  pretext. 
When  the  ladies  return,  they  will  be  anxious  to  know  what  strange 
things  wo  are  about." 

The  ladies  returned.  Charlotte  understood  at  once  what  was 
going  on.  **  I  have  hoard  much  of  such  things,"  she  said,  **  but 
have  never  seen  an  operation.  Since  you  have  got  all  so  neatly 
laid  out,  lot  me  try  whether  it  will  not  succeed  with  me." 

She  took  the  thread  in  her  hand,  and  since  sho  was  in  earnest, 
held  it  steadily,  and  without  any  mental  emotion,  but  not  tbo 
slightest  Tibration  was  to  be  observed.  Then  Ottilia  was  invited. 
She  held  the  pendulum  still  more  calmly,  dispassionately,  and 
unconsciously,  over  the  metals  beneath.  But  at  the  instant,  the 
suspended  body  was  carried  on  in  a  decided  whirl,  and,  accordingly 
as  tne  pieces  below  were  moved,  turned  now  to  one  side,  now  to 
another,  now  in  circles,  now  in  ellipses,  or  took  its  swing  in  a 
straight  line,  so  as  to  equal,  nay  surpass  all  the  expectations  of  th« 
companioii. 


The  lord  himself  was  somewhat  struck,  but  with  the  other,  there 
was  no  end  of  desire  and  curiosity,  and  he  kept  demanding  a 
repetition  and  multiplication  of  the  experiments.  Ottilia  was 
obliging  enough  to  consent  to  his  wishes,  until  sho  at  last,  kindly 
besought  him  to  release  her,  as  she  was  again  attacked  by  the 
head-ache.  He  amazed,  nay  transported,  assured  her  with 
enthusiasm,  that  he  would  perfectly  cure  her  of  this  malady,  if  she 
would  trust  his  method.  For  a  moment,  they  were  in  a  state  of 
uncertainty,  but  Charlotte,  who  quickly  understood  of  what  they 
were  talking,  refused  the  well-meant  offer,  because  she  was  rot 
disposed  to  suffer,  in  her  society,  that  for  which  she  had  always  felt 
a  strong  apprehension. 

The  strangers  had  departed,  and  although  they  had  produced 
emotions  of  a  singular  kind,  they  left  the  wish  behind  them,  that 
they  would  he  found  somewhere  again.  Charlotte  now  employed 
the  fine  days  to  return  visits  in  the  neighbourhood,  which  she 
could  scarcely  bring  to  a  condqsion,  since  the  whole  country 
round,  some  from  true  sympathy,  some  from  mere  custom,  had 
hitherto  concerned  themselves  about  her.  At  home  she  was 
enlivened  by  the  sight  of  the  child,  which  was  certainly  worthy  of 
eyory  love  and  everr  care.  It  was  looked  upon  as  a  wondrous, 
nay,  miraculous  child,  extremely  charming  to  the  eyes,  from  its 
size,  symmetry,  strength,  and  health,  and  what  created  still  more 
surprise,  was  that  double  resemblance,  which  developed  itAolf 
more  and  more.  In  features,  and  in  the  whole  form,  the  child 
became  more  and  more  like  the  captain,  while  the  eyes  differed 
less  and  less  from  the  eyes  of  Ottilia. 

Led  on  by  this  strange  affinity,  and  perhaps,  still  more  by  the 
fine  feeling  of  women,  who  with  tender  affection,  embrace  the  ^ 
child  of  a  beloved  man,  even  if  another  has  borne  it,  Ottilia  was  as 
much  as  a  mother  to  the  growing  creature,  or  rather  another  kind 
of  mother  If  Charlotte  retired,  Ottilia  remained  alone  with  the 
child  and  the  nurse.  Nanny,  jealous  of  the  boy,  on  whom  alono 
her  mistress  seemed  to  bestow  her  pffections,  had  left  her  for  some 
time,  in  a  refractory  mode,  and  had  returned  to  her  parents.  Ottilia 
continued  to  carry  the  child  into  the  open  air,  and  accustomed 
herself  to  walk  to  a  greater  and  greater  distance.  She  had  with 
her  the  milk  bottle,  to  give  the  child  its  aliment  when  required. 
She  seldom  failed  to  take  a  book  with  her  at  the  same  time,  and 
thus  reading  and  wandering  with  the  child  on  her  arm,  she  mada 
a  very  graceful  Penserosa. 


PART  II. CHAPTERXII. 

The  chief  object  of  tho  campaign  had  been  attained,  and  Edward, 
crowned  with  marks  of  honour,  left  the  service  with  glory.  He  at 
once  betook  himself  to  the;  little  estate,  where  he  heard  accurate 
intelligence  of  his  family,  whom  without  their  observing  or  knowing 
it,  he  had  caused  to  be  closely  watched.  His  quiet  abode  appeared 
to  him  most  charming,  for  during  his  absence,  much  had  been 
arranged,  improved,  and  advanced  according  to  his  orders,  so  that 
the  laying  out,  and  the  environs,  made  up  by  that  which  was 
internal,  and  might  be  immediately  enjoyed,  for  what  was  wanting 
in  length  and  breadth. 

Edward,  accustomed  by  a  more  hurried  course  of  life,  to  more 
decisive  steps,  now  proposed  to  carry  out  tho  plan,  which  he  had 
had  sufficient  time  to  consider..  First  of  all  he  called  the  miyor.* 
The  joy  at  the  meeting  was  great.  Youthful  friendships,  like  family 
tics,  have  the  important  advantage  that  errore  and  misunderstand- 
ings, of  whatever  kind  they  may  be,  never  inflict  a  fatal  injury  upon 
them,  and  that  the  old  relation  is  always  restored  after  a  time. 

In  his  joyous  greetings,  Edward  asked  after  his  friend's  circum- 
stances, and  learned  how  perfectly  fortune  had  favoured  him 
according  to  his  wishes.  In  a  half-jesting  confidential  tone, 
Edward  then  asked,  whether  a  good  alliance  was  not  in  a  stale  of 
progress  ?  His  fiiend  answered  in  the  negative,  with  significant 
seriousness. 

"  1  cannot,  and  may  not  keep  back  anything,"  continued  Edward, 
but  must  communicate  to  vou  mv  feelings  and  plans.  You  know 
my  passion  for  Ottilia,  and  havo  long  understood  that  it  was  she  who 
plunged  me  into  this  campaign.     I  do  not  deny  that  I  wished  to 

*  Tlie  reader  will  not  fomt  that  our  old  friend  the  Captain  lias  been  promo- 
ted, and  is  now  a  Maior.-faANSLAToaE)igitized  by  v^nooy  itr 


282 


THE  MUSICAL  WORLD. 


get  rid  of  a  life,  which  without  her, was  no  longer  useful  to  me,  but 
I  inust,  at  the  same  time  confess,  that  I  could  not  make  up  my 
mind  utterly  to  despair.  Happiness  with  her,  was  so  beautiful, 
so  desirable,  that  it  was  impossible  for  me  to  renounce  it  entirely. 
So  many  consolotary  forebodings,  so  many  cheering  signs,  had 
confirmed  me  in  the  belief— in  the  fancy,  that  Ottilia  could  be 
mine.  A  glass,  marked  with  our  initials,  and  thrown  into  the  air, 
when  the  stone  was  laid,  was  not  broken  to  pieces  ;  it  was  picked 
up»  and  is  again  in  my  hands.  « Thus  of  myself,'— I  cried,  when  I 
had  passed  so  many  delightful  hours  in  this  solitary  spot,— 'of 
myself  will  I  make  an  omen,  in  the  place  of  this  glass,  to  try 
whether  an  union  is  possible  or  not.  I  will  go  and  seek  death,  not 
tea  madman,  but  as  one  who  hopes  to  live.  Ottilia  shall  be  the 
prize  for  which  I  fight;  she,  it  shall  be,  whom  behind  every  hostile 
array,  within  my  trench,  within  every  besieged  fortress,  I  hope  to 
conquer,  I  will  do  wonders  with  the  desire  of  being  spared ; — 
with  the  view  of  gaining  Ottilia,  not  of  losing  her.'  These  feelings 
have  guided  me,  have  assisted  me  through  all  dangers,  and  now  I 
feel  myself  as  one  who  has  reached  his  goal,  who  has  surmounted 
all  obstacles,  and  in  whose  way  nothing  more  is  standing.  Ottilia 
is  mine,  and  whatever  lies  between  this  thought  and  the  execution 
of  it,  I  cannot  look  upon  as  of  any  importance." 
t  ••  With  a  few  strokes,"  replied  the  rasjor,  "  you  cancel  all  that 
could  and  should  be  advanced  against  you,  and  yet  it  must  be 
repeated.  I  leave  it  to  yourself  to  call  back  your  relation  to  your 
wife,  with  all  its  force,  but  you  owe  it  to  her  and  to  yourself,  not  to 
mystify  yourself  on  this  point.  How  can  I  think  that  a  son  is 
given  you,  without  declaring,  at  the  same  time,  that  you  are  born 
#  for  each  other,  that  for  the  sake  of  this  being,  you  are  bound  to  live 
together,  that  united,  you  may  provide  for  bis  education  and  future 
welfare." 

"  It  is  a  presumption  on  the  part  of  parents,"  answered  Edward, 
•*  when  they  fancy  that  their  existence  is  so  necessary  for  their 
children.  Every  living  thing  finds  nourishment  and  assistance,  and 
if  the  son,  after  the  early  death  of  the  father,  has  not  so  easy,  so  com- 
modious a  period  of  youth,  be  gains  perhaps,  on  this  very  account, 
a  more  rapid  training  for  the  world,  by  a  timely  conviction  that  he 
must  accommodate  himself  to  others — a  lesson  which  indeed, 
sooner  or  later,  we  all  mu^t  learn.  Besides,  there  is  no  Question 
of  this  sort.  We  are  rich  enough  to  provide  for  several  cnildren, 
and  it  is  by  no  means  duty  or  kindness  to  heap  so  many  benefits 
upon  one  head." 

When  the  major  thought,  with  a  few  traces,  to  recall  Charlotte's 
value,  and  Edward's  long  attachment  to  her,  Edward  hastily 
interrupted  him  :  "We  have  committed  a  folly,  vihich  I  but  too 
plainly  see.  He,  who  at  a  certain  age,  wishes  to  realize  the  earlier 
wishes  and  hopes  of  youth,  always  deceives  himself ;  for  every 
period  of  ten  years  in  a  man's  life,  has  its  own  happiness,  its  own 
Lopes  and  views.  Woe  to  him,  who  is  tempted  by  circumstances 
or  by  fancy,  to  grasp  either  backwards  or  forwards.  We  have 
committed  a  folly  ;  shall  it  then  be  for  a  whole  life  ?  Shall  we, 
from  any  kind  of  scruple,  deny  ourselves  that,  which  the  social 
usages*  of  the  time  do  not  refuse  us.  In  how  many  things  does  a 
roan  retract  hb  intentions  or  his  acts,  and  is  that  not  to  take  place 
just  in  this  instance,  when  the  question  is  about  the  whole,  and  not 
about  a  matter  of  detail— not  about  this  or  that  condition  of  life, 
but  about  the  whole  structure  of  life." 

The  m^jor  did  not  fail  to  represent  to  Edward,  in  a  manner  as 
skilfnl  as  it  was  impressive,  his  different  relations  to  his  wife,  to 
the  families,  to  the  world,  to  his  property,  but  he  did  not  succeed 
in  exciting  any  sympathy. 

"All  this,  my  friend,'^  replied  Edward,  "has  passed  before  my 
mind  in  the  midst  of  the  tumult  of  battle,  when  the  earth  was 
trembling  with  the  continuous  thunder,  when  the  balls  whizzed  by, 
when  my  comrades  fell  down  right  and  left,  when  my  horse  was 
shot  and  my  hat  pierced,— it  has  passed  before  me  by  the  silent 
watch  fire,  beneath  the  starry  vault  of  heaven.  Then  did  all  my 
ties  pass  before  my  mind.  1  have  thoroughly  thought  ihem  over- 
felt  them.  I  have  weighed  my  whole  position,  have  repeatedly, 
and  now  for  ever,  come  to  terms  with  myself. 

"In  such  moments,  how  can  1  conceal  it ;  you  also  were  present 
—you  also  belonged  to  my  circle  ;  indeed,  have  m  e  not  for  a  long 
time  belonged  to  each  other  ?  If  I  have  owed  you  anything,  I 
have  now  come  to  the  position  of  paying  it  with  interest ;  if  you 


have  ever  owed  me  anything,  you  are  now  in  a  condition  to  make 
it  good.  I  know  that  you  love  Charlotte,  and  she  merits  it.  I 
know  that  you  are  not  indifferent  to  her,  and  why  should  she  not 
recognize  your  worth  ?  Receive  her  from  my  hand«-eonduct  me 
to  Ottilia,  and  we  are  the  happiest  persons  on  earth." 

Just  because  you  would  bribe  me  with  such  precious  gifts." 
replied  the  M^jor,  *'  I  must  be  the  more  circumspect  and  qgi^ 
This  proposal,  which  I  silently  respect,  instead  of  making  the 
the  matter  more  easy,  rather  renaers  it  more  difficult.  The  question 
now  concerns  me  as  well  as  yourself,  concerns  both  the  destiny, 
and  the  good  name  and  honour  of  two  men,  who,  hitherto  without 
reproach,  run  the  risk,  by  this  strange  act — not  to  call  it  otherwise 
—of  appearing  to  the  world  in  a  very  singular  light." 

"  The  very  fact  that  we  are  without  reproach,"  returned  Edward, 
"  gives  us  a  right  to  allow  ourselves  to  be  reproached  for  once. 
He,  who  during  his  whole  life,  has  shown  himself  a  man  to  be 
relied  on,  also  inspires  confidence  with  respect  to  an  act,  which  in 
others  would  appear  equivocal.  As  for  what  concerns  me*  I  feel 
by  the  last  trials  which  I  have  imposed  upon  myself,  and  bj  the 
arduous,  perilous  deeds  I  have  done  for  others,  justified  in  doing 
something  for  myself  also.  As  for  what  concerns  you  and  Charlotte* 
let  us  leave  it  to  the  future,  but  as  for  roe,  neither  you,  nor  any 
one  else,  viill  restrain  me  ^m  my  project.  If  a  hand  is  ofierea 
me,  I  am  ready  to  do  anything,  but  if  I  am  left  to  myself,  or 
opposed,  an  extremity  must  arise,  come  what  will." 

The  Major  deemed  it  his  duty  to  resist  Edward's  plan  as  long  as 
possible,  and  he  now  employed  a  dexterous  turn  against  his  friend, 
by  seeming  to  comply,  and  only  discussing  the  form  and  business 
routine,  by  which  this  separation  and  these  unions  were  to  be 
effected.  So  much  that  was  unpleasant,  troublesome,  unseemly 
then  preseuted  itself,  that  Edwarcf  felt  himself  put  into  the  worst 
humour. 

**  I  see,"  he  at  last  exclaimed,  *'  that  what  one  desires  must  be 
taken  by  storm,  not  only  from  enemies,  but  also  from  friends. 
That  which  I  wish,  which  is  indispensable  to  me,  I  keep  firmly  in 
sight.  I  will  seize  it,  and  assureoly  soon  and  readily.  Relatioai 
of  the  sort,  I  well  know,  are  not  destroyed  and  formed  without 
the  fall  of  much  that  already  stands,  without  the  yielding  of  much 
that  would  keep  firm.  Such  a  matter  is  not  brought  to  an  end  Igr 
consideration  ;  to  the  understanding,  all  rights  are  alike,  and  in 
equipoise  can  always  be  placed  in  the  rising  scale.  Resolve  there- 
fore, my  friend,  to  act  for  me,  for  yoursel^for  yourself  for  me,  to 
disentangle,  solve,  end  unite  anew  our  positions.  Do  not  let 
yourself  be  restrained  by  any  considerations;  we  have  ahreadj 
made  the  world  talk  about  us ;  it  will  talk  about  us  once  more,  and 
then,  like  every  thing  else  which  ceases  to  be  new,  forget  us,  and 
let  us  do  as  we  can,  without  giving  itself  any  further  concern 
about  us." 

The  Major  had  no  other  expedient,  and  was  at  last  forced  to 
allow  Edward  to  treat  the  affair,  once  for  all,  as  something  admitted 
and  pre-supposed,  while  he  discussed  in  detail,  how  all  was  to  be 
arranged,  and  dilated  upon  the  future  in  the  cheerfullest  mood, 
even  in  jest. 

Then  again  becoming  serious  and  thoughtful,  he  continued  thus : 
— *'lf  we  resigned  ourselves  to  the  hope,  the  expectation  ihat  all 
would  come  right  again  of  its  own  accord,  that  chance  would  &vor 
and  conduct  us  ;  it  would  be  culpable  self-delusion.  In  this  way, 
it  would  be  impossible  to  save  ourselves,  and  restore  peace  on  all 
sides,  and  how  could  I  console  myself,  when  I,  though  innocently, 
am  guilty  of  all  ?  By  my  own  urgency,  I  prevailed  on  Charlotte 
to  take  you  into  the  house,  and  Ottilia  only  came  among  us  in 
consequence  of  this  alteration.  Wo  are  no  longer  masters  over 
that  which  has  resulted,  but  we  are  masters  so  kr,  as  we 
can  render  it  harmless,  and  make  the  relations  conduce  to  our  own 
happiness.  If  you  turn  away  your  eyes  from  the  beautiful  and 
kinaly  prospects  which  I  open  ;  if  you  impose  upon  yourself  and 
upon  us  all,  a  sad  self-denial,  as  far  as  you  think  it  possible,  as  fisr 
as  it  may  be  possible  ;  even  then,  if  we  purpose  to  return  to  our 
old  condition,  must  we  not  transfer  with  us,  much  that  is  unseemly, 
inconvenient,  and  annoying,  without  anything  good  or  cheering 
resulting  from  it  ?  Would  the  prosperous  condition,  in  which  yoa 
find  yourself,  afford  you  any  joy,  if  you  were  hindered  from  visiting 


*  This  refers  to  the  ftcility  of  divorce  in  Germsnf .--Tbanslai 


jLoyie 


THE  MUSICAL  WORLD. 


ms 


me,^— from  living  with  me  ?  And  after  what  has  passed,  it  would 
be  more  and  more  painful.  Charlotte  and  I,  with  all  oar  property, 
would  only  find  ourselves  in  a  melancholy  situation.  And  if;  with 
other  men  of  the  world,  you  believe  that  years,  that  absence,  will 
blunt  such  feelings,  will  efface  marks  so  deeply  engraven,  the 
question  is  about  those  very  years,  which  we  wish  to  pass,  not  in 
pain  and  self-denial,  but  in  joy  and  comfort.  And  at  last,  to  speak 
Gfut  what  is  most  important,  oven  if  we,  from  our  own  external  and 
internal  condition,  should  bo  able  to  expect  this,  what  would 
become  of  Ottilia,  who  would  be  forced  to*  quit  our  house,  to  do 
without  our  care  in  society,  and  painfully  to  make  her  way  through 
the  cold,  accursed  world?  Depict  to  me,  a  situation,  in  which 
Ottilia,  without  me,  whhout  us.  could  be  happj,  and  then  yon  will 
have  uttered  an  argument,  stronger  than  any  other,  and  which 
even  if  I  do  not  grant  it,  and  cannot  conform  with  it,  I  will  readily 
think  over,  and  consider  anew." 

This  problem  was  not  so  oasy  to  solve,  at  least  no  sufficient 
answer  occurred  to  the  Major,  who  could  only  repeatedly  inculcate 
his  opinion,  how  important,  how  critical,  and  in  many  senses,  hp.w 
hazardous  the  whole  project  was,  and  that  at  least,  the  most  serious 
deliberation  was  required,  as  to  how  it  should  be  commenced. 
Bdward  submitted,  but  only  on  the  condition,  that  his  friend  would 
not  leave  until  they  had  come  to  a  perfect  agreement  as  to  the 
alEMT.  and  the  £rst  steps  had  been  taken. 
{Tq  be  continued,) 
'  %*  %o  prevent  miiundentancliiig,  it  may  be  stated  tbat  the  copyright  of  thU 
translation  belong^  solely  to  the  translator. 

SONNET. 

No.  XXXII. 

Surely  the  whole  of  life  is  dull  and  drear, 

£icept  the  moments  love  has  call'd  bis  own. 
Making  them  by  a  glitt'ring  halo  known. 

So  that  they  ever  shine  to  mem'ry  dear. 

These  moments  are  small  isles  of  radiance  clear. 
Scantily  o'er  the  broad  dark  ocean  strown  i 
On  them  the  heart,  by  raging  billows  thrown. 

May  rest  awhile,  and  gain  new  strength  to  bear. 

The  moment,  when  thou  said'st  that  thou  wert  mine, 
The  moment,  when  thy  smile  most  softly  beam'd, 
The  moment,  when  our  lips  most  fondly  met, 

The  moment,  when  thou  took'st  my  hand  in  thine, 

The  moment,  when  those  eyes  most  brightly  gleamd'—- 
Let  me  remember  these,— all  else  forget.-«K.  p. 

LETTERS  UPON    WUSICAt  ART. 

No.  I. 
Music,  as  an  art,  having  now  taken  a  high,  and  I  doubt  not, 
permanent  position  amongst  us,  a  few  reflections  upon  its  purposes  as 
an  element  of  civilisation,  in  order  that  the  true  mission  of  the  artist  be 
understood  and  his  calling  respected,  may  not  be  out  of  place.  Firstly, 
it  is  necessary  to  regard  the  art  of  music,  not  as  a  gratification  of  mere 
sensual  feeling,  but  a  thing  of  higher  and  holier  influence,  emanating 
from  and  addressing  itself  to  the  heart.  Music  of  the  highest  order 
is  the  very  soul  of  poetry.  "Geist  fordr'ich  vom  Dichter  abcr  die 
Seele  spricht  nur  Polyhymnia  aus."  The  voice  of  genius  in  every  art 
is  still  the  voice  of  truth,  and  all  truth  can  emanate  but  from  one  source, 
the  soul ;  and  the  work,  if  true,  is  as  imperishable  as  the  soul  itself.  It 
is  necessary  to  say  thus  much,  because  there  are  many  short-sighted  and 
prejudiced  people  in  this  country,  who  still  persist  in  asserting  that  the 
fine  arts  are  not  only  useless,  but  that  their  influence  is  even  de- 
moralising. To  those  persons  I  reply,  that  anything  which  reflnes  and 
ennobles  the  mind  must  improve  it,  and  anything  which  improves  the 
mipd  must  be  useful.  Everything  which  gives  evidence  of  mind,  as 
opposed  to  mere  materialism,  which  reveals  the  combinations  of  ideal 
beauty  which  live  only  in  the  soul,  and  proves  the  existence  of  that 
divine  faculty  which  we  call  inspiration,  must  be  of  a  spiritual  and  even 
religious  nature.  That  music  is  merely  suggestive  1  do  not  attempt  to 
dispute ;  on  the  contrary,  I  claim  for  it  no  higher  privilege.  But  of 
vbat  is  It  suggestive  ?  Of  ideas.  But  of  what  kind  of  ideas  ?  They 
will  depend  upon  the  nature  of  Ihe  music  itself.  If  the  composer  was 
inspired  with  elevated  thoughts  when  camposlng,  the  same  thoughts 
will  inevitably  be  conveyed  to  the  mind  of  the  auditor.  All  works  of 
art  msy  be  judged  by  the  emotions  and  ideas  they  excite  in  the 
cultivated  mind.  In  the  first  place,  they  must  be  true— that  is,  they 
must  be  the  offspring  of  natural  feeling.  The  artist  must  feel  deeply 
before  he  can  hope  to  strike  the  electric  chain  which  connects  the  souls 


and  sympathies  of  all  mankind.    Admitting,  then,  music,  as  an  art,  to 
be  a  powerful  element  of  civilisation,  does  not  its  cultivation  among  us 
become  a  matter  of  public  importance  ?    Admitting  that,  in  music,  as 
in  every  other  art,  low  class  works  tend  to  vitiate  the  public  taste,  and 
excite  in  the  mind  a  low  train  of  ideas,  is  it  not  of  paramount  importance 
that  a  high  taste  should  be  cultivated?  People  complain  of  the  bad 
taste  of  the  public  1    But  what  forms  the  public  taste?    In  a  country 
where  music  had  never  been  heard,  the  people  would  not  have  a  bad 
taste,  but  no  taste  at  all.    The  bad  taste  of  the  public  has  been  formed 
by  the  bad  works  of  composers  wanting  in  genius  or  conscience,  and 
fostered  by  the  musical  ignorance  and  cupidity  of  theatrical  managers 
and  music  publishers.    "You  must  write  for  the  million,"   say  the 
"friends  of  art,"    Most  true;  but  who  are  the  writers  for  the  million? 
Those  small  ephemera  who  are  called  into  existence  by  a  momentary 
ray  of  sunshine,  soon  to  be  withdrawn,  or  those  whose  works  go  down 
to  the  remotest  posterity,  and  are  the  delight  of  all  ages?  Which  of  these 
are  the  writers  for  the  million  ?    Whose  works  gratify  and  instruct  the 
greatest  number  ?     The  true  writers  for  the  million  are  Handel,  Bach, 
Haydn,  Mozart,  Beethoven,  &c.,  and  the  writers  for  the  few  are  so-called 
popular  men  of  the  day.    But,  "  we  must  have  tune,'*  say  the  "friends 
of  ait."    Most  true;  but  let  not  the  necessity  of  writing  popular  tunes 
be  offered  as  an  excuse  for  the  display  of  artistic  ignorance  and  vulgarity 
of  mind.    What  tunes  are  more  popular  than  those  of  Handel,  Haydn, 
Mozart,  Beethoven,  Weher,  Rossini,  Auber  ?      But  in  these  vmriters  we 
have  tune  united  to  profound  knowledge  and  elegance  of  expression. 
The  progress  which  music  has  made  of  late  in  this  country  must  be 
highly  gratifying  to  every  true  lover  of  art.   The  progress  it  has  made,  in 
spite  of  the  ignorance  and  ballad- mongering  prejudices  of  publishers  and 
theatrical  managers — in  spite  of  the  exclusiveness  of  certain  societies 
supposed  to  be  national— in  spite,  "  though  last  not  least,"  of  the  absurd 
criticisms  of  certain  newspapers — the  art  has  kept  the  even  tenour  of  its 
way,  and  is  still  progressing.    A  grand  school  of  art  is  forming,  in  the 
only  way  in  which  it  ever  could  or  ever  has  been  formed,  by  the  study 
of  the  works  of  the  great  masters,  and  an  investigation  of  the  principles 
upon  which  they  were  written.  The  result  of  such  an  investigation  is  the 
knowledge  of  who  the  great  men  really  are,  and  why  they  are  great.    In 
other  words,  what  fine  music  really  is,  and  in  what  it  consists.     If  we 
pronounce  a  thing  to  be  good,  we  must  have  some  reason  for  doing  so, 
and  things  must  always  be  good  for  the  same  reason.   If  a  symphony  of 
Beethoven  is  said  to  be  good,  because  it  possesses  all  the  finest  qualities 
of  music,  any  other  work  possessing  the  same  amount  of  fine  qualities 
must  be  equally,  or,  if  it  possess  a  portion  only,  relatively  good.  It  is  not 
mere  contrapuntal  skill,  the  melodic  faculty,  form,  design,  or  any  one 
quality  that  can  make  a  composer  truly  great,  but  an  assemblage  of  all, 
such  as  we  find  in  the  works  of  Handel,  Haydn,  &c.  Much  has  been  said 
about  a  "national  school,"  and  some  of  our  young  composers  have  been 
reproached  by  certain  "  eminent  critics"  with  anti-national  tendencies 
for  endeavouring  to  emulate  Mozart  and  Beethoven ;  these  gentlemen, 
with  much  less  wisdom  than  Solomon,  are  consequently  rnuch  more 
difficult  to  satisfy ;  they  must  have  something  totally  new,  something  in 
itself  excellent,  yet  totally  different  to  everything  else  that  is  excellent. 
Our  composers  are  expected  to  produce  fine  works,  but  are  still  to  be 
totally  unlike  Handel,  Haydn,  Mozart,  Beethoven,  &c.,  who  are  great, 
not  because  they  were  called  Handel  or  Haydn,  but  because  they  have 
discovered  the  universal  and  immutable  principles  of  the  sublime  ^n^ 
beautiful,  and  the  secret  of  applying  those  principles  to  their  art.    But  to 
those  dtluded  beings  who  are  suffering  under  this  morbid  veneration  for 
the  great  masters,  and  are  vapouring  away  their  existence  in  endeavouring 
to  emulate  them,  the  advice  of  our  '*  eminent  art  critics"  is  not  wanting. 
One  proposes  that  instead  of  emulating  Mozart  and  Beethoven  our  com- 
posers should  arrange  their  own  national  tunes  after  a  new  fashion,  and 
that,  says  he  triumphantly,  would  be  English  music,  and  lead  to  the 
formation  of  an  English  school!      Another  suggests  writing  in  the 
manner  of — that  is,  imitating — Shield,  Arne,  Calcott,  &c.,  and  that,  also, 
would  be  original  English  music !     It  thus  appears  that  when  English 
writers  imitate  each  other,  imitation  is  not  imitation;    but  if  they 
imitate  great  foreign  writers,  imitation  is  imitation.    The  logic  of  this  is 
curious.     After  all,  what  is  meant  by  "nationality,"   "difference  of 
schools,"    "English  music,"    "French  music,"    and    "originality?" 
These  fine  deceptive  words  and  imaginary  distinctions  can  be  of  no  use 
to  the  true  progress  of  art,  but  rather  tepd  to  retard  it.    The  aim  of  an 
artist  must  be  to  be  great,  and  not  national.    Nationality  in  art  means 
absolutely  nothing.    A  work,  to  be  great,  must  speak  in  the  voice  of 
universal  and  immutable  truth  to  the  higher  soul-qualities  and  sympathies 
of  mankind,  which  are  the  same  everywhere.  It  cannot  be  circumscribed 
or  bounded  in  its  movements,  it  scorns  the  fetters  of  space  or  time. 
The  only  national  feeling  recognised  in  matters  of  art  is  that  evinced  by 
a  people  who  support  a  native  artist  when  he  has  produced  a  fine  work, 
of  which  they  feel  proud,  and  which  adds  to  the  glory  of  their  country. 
The  "  difference  of  schools"  consists  in  nothing  but  the  relative  amount 


264 


THE  MUSICAL  WORLD. 


of  fine  qualities  possessed  by  diflerent  writers ;  one  is  conspicuous  for 
one  fine  quality,  one  for  anottier,  while  ttie  greatest  works,  possessing 
all  the  fine  qualities  are  universal — of  all  schools  and  of  no  school. 
Originality  or  individuality  of  style  in  a  work  of  art  sprines,  not  from 
studiously  avoiding  the  works  of  other  writers,  as  some  have  asserted, 
but  from  having  studied  them  all  deeply.  Originality  is  nothing  but 
the  faculty  of  combining  and  throwing  into  new  forms  the  materials  with 
which  the  head  is  stored,  and  the  images  and  impressions  which  the 
mind  has  received  from  the  study  of  great  works.  Individuality  of  style 
should  be  termed  universality,  since  it  is  nothing  but  the  faculty  of 
combining  the  most  striking  points  of  every  work  we  may  have  studied, 
and  throwing  them  into  new  forms.  Without  all  this  it  would  be 
possible  to  produce  something  "very  oriKinal,"  but  certainly  not  a  work 
of  art,  as  all  experience  demonstrates.  I  have  said  there  is  a  right  feeling 
'  amongst  our  young  composers,  which  must  inevitably  lead  to  great 
results ;  but  I  am  afraid  there  is  a  very  bad  one  amongst  those  persons 
whose  duty  it  is  to  foster  and  encourage  their  genius.  Let  roe  not  be 
Aupposed  to  join  in  the  "  native  talent"  cry,  which  I  consider  very 
ridiculous,  and  calculated  to  do  more  harm  than  good.  An  artist  is  not 
to  be  upheld  merely  because  he  is  Eng'lish.  but  because  he  is  eniinent  in 
his  art ;  if  he  cannot  stand  his  ground  against  foreign  writers,  then  let 
the  foreign  writers  have  the  preference.  I  ask  for  justice,  and  not 
favour ;  it  cannot  be  urged  that  there  is  any  want  of  encouragement  on 
the  part  of  the  public,  for  whenever  any  work  by  an  English  writer  is 
brought  before  them,  they  receive  it  generally  better  than  it  deserves. 
No  ;  the  true  enemies  to  the  progress  of  music  in  England  are  chicanery, 
ballad-mongering,  and  conventionalism,  of  ffhich  more  anon. 

Howard  Gloveb. 

JENNY  LIND  AND  IMR.  BUNN. 

The  following  letter  appeared  in  the  Times  of  Thursday. 
As  any  thing  respecting  the  **  Swedish  Nightingale"  seems  at 
this  moment  to  be  engrossing  the  sympathies  of  the  entire 
musical  world,  the  letter  will  doubtless  be  acceptable  to  the 
great  majority  of  our  readers. 

"  Theatre  Royal,  Drory-lane,  April  19; 
"Mademoiselle,  —  Up  to  the  present  moment  of  your  arrival  in 
England,  the  losses  occasioned  me  by  your  violation  of  the  contract  you 
entered  into  with  me  are  unrepaired,  and  the  misrepresentations  under 
which  I  have  suffered,  remain  uorefuted;  the  result  of  my  long 
and  expensive  journey  to  Berlin  to  effect  the  engagement  you  there 
signed,  ending  thus  far  in  your  being  the  gainer  of  a  princely  income 
from  another  theatie,  and  1  the  complete  victim. 

"Without  any  motive  but  Ihe  proper  vindication  of  my  rights, 
without  doing  any  injury,  or  committing  any  offence  to  others,  I  have 
been  mercilessly  assailed  week  after  week,  by  the  adherents  of  that 
theatre,  and  the  common  privilege  of  self-dpfenoe  altogether  denied  me. 

"  It  is  true  that  towards  the  reparation  of  these  losses  you  have  offned 
me  2000/.,  and  that  as  respects  the  pecuniary  question  between  us,  I 
have  accepted  that  offer ;  but  as  it  was,  and  is,  of  moment  to  me  that 
the  cause  of  your  repudiation  of  your  engagement  with  me  shoukl  no 
longer  be  misrepresented,  I  required  you,  in  my  letter  of  the  16th  of  last 
month,  to  sing  three  times  at  this  theatre.  You  have  not  answered 
this  letter,  and  I  beg,  therefore,  to  say  that,  in  order  to  prove  to  yoa  this 
proposal  was  not  a  merely  interested  one,  I  will  be  satisfied,  instead  of 
those  three  representations,  with  your  written  assurance  that  you  were 
not  deterred  from  appearing  on  the  Drury-lane  stage  by  any  other 
motive  than  the  one  assigned  in  your  letter  of  October  17,  1845, 
wherein,  on  asking  me  to  cancel  our  agreement,  you  offered  me 
ample  indemnification  should  you  ever  appear  at  Her  Majesty's  Theatre. 

"  I  make  this  final  proposal  to  restore  our  former  good  understanding, 
to  avoid  further  litigation,  and  to  dispense  with  any  further  public  dis- 
cussion — of  course  without  prejudice. 

"I  have  the  honour  to  be,  Mademoiselle, 

"  Your  obedient  humble  servant, 
"  Mademoiselle  Jenny  Lind.  "  A  BUNN." 

We  sincerely  hope  that  Mr.  Bunn  may  receive  the  £2000  he 
has  condescended  to  accept;  that  Jenny  Lind  may  shake 
hands  with  the  Manager  of  Drury  Lane,  after  complying  with 
the  requests  contained  in  the  above  epistle,  and  that  the  long 
disagreement  may  end  happily  and  satisfactorily  to  all  paities. 


DRAIMATIC  INTELLIGENCE. 

Drury  Lane.— Her  Majesty,  Prince  Albert,  the  Prince  of 
Wales,  Princess  Alice,  and  Prince  Albert  Edward,  attended  a 
morning  performance  at  this  theatre  on  Thursday.      The 


Royal  children  manifested  great  delight  at  the  sight  of  the 
elephants,  camels,  and  splendid  troop  of  cavalry  used  in  the 
procession. 

Princess's.— A  full,  but  by  no  means  a  crowded  auditory, 
assembled  at  this  house  on  Monday  evening  to  witness  the 
return  of  Mrs.  Butler  (Fanny  Kemble)  to  the  stage,  after  a 
retirement  of  fourteen,  or  sixteen  years.  The  play  of  The 
Hunchback  was  announced,  Mrs.  Butler  taking  her  original 
part,  Julia.  Mr.  Creswick,  from  the  Theatre  Royal,  Dublin, 
and  late  of  the  Sadler's  Wells,  was  specially  engaged  for 
the  part  of  Master  Walter,  and  Mr.  J.  Webster,  also  from 
the  Sadler's  Wells,  was  engaged  for  the  part  of  Sir  Thomas 
Clifford.  The  cast  of  characters  was  somewhat  strong.  Besides 
Mrs.  Butler,  and  the  two  gentlemen  just  named,  in  the  three 
leading  personages  of  the  drama,  we  had  Mrs.  Stirling  in 
Helen,  Compton  in  Modus,  J.  Vining  in  Lord  Tinsel,  Ryder 
in  Heartwell,  C.  Fisher  in  young  Lord  Rochdale,  and  Cowell 
in  Fathom.  As  the  stage  is  now  furnished,  this  was  really  a 
capital  cast  of  parts,  and  we  have  seldom  seen  The  Hunchback 
better  performed  as  a  whole.  The  entrance  of  Mrs.  Butler 
was  the  signal  for  a  tremendous  burst  of  applause,  which  lasted 
for  upwards  of  two  minutes.  The  lady  seemed  completely 
overcome,  and  could  hardly  proceed  with  the  first  words  she 
had  to  address  to  Helen.  Mrs.  Butler's  first  scene  impressed 
neithei  ourselves,  nor,  apparently,  the  audience,  with  the  most 
favourable  sentiments  towards  the  actress.  Mrs.  Butler's 
appearance  is  not  improved  since  last  we  beheld  her  on  the 
boards  of  Covent  Garden  theatre  in  the  zenith  of  ber  youth 
and  her  fiime.  '  Time  and  the  canker,  care,  have  been  busy 
with  her,  and  their  traces  are  but  too  apparent  in  a  small 
theatre  like  the  Princess's.  She  is  evidently  not  so  much  at 
her  ease  as  she  used  to  be,  and  her  attitudes,  which  were  never 
graceful,  are  now  rigid,  enforced,  and  angular.  In  her  playful 
scenes  with  Helen,  Mrs.  Butler  exhibited  too  much  arti- 
fice, and  produced  but  a  feeble  impression  on  the  audience. 
Throughout  the  two  first  acts,  and  a  portion  of  the  third,  the 
fair  artist  did  not  display  any  proof  of  those  extraordinary 
talents  which  would  warrant  her  in  demanding  one  hundred 
pounds  a  night  for  ^  performance ;  and  the  majority  of  the 
spectators,  who  came  to  behold  something  very  wonderful, 
were  manifestly  disappointed.  Not  that  during  this  time 
Mrs.  Butler  did  not  occasionally  show  her  great  capabilities, 
and  exhibit  the  energy  and  feeling,  added  to  the  nice  and 
delicate  discrimination  in  embodying  the  various  emotions  of 
the  poor  bewildered  Julia,  for  which  formerly  she  obtained  so 
much  renown,  and  which  placed  her  above  all  other  actresses 
of  the  day ;  but  there  was  so  much  want  of  ease,  grace,  and 
nature  in  the  level  passages,  so  much  afiectation  of  attitude, 
and  so  much  effort  in  the  bye  play,  that  the  public  would  have 
lost  all  interest  in  the  performance,  were  it  not  that  they  were 
upheld  by  the  prestige  of  a  great  name,  and  were  urged  to 
further  attention  by  those  occasional  glimpses  of  power  that 
broke  through  the  surrounding  darkness  like  fiaahes  of  light- 
ning. In  the  fourth  act  the  audience  were  literally  taken  by 
surprise.  Here  the  tragic  actress  found  herself  in  her  true 
region  of  passion,  and  felt  herself  inspired,  as  though  she 
were  a  Pythoness  standing  on  her  tripod.  From  the  moment 
she  enters,  exclaiming,  **  What's  to  be  done  ?"  to  her  inter- 
view with  Master  Walter,  when  he  leads  her  out  half  fainting 
in  his  arms,  the  acting  of  Mrs.  Butler  was  worthy  of  a 
great  artist.  Here  all  affectation  was  thrown  aside:  no 
effort  was  made  to  look  particularly  graceful,  or  particularly 
attractive  in  j;lance  or  attitude  ;  but  nature  stood  paramount, 
and  tore  all  conventionality  away,  giving  place  to  feeling  the 
most  impulsive,  and  passion  the  most  real.    We  have  never 


THE  MUSICAL  WORLD. 


,   2f 


witnessed  on  the  stage  anything  more  life-like,  more  fearfully 
earnest,  and  more  powerful  than  Julia's  warning  to  Master 
Walter  against  plungipg  her  into  a  marriage  with  Lord  Roch- 
dale, aa  given  by  Mrs.  Butler  on  Monday  evening.  It  was 
worthy  the  best  acting  of  Mrs.  Siddons,  in  her  best  days. 
Through  the  whole  of  this  scene  the  actress  was  superlatively 
great,  and  the  applause  she  wrung  from  the  spectators  was  as 
enthusiastic  as  any  of  the  kind  we  have  heard  at  this  theatre, 
or  indeed  elsewhere,  She  was  equally  fine  in  the  last  act, 
leaving  nothing  to  the  critic  to  award  but  praise  and  admi- 
ration. Mr.  Creswick,  who  made  his  first  appearance  here, 
played  Master  Walter  excellently,  exhibiting  sound  judgment, 
and  a  nice  appreciation  of  the  various  phases  of  the  character 
he  personified.  An  occasional  tendency  to  rant,  in  passages 
that  required  no  violent  display  whatsoever,  was  the  only 
charge  we  can  lay  to  his  performance.  Mrs.  Stirling  was  very 
bappy  in  Helen,  playing  the  part  with  infinite  naivete  and 
spirit,  and  looking  botli  natural  and  winning  in  the  extreme. 
The  scene  with  Modus,  in  the  last  act,  where  she  entices  him 
to  a  declaration  of  love,  was,  mayhap,  a  Httle  too  forward  for 
the  maiden,  who,  however  wild,  is  still  gentle  at  heart,  and 
who  is  merely  induced  to  turn  wooer  from  the  sheer  sim- 
plicity of  her  lover.  Compton,  tliongh  dressed  somewhat 
extravagantly,  was  admirable  as  Modus,  and  played  the  part 
as  the  author  himself  would  have  loved  to  witness.  The 
characteri  nevertheless,  is  sufficiently  preposterous,  and  exhi- 
bits in  Mr.  Sheridan  Knowles  that  idiosyncracy  of  portraiture 
in  which  he  delights  to  indulge  when  he  draws  gentle  maiders 
as  wooing  and  winning  the  merest  simpletons.  It  is  no  com- 
plemeyit  to  the  fair  sex  to  make  them  fall  in  love  with  fools, 
but  when  to  the  falling  in  love  there  is  added  an  exhibition  of 
importunate  courtship  on  their  part,  our  feelings  are  forcibly 
constrained  from  all  sympathy  with  them,  however  vivjdly 
and  dramatically  their  characters  may  be  delineated.    It  is 

n  excuse  for  an  author  that  it  is  nature  who  errs.  Woman, 
le  higher  walks  of  comedy,  should  be  represented  as  she 
ought  to  be,  not  as  she  is,  or  else  the  moral  is  pointless. 
Nothing  could  be  better  than  Mr.Vining's  Lord  Tinsel.  Jn  all  the 
extravagance  of  the  part,  he  never  once  overstept  the  bounds 
of  decorum.  Of  Mr.  J.  Webster's  Sir  Thomas  Clifford,  as  we 
cannot  offer  one  word  in  praise,  we  shall  say  nothing.  The 
part  is  difficult,  and  demands  from  the  actor  requisites  bodily 
and  mental,  to  which  Mr.  J.  Webster  can  lay  no  claim.  The 
small  part  of  Fathom  was  very  well  played  by  Mr.  Cowell. 
Mrs.  Butler  was  called  for  at  the  end,  and  was  received  with 
the  most  vociferous  cheers ;  and  subsequently  Mr.  Creswick 
and  Mr.  Compton  were  summoned,  both  of  whom  gained 
hearty  applause.  The  scenery  and  dresses  were  excellent. 
Taking  it  altogether.  The  Hunchback  was  as  well  performed 
as  any  piece  that  has  been  produced  at  the  Princess's. 

Mrs.  Butler  made  her  second  appearance  in  Romeo  and 
Juliet  on  Wednesday.  The  character  of  Juliet  requires  still 
greater  variety  of  qualification  in  the  actress  than  that  of  the 
heroine  in  The  Hunchback,  It  further  demands  more  inten- 
sity of  passion,  and  a  loftier  poetical  conception.  In  the  passion 
and  the  conception  Mrs.  Butler  rose  with  her  author,  but  she 
failed  to  vivify  those  delicate  and  almost  evanescent  traits 
which  distinguish  Juliet  from  all  other  dramatic  heroines.  In 
the  earlier  scenes  of  the  play,  the  actress  did  not  fulfil  our 
highest  expectations.  She  was  too  formal  and  studied  in  her 
playful  scenes,  and  the  same  faults  of  attitudinizing  we  have 
noticed  in  her  Julia,  were  still  more  observable  in  Juliet. 
Mrs*  Butler  can  by  no  means  assume  the  girl  with  ease  and 
grace,  and  her  looks  and  bearing  no  longer  possess  that  juve* 
nllity  which  threw  such  a  halo  round  her  performance  when 


she  first  appeared  on  the  stage.  Redundancy  of  action 
another  fault  in  the  actress  which  we  did  not  remark  on  Monda^ 
night.  This  was  noticeable  in  the  balcony  scene,  where  every 
metaphor  and  simile  was  illustrated  by  some  motion  of  the 
hand,  or  some  conventional  posture,  which  reminded  us  of  our 
own  declamatory  fiourishes  in  our  school-boy  performances. 
Was  the  heaven  mentioned — Mrs.  Butier  pointed  significantiy 
upwards :  was  her  love  alluded  to-^a  deep  pressure  on  the 
heart  conveyed  the  sentiment :  was  fear  or  doubt  hinted  at — 
a  deliberate  shake  of  the  head  elucidated  the  feeling.  All 
told  too  plainly  that  the  actress  imbibed  no  sympathy  from  the 
scene,  and  thought  more  of  exhibiting  her  art,  than  of  follow- 
ing the  dictates  of  nature.  We  have  summed  up  all  the  faults 
of  Mrs.  Butler's  Juliet,  we  shall  now  notice  its  excellencies, 
which  were  indeed  of  the  highest  order.  From  the  moment 
when  Juliet  hears  of  Tybalt's  death  to  the  closing  scene  of  the 
tragedy,  Mrs.  Butler  was  grand  and  impressive.  The  speech 
to  the  Friar,  **  Oh,  bid  me  leap,  rather  than  marry  Paris,"  was 
given  with  fine  judgment  and  energy;  and  the  scene  where 
she  takes  the  potion  was  wrought  with  a  power  and  reality 
scarcely  furpassed  in  our  memory.  Still  finer  was  her 
scene — 9  previous  one — with  the  Nurse,  when  the  latter 
recommends  her  to  marry  Paris,  now  that  Romeo  was  banished 
for  ever  from  Verona.  It  was  exquisitely  beautiful  and 
trut^ul  in  the  extreme.  Mrs.  Butier's  look  of  mingled  horror 
at  the  request,  and  despair  at  being  deserted  by  her  last  main- 
sti^y  in  her  earthly  affliction,  was  depictured  with  a  fearful 
reality,  to  which  no  words  can  do  adequate  justice.  Here  the 
great  artist  stood  pre-eminent,  and  asserted  her  supremacy 
in  the  grander  walks  of  tragedy.  The  death  scene  formed  a 
splendid  climax  to  the  performance.  Our  impression ,  upon 
witnessing  Mrs.  Butler  in  the  two  characters  in  which  she  has 
now  appeared,  is,  that  the  actress  has  decidedly  mistaken  her 
forte,  and  that  her  true  power  lies  in  the  sterner  and  loftier 
ranges  of  the  tragic  drama,  and  not  in  the  softer  and  more 
juvenile.  She  has  yet  to  be  seen  in  parts  which  will  bring 
out  her  genius  in  its  real  force.  In  Lady  Macbeth,  Constance, 
Queen  Katherine,  and  characters  of  that  kind,  Mrs.  Butier* 
we  have  liltle  doubt,  would,  from  sympathy  and  physical 
capability,  create  an  immense  sensation  in  the  dramatic  world. 
The  fair  actress,  should  she  read  our  humble,  but  honest 
criticism,  may  not  receive  our  notice  in  a  complimentary  light, 
but  we  are  assured  we  speak  the  wholesome  truth ;  and  we  feel 
confident,  if  Mrs.  Butler  would  follow  our  suggestion,  she 
would  have  to  thank  us,  lowly  be  it  spoken,  for  our  candour 
and  our  judgment.  The  other  characters  in  the  play  were 
indifferently  supported.  Shakspere  seemed  a  little  above  the 
power  of  the  company.  Mr.  Creswick,  who  made  a  favourable 
impression  Iq  the  earlier  scenes  of  Romeo,  by  exhibiting  taste 
and  judgment,  nullified  the  feeling  entirely  by  his  injudicious 
ranting  in  the  more  passionate  parts  of  the  character.  His 
death  was  a  complete  burlesque.  Mr.  J.  Vining,  as  Mercutio, 
was  light  and  buoyant  enough,  but  failed  to  delineate  the 
petulance  and  fire  appertaining  to  the  part.  Of  the  remainder 
of  the  characters,  nothing  occurs  to  us  to  speak.  Mrs.  Butler 
received  repeated  bursts  of  applause  during  the  performance, 
and,  as  a  matter  of  course,  was  called  for  at  the  end,  amid 
great  acclamations.  The  house  was  full  and  fashionably 
attended.  A  more  elegant  or  discriminating  audience  we  have 
seldom  observed  at  any  theatre.  The  play  of  Romeo  and  Juliet 
was  listened  to  throughout  in  breathless  attention.  The  last 
scene,  thanks  to  the  good  example  set  forth  by  Miss  Cushman 
at  the  Haymarket,  and  the  applause  that  ensued  thereupon, 
was  restored  in  all  its  purity  and  simplicity  from  the  text  of 
Shakspere.  .  Digitized  by  ViOOyitT 


{86 


THE  MUSICAL  WORLD. 


FftBMCH  B1.4T& — Of  all  the  pieces  ia  the  repertoire  of 
Mademoiselle  Rose  Ch6ri,  none  has  pleased  us  so  much  as 
La  Belle  et  La  Bite.  A  piece  that  hangs  with  her  cannot  be 
a  good  piece,  with  the  proviso,  of  course*  that  the  part  be 
a^pted  to  her  powers ;  but  it  does  not  at  all  follow,  because 
sbe  is  aucoessfttl  and  enthusiastically  applauded,  that  the  piece 
is  good.  In  the  present  case,  the  authors,  Messrs.  Bayard 
and  Varner,  our  fVench  friends,  invariably  hunt  in  couples, 
have  admirably  understood  the  forte  of  Mademoiselle  Rose 
Cb^rit  which  Hes  more  in  the  gentle,  unpretending,  placi(^ 
display  of  those  softer  emotions  of  the  soul,  which  chanq 
and  sooth  the  heart,  whilst  they  elevate  the  mind  and  impart 
to  it  a  feeling  of  kind  and  genial  benevolence,  than  in  violent 
action  or  forced  and  exaggerated  sentiments.  They  have 
been  more  fortunate  than  M.  Scribe  in  this  respect,  especially 
in  his  Mm;  or^  Le  Magnitisme,  having  sought  for  no 
complicated  situation,  no  clap-trap,  or  quackery,  but  have 
applied  themselves  to  one  of  those  ordinary,  every-day  oc- 
currences, which  bring  forth,  in  broad  relief,  the  purest  and 
mostsacred  feelings  of  our  nature.  Fraternal  love,  the  sacrifice  of 
a  sister,  who,  to  save  her  brother  from  dishonour,  consents  to 
live  under  the  roof  of  a  violent  and  surly  misanthropist,  and 
by  her  gentleness  and  modesty  so  works  upon  his  rude  and 
nigged  temper  as  entirely  to  change  his  nature,  and  meta- 
aaoiphoae  the  bear  into  a  being  assimilated  to  herself.  Such 
ia  the  theme  chosen  by  the  authors,  worked  out  into  a  neat 
and  clever  two  act  comedy-vaudeville,  and  illustrated  by 
Mademoiselle  Rose  Ch6ri  and  Monsieur  Langeval,  and,  we 
me  may  add,  powerfully  assisted  in  the  details  by  MdUes. 
Daverger  and  Leyder,  and  Messrs.  Dum^ry  and  Rhozevil. 
Mademoiselle  Rose  Ch6ri  was  listened  to  with  breathless 
attention.  From  the  moment  she  appeared  to  beg  for  her 
brother^  pardon,  she  gained  the  same  favour  with  the 
audience  as  with  Faucheron^  the  bile,  when  he  begins  to  dis- 
tinguish the  exquisitely  sweet  tones  of  her  voice  and  the 
beseeching  language  of  her  eyes,  rudely  ordering  her  sisters 
to  stand  aside,  and  commanding  her  to  continue  to  speak. 
Even  at  this  early  stage  her  influence  insensibly  envelopes 
him,  he  is  charmed  by  the  witchery  of  her  language  and  the 
transformation  commences.  Here  he  stipulates  that  she  shall 
remain  with  him  for  one  month,  and  when  to  save  her  brother 
the  falls  on  her  knees  before  him,  and  utters  the  words,  *'  Je 
resief''  the  house  fully  appreciated  the  pathos  and  heroic 
resignation  which  she  conveyed  in  these  few  words,  and  the 
curtain  fell  on  the  first  act  amidst  a  thunder  of  applause — to 
rise  again,  after  a  few  seconds,  for  her  to  receive  the  congra- 
tulations and  cheers  of  a  delighted  and  grateful  public.  The 
second  act  presents  Vaucheron  as  an  altered  man.  By  degrees 
she  has  induced  him  to  confer  benefits  where  he  had  intended 
to  use  violence  and  contumely,  persuading  him  so  gently  and 
so  artlessly,  that  the  form  is  merely  changed,  although  the 
intentions  are  the  same,  that  we  now  feel  assured  she  will  be 
quite  successful.  His  name  formerly  hated  is  now  blessed, 
but  tha  month  has  expired  and  she  is  about  to  leave  him ; 
but,  on  finding  that  her  former  lover  had  evinced  suspicions 
of  her  conduct,  she  throws  him  off  as  unworthy  of  her  and 
gives  her  hand  and  heart  to  the  misanthropist.  This  scene 
was  exceedingly  well  played  by  M.  Langeval  all  through;  his 
mute  sorrow  at  the  prospect  of  the  solitude  which  awaited 
him,  his  passionate  declaration  of  love  and  silent  anguish  at 
her  refusal,  and  his  speechless  joy  and  gratitude  when  she 
alters  her  mind,  were  faithfully  rendered.  Decidedly,  we 
have  not  seen  this  gentleman  in  any  piece  in  which  we  like 
him  so  well,  M.  Dumery  was  very  good  as  an  oily-tongued 
flatterer,  and  M.  Rhozevil,  as  the  lover,  was  eflicient  and  did 


his  part  with  good  taste.  Mdlle.  'Duverger  deserves  a  word 
of  praise  to  herself,  she  is  decidedly  pretty  and  piquarUet 
and  earned  applause  in  the  small  part  entrusted  to  her. 
La  Mere  de  Families  although  not  possessing  the  attractions 
of  the  piece  we  have  just  mentioned,  is  written  in  a  kindly 
spirit,  and  met  with  well  deserved  success.  In  this  play 
Mademoiselle  Rose  Ch6ri  plays  the  part  of  an  elder  sister,  to 
whom  her  mother  on  her  death-bed  has  entrusted  the  care  of 
her  brothers  and  sisters.  This  she  does  most  efficaciqusly, 
immolating  her  own  afifectiona  to  unite  her  sister  to  the  mw 
beloved  by  herself,  and  rescuing  her  brother  from  bad  coni- 
pany,  and  elevating  him  to  her  own  level.  The  solicitude  of 
the  sister,  thus  invested  with  maternal  duties,  was  admirably 
pourtrayed  by  this  great  actress.  Every  sentiment,  every 
word  of  advice  or  reproof,  of  praise  or  condemnation,  idl  cme 
from  the  heart,  and  struck  a  corresponding  chord  in  tlie 
bosoms  of  all  who  listened  to  her.  Mademoiselle  Valine  played 
the  part  of  Th6'ise  in  her  own  graceful  and  unassuming  Qtyle, 
and  pleased  us  much,  especially  in  the  scene  where  she  relates 
her  love  to  her  sister.  M.  Dumery  was  capital  as  the  wild,  rol- 
licking, Parisian  workman ;  his  collection  of  songs,  if  not  correct, 
was  at  any  rate  fluently  rattled  off;  and  his  idea  of  gobg 
to  Algiers  and  catching  Abdel  Kader,  with  a  new  triumphant 
march,  in  the  style  of  Spontini,  made  the  house  ring  with 
laughter.  On  Wednesday  Mademoiselle  Rose  Ch6ri  took  her 
benefit,  which  we  have  no  doubt  fully  answered  her  expecta- 
tions, the  house  being  crowded  in  eveiy  p^rt.  The  only 
distinguishing  feature  was  the  part  of  Jeanneton,  in  the  piece 
of  Jeanne  et  Jeanneton^  which,  like  everything  she  does,  was 
perfection.  M.  Cartigny  also  created  a  favourable  impression 
in  a  part  hitherto  filled  by  M.  Lafont.  He  did  not  at  all 
suffer  by  the  comparison  ;*  this  is  saying  a  great  deal.  His 
Galuchel  was  a  rich  piece  of  comic  acting.  On  Friday 
Mademoiselle  Rose  Ch6ri  made  her  last  courtesy  for  this 
season.     Alas !  that  such  a  favourite  should  ever  leave  us. 

ROYAL  ITALIAN   OPERA. 

On  Saturday  the  perfon^ances  commenced  with  Rossini's 
Italiana  in  Algeria  an  opera,  seldomer  performed  than  its 
merits  (weighed  in  comparison  with  more  popular  and  oftener 
heard  works)  demand.  The  Italiana  is  one  of  Rossini's 
earliest  works.  In  style  it  closely  resembles  the  operas  of 
Cimarosa  and  the  writers  of  his  day,  but  it  has  not  tne  con- 
tinuous inspiration  which  characterizes  the  best  productions 
of  the  composer  of  11  Matrimonio.  The  chief  interest  of  the 
opera  was  concentered  in  the  fact  qf  its  introducing  a  third 
section  of  the  Royal  Italian  Opera  company — viz.,  the  pure 
buffo.  The  debutantes  were  Signer  Marini,  a  basso  profundo, 
and  Signer  Rovere,  a  baritone  of  a  peculiar  kind.  We  are 
necessitated  to  be  brief  on  this  occasion,  but  we  promise  our 
readers  a  detailed  account  of  L'ltaliana  on  its  next  per- 
formance. Marini  has  a  voice  of  exquisite  quality  and  is  a 
manly  straight- forward  actor ;  but  he  laboured  under  such 
evident  indisposition  that  it  would  not  be  fair  to  pronounce 
an  opinion  of  his  merits  until  we  have  heard  him  a  second 
time.  Rovere  is  undoubtedly  a  man  of  talent,  and  sings 
more  like  a  musician  than  any  buffo  of  his  class  that  we  have 
heard.  But  his  humour  is,  as  yet,  unintelligible  to  the 
English  auditory,  who  are  not  sufiiciently  up  to  its 
peculiarities  to  appreciate  it.  But  those  capable  of  judging 
and  there  were  many  in  the  theatre,  declare  that  he  is  one 
of  the  greatest  artists  of  his  class — and  wc  are  bound  to 
believe  them.  We  shall,  nevertheless,  take  another  occa- 
tion  to  pronounce  a  more  decided  opinion.  Alboni,  who.  sang 
the  music  originally  executed  j^g^|»e(f?)^^'fe^C^f^ 


THE  MUSICAL  WORLD. 


nag  peifecdon  in  all  she  liad  to  do ;  and  Salvia  io  the 
tenor  part,  waa  not  a  whit  less  commendable.  A 
MdJle.  Angelini  made  a  slight  sensation  in  one  of  the 
subordinate  parts — but  of  her  also  anon.  The  orchestra 
and  choral  were  irreproachable.  Alboni>  Salvi,  Rovere,  and 
Marini,  all  re-appeared  at  the  fall  of  the  curtain.  The  Queen 
and  Prince  Albert  were  present,  andthe  house  was  crowded  in 
every  part. 

On  Tuesday  night  the  Lucia  was!  repeated,  the  chief 
Isature  of  the  performance  being  Ronooni's  Enrico,  the  artist 
who  had  entirely  recovered  from  his  indisposition,  pro- 
ducing an  impression  upon  his  hearers  altogether  unexpected. 
Signor  Ronconi,  now  that  we  may  fairly  proffbr  our  opinions 
of  him,  is  a  very  superior  artist,  both  in  a  dramatic  and  vocal 
point  of  view.  His  voice  is  not  remarkable  Cor  sweetness  of 
tone,  or  roundness,  but  it  has  great  power  and  compass, 
unusually  great  for  a  barytone,  and  in  the  mezza  voce  it  is 
managed  with  exquisite  taste.  The  reputation  of  Ronconi  as 
a  declamatory  singer  has  long  stood  preeminent  on  the  con- 
tinent, and  from  this  decision  or  judgment  we  see  no  reason 
to  dissent,  his  singing  on  Tuesday  evening  fully  entitling  him 
to  the  place  of  honour  awarded  to  him.  He  introduced  the 
scena  with  Edgardo  in  the  last  act,  in  which  the  e£S^ctive 
dramatic  duet  for  tenor  and  bass  takes  place.  This  scena  has 
been  usually  omitted.  On  this  occasion  both  Salvi  and 
Ronconi  were  recalled  after  the  duet.  The  singing  on  both 
sides  was  very  fine.  Signor  Ronconi  was  received  throughout 
the  performance  with  great  applause,  and  had  to  answer  to 
several  recalls.  He  realized  a  veritable  triumph.  Madame 
Pcrtiani  appeared  labouring  und6r  a  slight  cold,  yet  sung  with 
her  usual  grace  and  finish,  eliciting  fi-equent  bursts  of  applause. 
Signor  Salvi  was  in  fine  voice,  and  rather  increased  our 
favourably  impression  on  his  first  appearance.  His  d^ath 
toeoa  was  beautifully  given,  his  singing  and  acting  both 
exhibiting  the  most  superior  taste  and  judgment.  The  house 
was  crammed  to  excess. 

On  Thursday  the  Puritani  was  produced  for  the  first  time 
this  season  with  a  cast  o^  characters  not  altogether  consonant 
to  the  Intention  of  the  management.  First  of  all  it  was 
announced  with  Grisi,  Mario,  Ronconi,  and  Tamburini  for 
the  principals.  Then  Ronconi  gave  way  to  Marini  in  Georgio  ; 
then  the  latter  was  taken  ill,  and  at  the  last  day,  Tamburini 
undertook  to  play  Georgio  at  a  moment's  notice,  and  Tagliafico, 
who  had  played  Sir  Richard  in  Paris,  assumed  Tamburini's 
part.  Arid  thus  the  Puritani  was  brought  out  on  Thursday. 
Certainly  the  chief  labor  and  responsibility  of  the  evening 
rested  on  Tamburini's  shoulders,  who  at  a  short  notice 
Tolunteered  to  perform  a  character  out  of  his  line,  and  which 
he  had  never  played  before.  But  it  would  appear  from  the 
performance  of  Thursday  night,  that  no  part  could  come  amiss 
to  the  great  artist,  or  that  no  restriction  of  time  could  thwart 
his  efforts,  for  his  assumption  of  Georgio  in  the  Puritani  was 
as  excellent  as  that  of  any  part  in  which  he  had  hitherto 
appeared.  The  manner  in  which  he  made  up  for  the  old  man 
was  admirable.  Indeed  so  well  was  he  disguised,  or  fashioned 
into  the  new  diaracter,  that  many  did  not  recognise  him  for 
some  time.  His  singing  throughout  the  opera  was  very  fine, 
aud  obtained  for  him  on  several  occasions  applause  and 
bzavis.  Signor  Tagliafico  played  Ricardo  with  taste  and 
judgment.  His  appearance  is  much  in  his  favor,  and  he 
treads  the  boards  with  perfect  ease.  His  voice  is  a  high 
barytone  without  much  power,  but  not  deficient  in  expres- 
sion. Grisi  was  heartily  welcomed  when  she  appeared.  He^ 
Elvira,  if  not  one  of  her  grandest^  is  certainly  one  of  her  most 
beautiiful  performances.     On  Thursday  night  she  sang  and 


acted  inimitably.  The  polaeca  was  given  with  all  ; 
exquisite  grace  and  finish  of  old,  and  the  *'  Qui  la  voce, 
was  warbled  and  thrilled  as  divinely  as  ev^r.  In  the  mac 
scene  she  appeared  greater  than  we  remember  to  have  seen 
her.  In  this  scene  Grisi's  acting  and  singing  is  far  beyond 
anything  we  have  seen  on  the  modern  stage.  Mario  was  in 
fine  voice,  and  appeared  to  great  advantage  as  the  elegact 
Cavalier:  His  Arturo  is  certainly  the  best  since  Rubini  has 
retired.  He  was  encored  in  ''  A  te  o  cara,"  which  he  sung 
most  beautifully,  and  also  in  the  great  scena  in  the  last  act, 
which  he  gave  in  such  a  manner  as  to  rouse  to  enthusiasm  the 
somewhat  frigid  audience  of  tlie  Royal  Italian  Opera.  More 
splendid  and  exquisitely  finished  singing  we  have  seldom 
heard.  The  four  artists  were  recalled  at  the  end,  and 
received  with  immense  applause.  The  beautiful  ballet.  La 
Reine  des  Fees,  still  continues  to  be  a  great  source  of  attraction. 
The  graceful  Dumilatre  yet  reigns  the  queen  of  the  fairies* 
and  surprises  and  delights  the  spectators  with  her  ethereal 
movements,  and  her  poses.  The  last  pas  of  this  delightful 
danseuse  is  one  of  those  rare  terpsichorean  feats  which  excites 
by  its  novelty  as  well  as  lis  beauty.  The  manner  in  which 
Dumilatre  bounds  over  the  heads  of  her  sister  fairies  is  asto- 
nishing for  its  elegance,  lightness,  rapidity,  and  accuracy.  To 
night  a  new  change  comes  o'er  the  spirit  of  the  Ballet  at  the 
Royal  Italian  Opera.  Fanny  Elssler  is  to  make  her  first 
appearance  in  a  new  divertissement.  To  the  gr^at  Fanny 
we  shall  devote  an  entire  column  or  two  next  week. 


HER   IMAJESTY'S  THEATRE. 

The  approaching  debut  of  Mdlle  Jenny  Lindi  who  has 
been  announced  for  Tuesday  evening  next,  makes  all 
other  doings  at  the  Theatre  for  the  present  a  matter  of 
secondary  interest.  Our  remarks  this  week,  will  therefore 
be  sufficiently  brief.  We  are,  moreover,  justified  in  this  by 
the  fact  that  there  has  been  little  or  no  novelty  since  our  last. 
On  Saturday  the  perforroanoea  included  LElisir  HAmw^  a 
Divertissement  for  allthe  principal  dancers,  and  the  first  tableau 
from  Lalla  Roohh,  On  Tuesday  /  due  Foscari,  a  Diver^isse* 
menty  a  selection  from  La  Favorita,  with  Orilhia.  On 
Thursday,  /  Puritani,  a  Divertissement^  a  tableau  from  Lalla 
Roohhy  and  Coralia.  In  Puritani,  Gardoni  having  re- 
covered from  his  indisposition,  sang  with  all  his  power  and 
sweetness,  and  added  to  his  already  brilliant  reputation,  in 
the  ballet  department,  a  pas  from  the  forgotten  ballet  of 
Rosida,  for  Cerito,  St.  Leon,  &c.— a  dance,  called  La 
Manola,  for  Cerito,  and  a  new  pas  de  deux  for  Rosati  and 
Marie  Taglioni,  were  the  novelties  and  the  attractions.  We 
shall  speak  of  these  matters  more  at  length  in  our  next. 

We  omitted  to  mention  that  the  quality  of  Balfe's  band  was 
tried  one  evening  last  week,  by  a  performance  of  the  overture 
to  Der  Fteischutz,  This  was  at  Balfe's  instigation,  and  the 
result  was  honourable,  both  to  himself  and  his  orchestra.  It 
was  a  very  fine  performance,  and  the  spirited  and  intelligent 
manner  in  which  Balfe  directed  it,  proved  how  thoroughly  he 
was  acquainted  with  the  score,  and  how  deeply  he  felt  its 
beauties. 


IMUSIC  AT  IMANCHESTER,  APRIL  M. 

As  the  season  in  London  advances,  and  musical  celebrities  are  being 
weekly  announced  as  having  arrived  from  the  Continent  (until  London 
is  so  full  as  it  surely  never  was  before  of  musical  talent),  we  in  the 
provinces  are  gradually  closing  our  season.  Even  those  quiet  re-unioos, 
the  Glee  Clubs  and  the  Madrigal  Society,  are  having  their  final  meetings 
and  ladies'  nights.  1'he  concluding  concert  for  the  season  of  the  latter 
society  was  duly  recorded  in  last  week's  Musical  World.  On  Thursday 
the  28nd,  the  Gentlemen's  Glee  Club,  had  iU  dress  concert,  with,  which 
the  season  terminates.    That  of  the  Chorlton-on«Medlock  chib  lakes 


m 


THE  MUSICAL  WORLD. 


of 
Solo 


«ce  this  eTening.  The  Hargreaves  Society  have  one  more  concert  to 
A.ome  off  in  May,  a  miaceUaneoua  one ;  and  then  until  September  there 
!•  a  barren  Interregnum,  as  to  music  meetings,  unless  it  be  that  Jollien 
should  appear  like  a  meteor  to  dazzle  us  with  some  of  his  matchless  solo 
players.  The  scheme  of  the  Gentlemen's  Glee  Club  being  worthy  of 
recording  is  here  subjoined  :— 

First  Part.— Choms,  **  Now  to  the  ibrest,"  Sir  JET.  BI«Aoj>.    Oanon,  «  Within 
this  pantinir  breast,*'  Beeikoven.  Glee,  •*  Hohenlinden."  T.  Coek,  Trio  «  Night's 
lingering  shades  are  wasting,"  Dr,  Spohr,    Madrigal,  "  Noir  is  the  month     ' 
Maying,^'  T.  Mtle^,  1505.    Qaartet,  ^Uh  I  hills,  oh  1  rsles,"  MtndeUt 
and  Clioms, "  My  task  is  ended,"  Bat/e, 

Part  Second.— Cbonis,  '<From  yonder  dark  forest  what  horseman  adTances?" 
Webtr,  Glee.  "  In  this  fair  vale,"  Wm,  BonUy,  M.  B,  Glee,  **  Haste,  my  boy, 
the  goblet  bnng,"  Dr,  SmUk,  of  Dablin.  Solo  and  Choms,  "  Metbinks  I  hear/' 
Dr.lDftek.  lYio,  "Oh,  listen  I  tis  the  nightingale,"  Sir  H.  IL  Bitkop.  Glee, 
"  Gold  is  Cadwailo's  tongae/'  HartUff.    Chorus  and  Sestet,  "  Hail,  happy  day  I" 

There  was  a  good  attendance  of  ladies  and  gentlemen,  but  the  club 
room  was  not  so  crowded  as  we  have  seen  it  on  some  former  occasions. 
Mrs.  Sunderland,  who  was  to  have  appeared,  but  was  in  Scotland,  we 
were  told,  so  her  place  was  supplied  by  Miss  Kenneth,  the  other  singers 
being  the  usual  vocalists  at  the  monthly  meetings  of  the  club.  Bee- 
thoven's canoii  requires  nice  singing,  and  is  very  seldom  heard  to  advan- 
tage out  of  its  place  in  the  opera.  The  same  may  be  said  of  the  closing 
piece,  the  glorious  finale  to  Fidelio.  which,  in  a  Glee  Club  concert,  loses 
so  much  in  not  having  the  splendid  orchestral  accompaniments.  The 
glees  selected  were  admirable  specimens  of  their  varioun  schools,  and 
were  well  sung.  Still  the  concert  went  off  heavily,  with  two  exceptions 
— Morley's  ever  popular  Madrigal,  and  Balfe's  scena  and  chorus  from 
the  JSnchanireu,  both  of  which  were  encored.  There  is  a  dress  concert 
announced  for  Friday  next,  at  the  Concert  Hall,  when  some  of  the 
recent  German  importations  will  be  heard  here  for  the  first  time ;  viz.— 
vocalists,  Madame  Jenny  Lutser,  Madame  and  Herr  Knispel,  and  Herr 
Holzel ;  solo  violinists,  Herr  Hellmesberger,  Herr  G.  Hellroesbcrger. 
"Who  they -are,  or  what  their  fame  or  talent,  we  know  not.  Query— Are 
wc  to  have  a  series  of  Jenny's,  now  that  Jenny  Lind  has  come  at  last  to 
this  country  T  as  when  Madame  Anna  Thillon  made  such  a  noise  in  the 
world,  it  afterwards  brought  us  a  Madame  Anna  Bishop.  By  the  way,  we 
should  much  like  to  see  and  hear  the  last  named  lady  on  the  boards  of  our 
Theatre  Royal.  The  production  of  operas  last  summer  was  not  very 
successful — Ads  and  Galatea^  which  was  splendidly  got  up,  and  fairly 
cast  with  Leffler  as  Polypheme,  and  Miss  Isaacs  as  Acis,  being  a  dead 
failure.  The  proprietors  did  better  afterwards  with  Miss  Ralnforth, 
Allen,  and  Stretton,  in  Maritana ;  and  with  Thillon — the  much  and  justly- 
praised  Thillon,  in  the  Crown  Diamonds:  but  whether  he  will  venture 
upon  operas  again  remains  to  be  seen ;  else,  as  we  said  before,  we  should 
like  to  see  the  Maid  of  Artois  got  up  and  Madame  Bishop  in  it,  in  order 
that  the  sceptics  in  Manchester  might  have  an  opportunity  of  judging  of 
her  talents  both  vocal  and  instrumental.  However,  le  bon  temps  viendra. 
Meantime  the  managers  are  reaping  a  rich  harvest  this  week  with 
Macready— -crowded  houses  every  night. 

MR.    BUNN   AND    DRURY-LANE. 

The  following  letter  appeared  yesterday  in  the  Morning 
Chronicle.  We  have  given  it  insertion  in  our  leading  columns, 
as  we  cannot  separate  matters  operatic  and  musical  from  the 
management  of  Drury-lane,  under  Mr.  Bunn  :— 

"  SiR« — ^The  committee  of  the  Theatre  Royal  Drury-Lane  had  done  me 
the  honour  of  accepting  me  as  their  tenant  on  a  renewed  lease ;  but 
having  been  subsequently  spprized  that  I  stood  in  the  way  of  overtures 
from  others  difi'ering  from  me  in  their  views  of  management,  I  have 
solicited  them  to  open  their  property  to  competition,  assumg  them  of  my 
readiness  to  renew  uur  negotiations  when  the  CQurse  of  such  a  step  shall 
be  known.  **  I  have  the  honour  to  be  your  very  faithful  servant, 
"  London,  AprU  27, 1817."  "  A.  Bunn. 

We  are  naturally  anxious  that  the  present  management 
should  continue  to  rule  over  Drury-Lane,  as  our  national 
opera  is  mainly  dependent  thereon.  Mr.  Bunn  is  not  the  first 
lessee  of  the  theatre  who  has  been  treated  by  the  committee 
most  scurvily. 

GLASGOW  IMUSIGAL  FESTIVAL. 

On  Wednesday  evening  last  the  Musical  Association,  under  distinguished 
patronage,  gave  their  fourtli  grand  annual  concert  in  the  City  Hall ;  and 
whether  as  respects  the  pieces  that  were  selected  for  the  occasion,  or  the 
effective  way  in  which  these  were  interpreted  by  the  Association  them- 
selves, or  by  the  distinguished  vocalists  from  a  distance,  who  were 
engaged  to  appear,  we  have  no  hesitation  in  sayiogp  the  performance 
was,  upon  the  whole,  the  best  they  have  yet  given. 


The  programme  comprised  Handel's  oratorio  of  "  Judss  Maccabsos," 
and  selections  from  the  "  Messiah ;"  from  the  Dettingen  Te  Deum,  and 
the  "  Creation."  The  chorus  was  very  effective.  The  fugues  were  all 
taken  up  with  distinctness  and  precision ;  and  in  the  tutti  passages,  which 
were  given  with  remarkable  spirit  and  firmness,  the  effect  was  overpower- 
ingly  grand.  Of  the  solos  it  would  be  difficult  to  particularise  any  of 
them  as  having  been  better  rendered  than  the  rest.  Mrs.  Sunderland 
f soprano)  gave  most  effectively  the  air,  "O  Liberty  1  thou  choicest 
treasure,"  from  the  Jwlas  Maccabeus,  and  the  air  from  Hsydn's 
Creation,  •*  With  verdure  clad."  The  sweetness  and  rich  mellowness  of 
her  voice  were  brought  out  in  the  air,  "From  mighty  Kings."  Miss 
Whitnall,  of  Liverpool  (contralto),  gave,  to  great  advanUge,  the  air, 
"  Father  of  Heaven ;"  and  in  the  duel,  "  Oh  I  lovely  Peace,"  with  Mrs. 
Sunderland,  both  voices  blended  most  charmingly,  and  produced  a 
decided  impression  upon  the  audience.  Mr.  Peaisall,  of  the  Ancient 
Concerts  and  Lichfield  Cathedrsl,  who  has  a  beautiful  tenor  voice 
of  great  compass,  made  his  first  appearance  in  this  city,  and  made  a 
very  favourable  impression :  he  gave  Haydn's  air,  "  In  native  worth," 
exquisitely.  His  "  Sound  no  alarm,"  from  the  Judas  Maccabeus,  was 
excellent.  We  hope  to  have  him  here  again.  Signor  Serra  (basso), 
and  Mr.  Reeves  (tenor)  also  executed  creditably  the  pieces  which  were 
entrusted  to  them.  Herr  Dreschler,  second  violineellist,  and  chamber 
musician  to  his  Highness  the  Duke  of  Anhalt-Dessan,  gave  a  solo  on  the 
violoncello — he  displayed  great  command  of  the  instrument,  but  lacks  the 
tone  of  Lindley. 

We  were  glad  to  see  the  hall  so  well  filled  in  every  part,  and  hope 
that  after  paying  the  expenses,  there  will  be  a  large  surplus  left  for  the 
public  charities. 


ORIGINAL   CORRESPONDENCE. 

JULLIEN  AT  DUBLIN. 
To  the  EdUor  of  "  Ths  Musical  World:' 
Sir,— It  appears  to  be  the  practice  of  some  of  the  public  joumals,  to 
take  every  opportunity  of  atUcking  M.  Jullien,  and  by  erroneous  and 
exaggerated  statements,  endeavour  to  destroy  the  popularity  he  has  so 
successfully  acquired.  For  instance,  what  could  be  more  unjust  than 
the  paragraph,  which  appeared  in  the  Dublin  papers,  relative  to  the 
disturbance  that  took  place  in  the  Music  Hall,  on  the  second  night  of 
M.  Jullien's  Concerts?  No  doubt  can  exist  as  to  the  intention  of  tlie 
writer !  What  could  it  be  but  to  traduce  M.  Jullien  in  the  estimation  of 
the  public  T  fortunately  his  character  is  too  well  established  to  be  under- 
mined  by  such  weak  and  futile  attempU.  From  the  liberal  patronage 
the  public  have  at  all  tinaes  bestowed  on  the  enterprises  of  M.  Jullien, 
clearly  proves  he  must  be  a  great  and  deserved  lavourite,  and  his 
character,  so  well  known  for  honour  and  integrity,  has  gained  him  the 
respect  and  esteem  of  all  those  artistoit^  who  have  been  connected  with 
him  during  his  professional  career.  The  article,  before  referred  to  in  the 
Dublin  paper,  is  an  excellent  specimen  of  absurdity  and  incongruity,  and 
might,  from  these  causes,  have  passed  harmlessly,  while  confined  to  Its 
own  limits :  but,  as  several  respectable  journals  have  inserted  in  their 
columns,  (no  doubt  with  a  belief  in  its  authenticity),  it  is  n9w  high  time 
the  public  should  be  no  longer  misled,  but  made  acquainted  with  the 
true  sUtement.  As  the  old  adage  goes, "  a  story  never  loses  by  telling." 
This  paragraph  has  received  copious  additions  and  embellishments  which, 
if  not  contradicted,  would  tend  greatly  to  injure  M.  Jullien;  and,  by 
doing  so,  must  seriously  affect  a  large  portion  of  the  musical  profession, 
who  are  engaged  by  him  for  his  concerts  in  town  and  country,  as  M. 
Jullien,  from  a  consciousness  of  his  own  integrity,  has  obstinately 
refused  (though  urged  by  his  friends),  to  vindicate  himself  against  these 
untruths.  The  gentlemen  of  the  orchestra,  on  that  occasion,  feel  it  in- 
cumbent on  them,  as  a  duty  they  owe  M.  Jullien,  to  come  forward  and 
exonerate  him,  by  contradicting  the  statements  of  these  would-be  critics, 
who  shield  themselves  behind  their  own  privileges.  The  authenticity  of 
the  following  statement  is  vouched  by  the  undersigned  gentlemen . — ^The 
concerts  were  held  in  the  Music  Hall,  and  to  judge  from  the  numbers 
there  assembled,  M.  Jullien  had  not  decreased  in  public  favour.  Ail 
appeared  on  the  tiptoe  of  expectation  for  the  appearance  of  the  lAon  of 
the  evening,  Herr  Piscbek,  whose  performance  elicited  the  most  rap- 
turous applause..  On  the  second  night's  performance,  after  his  singing 
two  more  songs  than  he  was  advertised  for,  another  encore  ("The 
Standard  Bearer,")  was  most  vociferously  demanded.  On  his  leaving 
the  orchestra,  after  singing  the  above  song,  M.  Jullien  hastened  to  inform 
him,  of  the  wish  expresaed  by  the  public  for  a  repetition,  and  urged  him, 
if  not  too  much  fatigued,  to  comply  with  their  request.  "  Herr  Pischek 
assured  him  of  his  utter  inability  to  sing  again,  as  he  had  exerted  himself 
very  much  and  had  been  suffering  all  the  evening  from  severe  indisposi. 
tion,"  (the  effects  of  the  voyage)  and  said.  *'  He  felt  most  anxious  to 
return  to  his  hotel,  requiring  rest  to  recruit  himself  for  the  next  day,* 
when  he  had  to  sing  at  two  concerU,  a  "fjfgffff  g^f^yHoPO^J'^iC 


THE  MUSICAL  WORLD. 


289 


After  thia  explanation,  M.  Jullien  returned  to  the  audience  to  solicit  their 
kind  indalgence,  but  was  unable  to  obtain  a  hearing.    He  then  appealed 
to  them  by  dumb  show,  to  express  Herr  Pischek  was  ill  and  required 
rest;  but,  all  of  no  avail,  they  were  inexorable.    M.  Jullien  then  con- 
tinued the  concert  trusting  the  audience  would  be  pacified.    The  Olf^a 
valse  was  played  without  a  note  of  the  music  being  heard — it  was  a  trial 
— Discord  vertui  Harmony,  in  which  the  former  succeeded,  though 
trumpets  and  drums  were  played,  forlisnmo,  thej  were  unabled  to  be 
heard  through  the  din  of  discord,  yells,  and  noises.    In  such  a  state  of 
things  it  was  impossible  the  concert  could  proceed,  so  M.  Jullien,  wisely, 
desisted ;  this  appears  to  have  been  the  signal  for  a  preconcerted  attack 
from  several  persons,  who  had  been  noticed  during  the  evening,  express- 
ing (teithout  cau$ej  symptoms  of  disapprobation.    Numbers  now  rushed 
on  the  scaffold  and  in  the  scuffle  music-stands  were  broken,  a  mirror 
shared  the  same  fate,  all  was  confusion ;  in  fine,  "  a  scene  of  disgraceful 
tumult."    The  gentlemen  of  the  orchestra  were  obliged  to  make  a  hasty 
retreat  to  save  themselves  and  their  instruments  from  the  missiles 
thrown  from  several  parts  of  the  house.    The  respectable  portion  of 
the  audience  were  fast  quitting  the  Hall,  evidently  alarmed  and  disgusted 
with  the  few  disreputable  persons  who  were  the  originators  of  this  scene 
of  outrage ;  with  the  assistance  of  the  police  the  building  was  cleared 
and  thus  ended  this  eventful  day.    On  the  following  morning,  the  para- 
graph complained  of  appeared,  giving  a  most  exaggerated  and  untrue 
account;  amongst  other  things,  stating:  M.  Jullien  had  said,  that  the 
disturbance  of  the  previous  evening  was  caused  by  the  sixpennff  mob, 
and  that  Herr  Pischek  would  have  sung  tgain,  but  was  prevented  by  M. 
Jullien.    This  M.  Jullien  denies;  stating,  it  was  very  improbable  he 
should  speak  in  terms  of  disrespect  of  that  large  portion  of  the  public, 
to  whom  he  was  indebted  for  his  prosperity  and  success.    At  the  evening 
concert  Ihe  belligerents  mustered,  evidently  coming  prepared  to  a* tack, 
as  an  egg  was  thrown  into  the  orchestra,  which  narrowly  escaped  b^ouling 
Herr  Kcenlg.    On  M.  Jullien  appearing,  he  was  assailed  with  vehement 
hisses;  many  who  had  been  neutral  on  the  former  evening,  now  joined 
in  the  melee,  evidently  influenced  by  the  erroneous  statements  circulated. 
M.  Jullien  came  forward  amidst  cries  of  "  No.  no  I"  "  Hear  him,"  &c. 
He  endeavoured  to  speak,  but  was  interrupted  by  ''Give  us  a  song, 
Jullien  r*  from  one,  "  How  about  the  French  soup  1"  from  another.    At 
last  these  facetious  gentlemen  fairly  exhausted  themselves,  and  M.  Jullien. 
who  had  all  this  time  stood  with  the  patience  of  a  martyr,  smiling  good- 
humou redly  at  their  pleasant  sallies,  was  enabled  to  give  an  explanation. 
Alter  this,  quiet  waa  restored,  and  the  concert  proceeded,  though  a  few 
persons  endeavoured  to  irritate  the  audience  by  occasional  hissings  and 
noises.    After  Mr.  Richardson's  solo,  a  ointlbman  in  the  promenadCf 
("  not  one  of  the  sijpermif  mob  1")  threw  an  egg  at  M.  Jullien,  which 
struck  him  on  the  head ;  cries  of  "  Shame,  shame !"  and  "  Turn  him 
out!"  was  vociferated  from  all  parts  of  the  house,  he  was  immediately 
seized,  by  some  gentlemen  in  the  promenade,  who  would,  had  it  not 
been  for  the  police,  have  severely  chastised  him  on  the  spot ;  he  was 
Uken  to  the  SUtion  House,  where  he  renMdned  in  durance  vile,  until 
Monday  morning.      Several  gentlemen    now  surrounded    M.  Jullien, 
assuring  him  he  need  not  fear,  and  expressing  their  strong  disapprobation 
at  such  a  disgraceful  course  of  proceeding  :  they  advised  himi  for  the 
safety  of  the  ladies  present,  to  bring  the  concert  to  a  termination.   ^The 
cry,  then  was  for  Mackintosh  (the  renter  of  the  hall),  who  responded  to 
their  call,  and  after  their  confusing'  him  with  a  multitude  of  questions, 
they  appeared  to  be  satisfied  with  his  explanation,  for  gradually  the 
numbers  decreased  and  this  commotion  terminated,  fortunately,  without 
an  accident.  As  the  cause  of  the  disturbances  appears  to  have  originated, 
in  the  erroneous  impression  of  M.  Jullien  using  the  expression  sixpenny 
mob,  and  refusing  to  allow  Herr  Pischek  to  sing  again,  we  trust  that  we 
have  clearly  proved  how  guiltless  M.  Jullien  was  of  these  accusations, 
and  that  we  have  removed  any  impression  detrimental  to  him.    From  a 
knowledge,  sir,  that  your  valuable  columns  are  always  open  to  render 
justice  to  the  accused,  we,  the  undersigned,  humbly  trust,  that  the  ex- 
planation we  have  endeavoured  to  give,  will  receive  your  kind  indulgence, 
and  the  favour  of  insertion  in  your  most  excellent  paper.— We  remain, 
air,  your  obedient  servsnts. 


W.  H.WAri>, 
Chaklxs  Gbiisbach, 
B.  G.  Barnbtt, 
R.  C.  Hart, 
J.  Cox, 
T.W.  Davis, 
A.  WiimaBOTTOif, 
H.  S.  Waud, 

J.  HORTON, 

p.  Vamhautk. 


F.  HuoHBi, 

M.  ESBMBAUM, 

H.  Colli NBT, 

Jacquih, 

-^  sonnknbbro, 
W.  Striathbb, 

JOSBPH  RlCHAROiON, 

J.  T.  Jbnhinos, 
CoMRAo  Band, 
A.  C.  Rowland, 


G.  Thompson, 
Hirmann  Koenio, 
j.schmiot, 
—  Antoinb, 
R.  H.Wadb, 

J.  WlNTBRBOTTOM, 
G.  GiLBS, 

G.  Cub  ITT, 
Samubl  Chapman, 
Thomas  Baxbb. 


{To  the  Editor  of  '*  The  Muiical  Worldr) 
Mb.  Editor,— Allow  me  to  correct  a  mistake  of  your  intelligent  and 
very  flattering  correspondent  from  Coventry ;  who,  in  speaking  of  the 
beautiful  old  English  ballad  of  "  Barbara  Allen,"  which  Madame  Mac- 
farren  sang  at  the  concert  in  that  town  on  the  1 9th,  states :  that  "  to 
this  poetry  Macfarren,  the  composer,  has  written  music,  at  once,  simple 
tender,  and  melodious."  Now,  sir,  I  perfectly  agree  with  your  corres- 
pondent in  the  opinion  he  expresses  or  this  beautiful  national  melody; 
but,  as  I  do  not  wish  to  have  past  generationarise  up  in  judgment  against 
me,  I  feel  in  daty  bound,  to  disclaim  the  great  merit  of  having  written  it, 
and  to  assure  your  correspondent,  that  it  is  a  traditioiml  tune  and  the 
same  of  which  Goldsmith  writes  when  he  tells  how  his  *'  dairymaid  sang 
him  into  tears  with  '  Johnny  Armstrong's  hist  good  night,'  or  the 
'  Cruelty  of  Barbara  Allen.'  "—I  am,  the  Editor's  ever  obediently, 
53,  York  Terrace,  Regent's  Park,  April  26,  1847.        G..  A.  Macfarrbn. 


Dr.  Spohr  has  announced  to  the  Committee  of  the  *'  Sacred 
Harmonic  Soc/'  his  intention  of  arriving  here  early  in  July. 


IMISCELLANEOUS.  ^ 

Royal  Socirty  of  Musicians. — (The  want  of  space  pre^^ 
eluded  the  insertion  of  the  following  last  tree^).<— The  one 
hundred  and  ninth  anniversary  dinner  of  this  Society  took 
place  on  the  19tb  ult.,  Lord  Saltoun  in  the  chair.  About 
170  gentlemen  dined  in  the  Freemason's  Hall,  and  there  were 
upwards  of  a  hundred  elegantly  dressed  ladies  present.  In 
the  course  of  the  evening,  Miss  M.  Williams  sang  Knight's 
"  Soldier's  Daughter,"  and  Miss  Rainforth  was  loudly  encored 
in  a  Welsh  ballad,  **  In  a  secret  fertile  valley/'  accompanied 
by  W.  L.  Phillips.  Mr.  Braham  gave  "  The  death  of  Nelson," 
amidst  the  cheers  of  the  Company.  Horsley's  glee,  *'  Come, 
gentle  Zephyr,"  and  Spofforth's  *'  Come,  bounteous  May," 
were  well  sung.  Apologies  were  made  for  Miss  Hawes  and 
Signor  F.  Lablache,  both  suffering  from  hoarseness.  ,  Signor 
Emiliani  gave  a  brilliant  solo  on  the  violin,  accompanied  by 
Sterndale  Bennett ;  and  W.  H*  Holmes  played ,  Handel's 
*'  Harmonious  Blacksmith "  with  variations,  excellently. 
Mr.  Horsley,  in  proposing  the  noble  chairman's  health,  paid 
him  many  high  compliments.  A  list  of  donations  and  sub- 
scriptions was  read,  including  £30  from  the  King  of  Hanover ; 
£25  from  Prince  Albert ;  £10  from  the  director  of  the  Musical 
Union  ;  10  guineas  from  Mr.  Walker ;  10  guineas  each  from 
Mad.  Grisi  aiid  Sig.  Maiio  ;  5  guineas  from  Sig.  F.  Lablache ; 
and  the  like  sum  firom  Sir  A.  Barnard  ;  W.  Curling,  Esq. ; 
R.  Palmer,  Esq. ;  W.  Home,  Esq. ;  and  Messrs.  Addison 
and  Hodson:  10  guineas  each  from  Mr.  Ollivc,  Miss  Penn, 
and  Mr.  Withall ;  and  one  hundred  pounds  from  the  liberal 
house  of  Broadwood,  being  the  10th  donation.  There  are 
claimants  on  the  funds  of  the  Society  at  present,  9  members, 
33  widows,  and  13  children  ;  and  the  sum  of  £2291  odd  waa 
appropriated  during  last  year,  to  the  purpose  for  which  the 
constitution  was  founded  in  1738,  namely,  the  support  of 
aged  and  inUrm  members,  their  widows  and  orphans. 

Mendelssohn  will  perform  an  extemporaneous  fantasia  on 
the  organ,  and  a  concerto  by  Bach,  on  the  pianoforte,  at  the 
concert  of  Ancient  Music,  on  Wednesday,  which  will  be  under 
the  direction  of  Prince  Albert,  who  has  engaged  Mesdames 
Castellan,  Alboni,  S.  Novello,  M.  Williams ;  Signori  Mario, 
Gardoni,  Tamburiui,  Lablache;  Messrs.  Lockey,  Machin,and 
Staudigl. 

TuR  Concert  of  the  Philharmonic  Society  of 
Dublin,  announced  to  take  place  on  Monday  evening  next, 
the  3rd  of  May,  has  been  postponed,  in  consequence  of  the 
severe  indisposition  of  His  Excellency  the  Lord-Lieutenant» 
President  of  the  Society. 

Mrs.  Georgina  F.  Plummer  has  lately  been  singing  with 
success  at  various  concerts.  We  have  no  doubt  of  her  soon 
being  a  useful  acquisition  to  our ,  concert-rooms.  She  has  a 
rich  voice,  agreeable  manners,  a  good  method*  and  an  evident 
ambition  to  progress. 

Mr.  C.  Muhlenfeldt,  the  able  pianist  and  composer,  has 
announced  his  annual  soirei  musicale  for  Wednesday  wei^i^* 


290 


THE  MUSICAL  WORLD 


Jenny  Lind  at  Drdry-Lane  (From  Punch.) — Mr.  Bunn 
has  certainly  kept  fiedth  with  the  public,  by  presenting  the 
long-promised  Jenny  Lind  on  this  stage,  though  in  the  shape 
of  an  elephant.  She  is  undoubtedly  the  greatest  creature  that 
ever  trod  the  dramatic  boards, ,  and  stands  h%her  than  any 
other  member  of  the  profession.  Her  compass  is  extraordinary, 
for  she  can  reach  to  the  middle  of  A  flat  without  any  difficulty, 
and  in  a  slow  ijjovement  her  aplomb  is  truly  wonderful.  We 
do  not  think  she  excels  in  rapid  passages,  but  her  run,  if  she 
were  to  give  full  vent  to  it,  would,  no  doubt,  make  a  powerful 
impression  on  her  audience. 

An  English  Version  of  Linda  di  Chamouni,  translated 
Ixpressly  for  Madame  Bishop,  will  be  produced  this  evening, 
at  die  Theatre  Royal,  Dublin.  The  manager  has  gone  to 
great  expense  to  produce  the  opera  in  a  style  of  splendour  and 
completeness. 

Mblodists. — ^There  was  a  very  brilliant  meeting  of  the 
Melodists  Club,  on  Tuesday  ;  the  Duke  of  Cambridge  in  the 
chair,  supported  by  the  Duke  of  Beaufort,  I^ord  Saltoun,  Sir 
A.  Barnard,  &c.,  &c.  The  latter  having  offered  a  prize  of  ten 
guineas  for  a  Druidical  Ode,  three  candidates  sent  in  compo- 
sitions, which  were  excellently  sung  by  Mr.  Machine  accom- 
panied by  Sir  H.  Bishop.  The  prize  was  awarded  to  Mr. 
Blewert ;  and  premiums  of  five  guineas  each,  the  gift  of 
Messrs.  White  and  Hopkinson,  were  presented  to  Mr.  J.  L. 
Hattott,  and  Mr.  C.  Horn,  fbr  the  second  and  third  odes.  The 
brokers  Hellmesberger  played  a  concertante  violin  duett, 
accompanied  by  Mr.  Benedict,  capitally,  and  were  loudly 
apphraded.  Herr  Holzel  sung  a  German  song,  also  a  portion 
of  Scheller's  song  of  the  "  BeH,"  accompanied  by  the  adelphi 
Hellniesberger,  which  had  a  mOst  excellent  effect.  Several 
songs  and  glees  were  sung  in  the  course  of  the  evening,  and 
the  "rapX  pnesident  announced,  that  he  would  give  a  prize  of 
ten  gumeas  next  season,  for  a  cheerful  glee,  the  candidates  to 
be  confined  to  the  musical  members  of  the  club,  who  devote 
their  time  and  talent  to^its  service. 

^  ■  ■  Mill  — — 

TO  COItftESPONDENTS. 

MissL.  B. — {Readin^.)'-We  are  sorry  to  be  at  variance  vnth  our  fair 
aorrmptmdent*  Our  notkms  of  the  work  the  condemns  are  precisely 
the  contrary  to  those  she  expresses.  We  think  it  one  of  the  masiei  pieces 
of  oneoftke  most  Ulustrious  poets  and  philosophers  that  the  world  ever 
produced. 

M.  A.  P- — {QtoUce8ter.)'^We  do  not  recollect  to  have  received  our  cor- 
respondent's /irst  Utter.  Of  the  published  duets  by  Macfarren,  we 
recommend  the  sfftnphony  in  C  sharp  minor,  and  the  overture  to  Don 
Quixote,  as  the  most  effectioe  and  the  finest  mutic.  The  overture  to 
Don  Carlos  is  not  published  yet.  Mendelssohn  teat  eighteen  when  he 
wrote  the  overture  to  "  A  Midsummer  Night's  Dream.'*  FVe  do  not  know 
the  precise  date,  nor  the  year  of  the  composer's  birth.  The  number  of 
the  Musical  World  shall  be  looked  out  and  forwarded. 

ADVERTISEIMENTS. 

FAIR      COMPLEXION. 

Under  the  Patronage  of  the  Nobility  and  Gentry, 


Warren's    20   Guinea   Cottage   Mano-Fortes 


ORIENTAL    BOTANICAL    PREPARATION, 

For  removing  almost  instantaneouBlycuUneoas  emptions,  freckles,  pimples,  spots, 
and  other  discolorations  of  the  skin.  After  one  application  of  the  Botanic  Bxtract, 
which  most  be  used  twice  a  day,  a  wonderftQ  change  will  be  perceived,  and  in  the 
coarse  of  a  few  days  the  complexion  will  assume  a  beautiftil  transparent  roseate 
hue  appeanmoe.  llie  extract  to  apply  is  of  the  most  agreeable  nature,  and  the 
Urst  application  will  prove  its  wonderral  efficacy.  Prepared  only,  and  sold  whole- 
nUe  and  retail,  by  the  sole  proprietor, 

GBORGB  H.  J.  COGKBURN,  9,  Aldffttte^  IiOndonj 

And  Barclay  and  Sons,  Farringdon-street,  London ;  in  bottles  at  2s.  9d.  and  if*  6d. 
I  by  SanM,  150,  O*^ord-atreet;  Kiting,  St.  PaajJsCh 


asch-:  auo  oy  sanger,  idv,  uxiora*acreei;  ikeaong,  p(«  r»ai'B  \yuiu^u  Jt'^^* 
ISbnsOn,  6B,  C^miillj  Hannay  and  Co.,  63,  Oxford-street ;  Butler  and  Co..  4, 
Oheap^:  B^md8,8t.  Faol'sChurohyard; Pkoat, 929» Strands andofaUomr 
Chemists  and  Fertomers  in  the  kingdom* 


ARE  NOW  SELLING  AT  THE 

Mantifiu^oryy  71,  lieadeahall  Street^ 

{Removed from  1  and  2,  Liverpool  Street,  Bishopsgate  StreeU) 
These  Instruments  are  well  manufactured  of  the  best  seasoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  Atwo  years  warmty  given  with  eadi  fnafro- 
ment;  ESTABLISHED  TWENTY-ONE  YEARS.  The  only  house  in  London 
where  a  «ood  sound  instrument  can  be  obtained  at  the  above  low  pnoe,  (for  eaali 
only^T  SMALL  PROFIT  AND  QUICK  RETURNS  I 
JOHN  IVABRBdrj  71f  Iiead«sihaU  8t.«  opposite  Aldcmto  Pvnp. 


FLUT  E. 

Jost  published  by  Messrs.  CRAMER,  BEALE,  &  Co.,  901,  Rbobnt  Stbikt. 

Theory  of  the  New  Patent  Diatonic  Flnte, 

By  a.  SICCAMA,  B.A.,  PATENTBBi 

lOf 


This  work  contains  a  fhll  description  of  the  instrument,  with  the  i 

the  scales  and  chords,  &c. 

All  who  have  adopted  this  flute  pronounce  it  to  be  superior  to  M»y.»y*ff  j^,?**; 

rectaOM  of  tune,  Sd  power  and^rilliancy  of  tone.   It  is  ■<>  «»^S>»?2J  "  J? 

xS^S^old  mithod  or  lingering,  which  enables  the  amateur  immediately  to  see 

'*  TOi^rtroment  can  be  procured  only  of  the  Patentee.-Manttlhctory,  S,  B«ll 
Taed,  GaACBCHtmcH  Strbit. 


OAK  BARK  TANNED  LEATHER  HARNESS. 

Rronrham  Harness,  lined.  7  es..  unlined  5  gs. ;  Chariot  Harness,  Hned,  IB  gs. 
SiS?tf??SiSSS S?SiiifSjs in  tjmnini,  U one  bSdein  ""JJ^isJl^-g 
with  bark ;  the  chymical  process,  by  sulphuric  and  other  adds,  impovertsties  tlie 
hide,  oak  bark  alone  converte  it  into  solid  leather. 

D.  MOEIAETT,  34,  Berwick  Street,  Soho, 

jSlSy^^^SmWdoMi^l^^^^^^ 


DR.   STOLBERG^S   VOICE   IsO^EXTG^ 

Is  acknowledged  as  the  best  specific  after  three  years'  trial,  for  "np^S** 
the  vSice  and  rSoving  all  aflfectiSns  of  the  throaty  •^«"«*y  f^S^STn  ^fS^Id 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  rdaxed 

''^e'Proprietors  have  just  received  the  foUowing  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop:—  ^..^rtinff  the 

"Deab  S1R.-I  am  happy  to  say  that  all  I  have  heard  respecting  tiie 
efficacy  of  Dr.  Stolberq^s  celebrated  Lozenge  is  perfec'^yJ^*^*;' «?  7!^J 
Ly.  f&eling  myself  very  fatigued .  (singing  nightly  *^  *5  ^toU^M  to^^ 
several  of  tfie  Lozenges,  and  my  voice  was  very  clear,  and  my  ^^Jp 
free  from  relaxation.    I  am,  Dear  Sir,  Yours  truly,  ^£^^£ieh vwd  • 

Barclay  and  Sons,  Farringdon-street  j  Sutton  and  Co,,  Bow  Churchyaro, 
wKirLand  Newbery'and  Sons.  St.  Paul's  Churchvard ;  S^g^^^"^ 
Dietrichsen  and  Hannay,  Oxford-street ;  and  retail  by  all  respectable 
ChymisU  in  the  Kingdom. 


PIANOFORTES, 


Parties  in  want  of  a  really  good  PIANOFORTE,  at  a  moderate  price,  wiM  do  wdl 

to  call  at 

J.  C.  JONES  AND  CO.% 

Instrumaito  are  not  to  be  surpassed  at  the  pnce.         „j|^*«-wre. 
insiramni  j^^^^^^^,  tunetr^tired,  exchanged,  and  lent  on  Wrc^ 
Tuning  by  the  year,  one  guinea.   Second-hand  Planoi,  from  8  to  WKMneiii 


THE  MUSICAL  WORLD. 


391 


HER    MAJESTY'S    THEATRE. 

Tbe  Nobility,  Snbscriben  to  the  Opera,  ft  tbe  Pablic,  are  reapectftOly  informed  that 

Kadeinoiselle  JENITf  UND 

WILL  MAKE  HER  nBST  AFPEAKANCB  IN  THIS  OOVNTEY 

On  TUESDAY  NEXT,  May  4,  1847. 

THE  SECOND  APPEARANCE  OF 

IRffl^©EIR»@Bi(ELLE  J)[ElPfl!R!lY  UM© 

__^_^  In_tt»Cooiitry,  will  take pbicc 

On  TMUASDAT  NEXT,  Kay  6tih,  being  an  Ettra  Higbt, 

Wbea  will  be  performed  MBTsmBna's  cdebratod  Opera, 

ROBERTO    IL    DIAVOLO, 

Afice  .  . .  HdUe.  nSSHSY  USD. 

I«>b»ll»,  Madame  CasteUaa  —  Roberto,  Ucsor  FrascUnI  — 
Maaah&iao,  81«Bor  Oardoni,  taeerdote,  niguvt  BOTiehe— and 
BertoVBkj  Wk^ptkor  Staudlsl  (hia  lecond  appearance  in  this  Country.) 

Wia  Tarioua  Entertainroeots  in  the  BALLET  DSPARTMBNY,  com- 
pridnff  the  talenta  of  MdUe.  Cbsito.  MdUe  Rosati,  MdUe.  Mabib  Taglioni, 
liademoiaeUM  HoNORB,  Casson,  lioNTroBT,  Jambs,  Jiti^ibn,  Lamabbux, 
M.  Pbbbot,  M.  p.  Taolioni,  and  M.  St.  Lbon. 

MR.    C.    MUHLENFELDT 

Haa  the  honor  to  annonnoe  that  he  wrn  Kive  hfs 

GRAND    SOIREE    M  U  S  I  C  A  L  E, 

AT   THE    PRINCESS'S    CONCERT    ROOMS, 
Ob  WBDNB8DAY,  MAY  IRth, 

Of  wMch  the  particiiian  will  be  duly  announced. 

Ticketa  Ha]f.M3innea  each,  to  be  had  at  all  the  principal  Ifoaicadlen,  and  of 

Mr.  M0HLBNFELDT,  «,  Albany  Street  R^t'a  Park. 

HANOVER  SQUARE  ROOMS. 

MR.    J.    COHAN 

Haa  the  honor  to  announce  that  hli 

RECITAL  OF  PIANOFORTE  MUSIC 

win  take  place  «t  the  above  Rooms 
On  Wedaesdaj  ETeainr^  Maj  Ifltb, 

when  he  will  perform  the  following  Morfieaux  otHtoum  e^mpatUHms 
FaataaU,  on  *«  Der  Preysckuii." 
Fantasia  on  "  See  the  Conquering  Hero  comes.*' 
Adasio  uad  Scberse,  from  "Grand  Sonata  in  A  flat." 
Martial  Featasia,  "  GreA  Revolution." 
S?'*?^!^*  Varlattona  on  the  "  Camirml  of  VeBioe.»<-tmrether  with 

Mr^^SoBOvS**''^  ""  "Nonpid  Andrai,-  and  in^nj^^i^wmi 

BeetiftOTen's  Bonata  la  F  for  Piano  and  Violin. 

Mi?V2!^i!Xr?J'''?5'"^*'°^"'";r'"  a»sl«t:-MissBiBCF,  MiasDoLBT, 
•nd   Mrs.  Sbouin.— Mr.  E.  Hart,  Mr.  Sbgittn,  and  Mr.  Johw  Parby.— 

ifL2!?Swui;J2^!!j,*5'5"'^?''**^«-  ^^^^*  "*y  ^  procured  at  the  iMincipal 
Music  Pnbliahera,  and  of  Mr.  Cob  an,  at  his  residence,  96,  Soho  Square. 

WILLIS'S  ROOMS,  KING  STREET,  ST.  JAMES'S, 

Under  the  immediate  Patronage  and  in  the  Presence  of  Lb  Comtb  Montbucoliit. 

M.  ALEXANDRE  BOUCHER, 

(Wrectew  de  Musifliue  de  L.  L.  M.  M.  C.  C.  d'Espagne.  Membn  d'Hoimeur  de 
SufS^wr^*^  '  principal  ea  ]>iverses  Coors  d'Burope,) 

ONLY    MATINEE    MUSICALE, 

At  the  ABOVE  Rooms,  on  FRIDAY,  MAY  the  7th,  1847, 

To  commence  at  Two  o'Ooct  precisely. 

lf™*^^^'mi%"Tr¥5^J?*f..^^^  ANfiJLAIS;  Madame  COSTA  TAMPLINI; 

SmJ^ii''^*  *  Mi«  DUVALi-^iJnor^MARRAS,  &  Herr  BRANOT. 
riSET??^^"*"":.^^^*  ^'^^  Madlle  CouLOM  and  M.  Bbnbdict  .~ 
oKJrtf^'w  i:^*^'"'^*  BoucHBB  &  M.  Sainton.- Ftoto»«J7«,  M.  Roussbl  ot. 

V90€,  M.  BaBBBT.— A|«»<MWI,  M.  BaDMANN. 

Conductor M.BENEDICT. 

all  th^VrSSf%i?*£"*°f^  ^^  TIckeU,  half-a-Guinea  each«  may  be  hr  d  at 
8iwt,^^taJ^.*'  ^•«^^'»«»  '^  libAries,  and  of  M.  Bouchbb,  NPo  land 


GRATIS!    GRATIS!    GRATIS! 


Every  Person  wiio  shall  subecribe  for 

THE    DISPATCH 

During  the  Month  of  June  next, 

mtLL  BB  PBBBBITTBD  WITB  4  FIVBLT  JBHOKAVBS 

POBTRAIT  OF  ELIZ<i  COOK. 

The  likeness  of  this  Poetic  Genius  is  most  striking,  end  tiie  EngrtvliAg 
is  by  Adlard,  in  the  first  style  of  the  art. 

An  Edition  of  the  Dispatch  is  pubHshed  at  Five  o'clock  everjr  Saturday 
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This  Edition  contains  the  London  Markets  of  the  week,  hicludin^  thole 
held  on  Friday ;  also  the  spirited  Letters  of  Poblicola,  Caustic,  and 
Cbnsorius  ;  and  frequently  original  Poems  by  Eliza  Cook. 

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Ditto  on  Credit,  payable  by  reference  in  London   £1  lOs.    Od« 

ISJtt  i&vmCs  eConcm  Hooms,  p^aiwbet  Sbvmt. 
HERR  WIL  HELM    KUHE 

(PlanUt  to  hlH  8.H.  the  Prfaaee  ef  Hoheaaoilegm-Henlngen) 

Respectfully  announces,  that  he  will  give  a 


At  the  above  Rooms,  FRIDAY,  MAY  7tli,  1847, 
To  commence  at  Two  o*Clock  predMly. 
Vocal  Perdormers  s 
Madame  JENNY  LUTZER  ^nt  Sopnno  to  tbepourt  of  flw  toWMSOfMgritfj 
Madame  KNISPBL;    Miss  DOLBYj    MadUe.  VALERIE  &  BUPPUll, 
MUs  PYNE ;  Miss  L.  PYNE  (just  arrived  from  Paria.) 
Signer  M ARRAS ;  Herr  HOELZEL  (from  the  Imperial  Opmu  Vtenne) ;  Sgnor 
OALLY;  Mr.  JOHN  GREGG,  Pupil  of  Herr  Staudigl  (Jbk  tbvt  appearaaoe 
in  London) ;  and  Mr.  JOHN  PARRY. 

Instmmeatal  Performeni  z 
Violins— Herr  Jossph  HELLUXSBBaxR  (first  Violin  to  the  Emperor  of  Austria) 
and  Herr  Gborob  Hbllmbsbbbgbr.    Violoncello-Mr.  Hausmanh.     Gm- 
tar— Mr.  Bdwabd  Schulz.    Planoftnrte^Madame  Duutkbn  and  Herr  Kuhb. 
Madame  DULCKEN  and  Herr  KUHE  wiU  perform  a  Grand  Duet,  OQnvsdy 
composed  for  this  occasion  by  Herr  Kuhb. 
OondnetorB-Mr.  LINDSAY  SLOPER  and  Herr  KUHE. 
Ticketa,  Half-a-Guinea  each— Reaerved  8eaU.  Fifteen  BhUltagi  »*-^o  be  liad 
of  Mem.  Cbambb,  Bkalb,  and  Co.,  »l,  Regent  Street  i  of  ^the  pnncipal 
Mu^rShopsiand  of  Herr  *ilhblm  Kohb,  8,  Great  MarJborongh  Btrset. 

Wn.SON*S     SCOTTISH     ENTERTAINMENTS, 

AT  THE  MUSIC  HALL,  STORE  STTREET. 
ON    MONDAY   fiVBNING,    WAY   8,    at    8    o'Cloek, 

MR.   WILSON 

win  sfaiff— The  smilin 
waly— Young  Pewy  ' 
Tiance  light,  for  my 

' jf  Dunvegan— The  L- — ,^-- -  t-^-\-^.         ^^  -aj.^ 

TickeU  and  programmes  may  be  had  at  the  music  shops. 


TO    THS    MUSIC    P&OFE88ION. 


''NASSAU 


P  R  E  S  6/ 


STEAM 

AND 

PUBLISHING     OFFICE^ 

60,    ST.    MARTIN'S    LANE,    CHARING    CROSS. 

Every  description  of  CONCERT  PRINTING,  public  w  Privat^  consisting 
of  Pbogfammbs,  Notbs,  TicKBrrs,  IPow'^o  *!''"' J*^o;a*S!iS^ 
WoBKs,  &c.,  are  neatly  and  expeditiously  executed  with  economy  and  taste  by 

W.    B.    JOHNSON, 

PRllfTBB    TO    HBB    MAJBSTV'S    THBATBB  »  TBABBi 

Where  also  may  be  had  "Tlw  Musical  Worid,'\  and  aU  Oj«»i,0«jedies, 
Plays^arces,  WWe«,  «nd  the  whole  of  Webster>s  unicpie  ActoR  »«^^ 

Digitized  by  vl^OOv  IC 


292 


THE  MUSICAL  WOELD. 


THOMAS    BAKER'S 

MODERN    PIANOFORTE   TUTOR. 


Has  the  honor  to  announce,  that  he  has  just  published  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratam  so  long  sought  sfker  by  the 
profession.  Notwithstanding  the  improvements  that  nave  taken  place  in 
Pianoforte  Playing  withfai  tl^  lost  ten  years,  no  deviation  has  been  made  in 
the  system  of  teacning  from  Tutors  of  the  Old  School ;  in  consequence,  many 
gifted  with  brHliant  talents  have  been  unable  to  execute  the  music  of  the 
present  day.    For  thiS'  reason  the 

MODERN    PIANOFORTE   TUTOR 

Has  been  introduced,  and  met  with  the  greatest  success  from  the  elite  of  the 
profession,  who  have  universally  adopted  it.  The  work  is  divided  into  two 
parts :  the  first  being  a  complete  Tutor  in  itself,  containing  the 

RUDIMENTS  OF  MUSIC, 
Sdubd  for  i^  ;(ponnatton  of  tiie  l^ontf^  Sbcabd, 

FINGER    BXEROI8ES,    fte. 

Interspersed  with  Morceaux  from  the  works  of 

BeethOTen,  IS^surt,  Spohr,  "Wohtr,  M«yerbe«rj  &oeli*Albert, 

B#MStti,.  Bellini,  Donlsetti,  *c.— Price  8s. 

The  second  pait  consists  of  a  more  advanced  course  of  Study,  proceeding  to 
Uie  most  refined  style  of  Modem  Plying ; 

niTiatrated  with  numerous  ExampleA  So  EzercUeSy 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Pianistes  of  the 
Modern  School  :  with  Selections  from  the  Pianoforte  Compositions  of 
Herz,  DoHLER,.TiiALBEiio,  &C. ;  in  fact,  everything  necessary  to  constitute 
a  first-rate  Pianist    Price  Ss.,  or  15s.  the  entire  work. 

Published  by  M.  JUUsZEN  &  Co., 
AT  THE  ROYAL  MU8IOAL.  CONSERVATORY, 

214,  REGENT  STREET,  and  45.  KING  STREET, 
Wiiere  all  the  Coifipositions  of  the  above  Author  may  be  had. 

JULLIEN'S  ALBUM  for  1847. 

M.  JuLLicN  hit  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSICAL     AKNUAL    FOR    1847 

Is  now  Published,  and  will  be  found  by  far  the  best  work  of  the  kind  that 

has  ever  appeared ;  containing  no  less  than 
Thirtr  Pitets  of  Vo«al  and  Fourteen  of  Instromoatal  Music, 

The  greater  part  of  which  have  never  before  been  published,  the  copyrighu 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  the 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  of  Covent 
Garden  Theatre.  The  one  taken  during  the  brilliant  scene  exhibited  in  that 
splendid  arena  of  the  occasion  of  M.JVL  LI  EN'S  GRAND  BAL  MASQUE; 
the  other  a  VIEW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
CERTS, the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  life- like  avd  elegant i  To  those  who  have  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  Souvenir,  and 
to  those  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  the  admired  Pas,  La  Castigliani.  An  original  subject, 
<*  The  Fortune  Teller,"  illustrating  Baker'i  beautiful  ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRANDAKD,  Es^.,  whose  pencil  only  has  been 
emploved  in  its  production.' 

Nothing  more  need  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
vast  superiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contribulorst  where  will   be  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  contains  some  of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c.,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Continental  diletanti.    Price  18s.  and  £1  Is. 

ROYAL    CONSERVATORY   OF    MUSIC, 

214,  Regent-Street,  and  45^  Eing-Stbeet. 


SOVJBRJBIGN 

HtXe  9i&mtnmt  Company, 

■"     5,  St.  JAMES'S  STREET,  LONDON. 


No. 


Sir  A.  Brydges  Henniker,  Bart. 
B.  Bond  Cabell,  Esq.,  M.P. 


Trutiees, 


Chairman,  Lieutenant  Colonel  Lord 

Arthur  Lennox. 
Dbputy-Chaisman,  T<  C.  Granger, 

Esq.,  M.P. 
John  Ashbumer,  Esq.,.M.D. 
T.  M.  B.  Batard,  Ksq. 
Philip  P.  Blyth,  Esq, 


Diredars, 


Henry  Pownall,  Eaq. 
aaude  Edward  Soott,  Esq. 


Henry  Broadwood,  Esq.,  M.P. 

Sir  Jamea  Carmichael,  Bart. 

Charles  Farebrother,  Esq.,  Alderman. 

William  TuUoh  Fraaer,  Esq. 

John  Gardiner,  Eaq. 

Aaron  Asher  Goldsmld,  Esq. 

Henry  William  Pownall,  Esq. 


Assurances  on  the  lives  of  persons  in  every  station  of  life  and  every  part  of  the 
world,  inanted  on  a  plan  which  combines  the  utmost  amount  of  benefit  to  the 
families  of  the  assured  at  death,  with  everr  attainable  advantage  during  U/e, 
which  the  system  of  Life  Assurance  is  capable  of  aflTordinp. 

Persons  wiafainr  to  borrow  money  to  enable  them  to  complete  the  pardiaae  of 
property,  or  desinor  to  pay  off  .existiofj^  cbarfres  thereon,  can,  by  asaurioff  with 
this  Company,  obtain  the  advance  of  the  full  amount  of  the  PoUcy ,  repayable  by 
instalments,  extended  over  a  period  of  years,  on  the  advantageous  terms  explained 
in  the  Prospectus. 

In  case  the  assured  dies  during  the  limited  number  of  years  agreed  ^pon,  he 
will  not  leave  his  property  encombered  with  a  debt ;  but,  on  the  contrary,  hia 
representatives  will  be  entitled  to  receive  the  amount  secured  by  the  PoUcjr,  after 
deducting  the  sums  then  remaining  unpaid.  Or,  he  may  at  any  time,  anticipate 
the  payment  of  the  sums  still  remaining  unpaid  on  favourable  terms,  and  conti- 
nue the  Policy,  if  he  pleaaes,  as  an  ordinary  Life  Policy. 

Annuitiks  and  Endowmbntb  on  liberal  terms. 

The  usual  commission  to  Solidton  and  Agents. 

U.  D.  Datbnpokt,  Betreimy^ 

THS  PATENT  HARSSOmUM. 


This  beautifal  Instrument  possesses  the  softness  of  the  voice  with  the  variety  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Organ.  It  is  equally 
suitable  for  Sacred  Music,  or  the  Dance,  and  adapted  for  the  Drawing  Kooni. 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  bad  of  Lorv  and 
Son,  aole  agenta,  where  the  PATENT  HARMONIUM  can  be  heard  from  10  till  4, 
daily :  and  where  can  be  inspected 

LUFF  *  SOX'S 
Elegant  Assortment  of  PIANOFORTES^ 

Made  by  experienced  workmen,  and  thoroughly  seasoned  wood,  all  of  which  la 
prepared  on  the  premises.    They  are  warranted  to  sUnd  well  in  Tune,  and  are 
prepared  for  extreme  climates :  prices  one-third  less  than  usually  charged, 
histruments  taken  in  exchange,  and  a  liberal  allowance  to  dealers. 
laUFF  and  BON,  103,  Great  RnsseU  Btreet,  Bloomabvir- 

N.B.-Tlie  from  of  Mr.  JUIaLA^  ADAMB,  tht  eeltbrated 
performer  upon  the  Patent  Harmonium,  for  strlns  Inatraction 
and  Ferforminc  atOoneerts,  can  be  bad  of  Oeo.  ItUFF  Bi  BOM. 


MADAME  ANNA  BISHOP, 

Will  return  from  the  Provincts  to  London,  Ibr  the  whole  aeason,  next  week. 


Mo.    flS, 


Professional  applications,  directed  to 
GRfiAT    QtJV:iSN    8TRSET,    UMGOIaN'B    INM, 


will  be  attended  to. 


Printed  and  PuUUahe^l,  for  the  Proprietors,  at  the  "  Naaaan  Steam  rreaj, 
by  William  SpaNcaa  Johnson,  60,  St.  Martin's  Lane, ««  »5« J*";?^.^ 
Martin's  m  the  Fielde,  in  the  County  of  Middl«px  .where  all  comm^^ 
Ibr  the  Editor  are  to  be  addressed  post  paid.  To  be  had  <>' 5*.n  iSS^llS!!! 
Street.  Soho :  fttranre,  PatemosterRow ;  Wiaebeart, Dublin  j  and  all  Bookseller*, 
-^turday.  May  1, 1847. 


Digitized  by^^UOy  It: 


W^t  judical  WorlD. 

^  (PUBLISHED    eVER.Y    SATURDAY    AT    NOON.) 

A  RECORD  OP  THE  THEATRES,  MUSIC,  LITERATURE,  PDOB  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

T^drmm  of  SubsoriviloB*  ytr  Aaanm,  Ite.  Stamped ;  Ifls.  IFi^stamped  |  to  bo  Mrwordod  bj  llonoy  OrAor  or  PoalAC*  i4SM»a 
_  to  «IM  PoMiahor,  W^  S.  Johasoa^  ''Maooan  Btaam  Proas/'  60,  Bt.  Mortla'o  La&Oj  CliarlnB  OroM* 

monoo  oro  roslstored  at  fhm  OAee)  aro  entitled  to  aa  "  -ntelia  t»  f| 
A  Pieoe  of  Mnolo^  (rerular  Music  sise)  Monthlj. 


No.  19.— VouXXIL 


SATURDAY,  MAY  8,  1847. 


<  PRICE  TUBBBPBMGV 
1  8TAMFRD,  FOURPBNCB 


TO  OUR  READERS. 
I  •lAMsrlbers  wbose  names  are  entered  In  the  Book 
aft  onr  OBtoe»  and  wkose  Bnbserlptlons  are  paid  In  advanee 
to  Okristmas  nsxtf  are  AIiOlTB  entitled  to  an  Admission  to 
tb»  ftotheominc  Aannol  Oeneert,  tvhleli  win  be  siren  in  Jnne 
or  Jnlir  next* 

MENDELSSOHN'S  ELIJAH. 

(C9nH9iinedfr<m  our  UutJ 

Aftbb  this  vigorous  and  lovely  chorus  the  scene  changes 
to  the  court  of  Ahah.  Elijah  reproaches  Ahah  with  hit 
idolatrous  iniquities.  Hie  three  years  of  drought  expired, 
according  to  the  prophecy,  the  man  of  God  declares  his  in- 
tention to  solicit  the  Almighty's  mercy,  for  rain»  to  moisten 
the  parched  earth  and  refresh  the  thirsty  people.  Ahah , 
reproaches  the  prophet,  as  '*  He  that  troubleth  Israel."  Elijah 
retorts  the  cha^e  upon  Ahah,  whose  sins  have  brought  the 
droti^t  as  a  s!^  of  Qod's  anger.  He  challenges  Ahah  to  test 
the  power  of  Bui,  l>y  a  sacrifice,  summoning  the  prophets  of 
tiw  false  idol,  and  those  **  of  the  groves,"  to  assist.  It  is 
agmed  that  ndi  party  shall  supplicate  his  god  to  send  fire  to 
consume  the  sacrifice,  **  and  the  god  who  by  fire  shall  answer, 
let  him  be  God.'' 

The  priests  of  Baal  first  call  upon  their  idol.  Theirfepeated 
solicitations,  accompanied  by  the  ironical  encouragement  of 
Elijah,  to  "  call  Him  louder/'  and  to  make  use  of  their  ordinary 
idolatrous  ceremonies,  are  all  in  vain— no  god  answers,  no 
fire  descends,  the  sacrifice  remains  unconsumed.  Elijah  then 
invokes  all  the  people  to  come  near  to  him,  and  prays  the 
"  Lord  God  of  Abraham,  Isaac,  and  Jacob,  to  manifest  his 
power.  Angels,  looking  on  from  above,  encourage  him  and 
strengthen  his  supplication  by  their  entreaties.  The  true 
God  answers — the  fire  descends  and  consumes  the  sacrifice. 
Elijah  orders  all  the  prophets  of  Baal  to  be  taken  and  slain — 
the  people  obey  him,  and  not  one  is  left  alive.  Elijah  then 
preaches  the  glory  of  God,  and  apostrophises  the  awfulness  of 
his  anger.  An  angel  echoes  his  words,  but  in  a  meeker  and 
more  compassionate  tone. 

Mendelssohn  has  made  one  masterly  tableau  of  the  whole 
of  this.  The  conversation  between  Elijah  and  Ahah  is 
illustrated  in  accompanied  recitatives,  intermingled  with  choral 
responses  of  the  people.  The  dramatic  intensity  with  which 
all  this  is  imbued  is  singularly  appropriate  and  happy.  Ahab*s 
entrance  is  prefiiced  by  a  striking  crescendo  passage  for  the 
orchestra,  which  is  the  indication  of  a  marked  change  in  the 
character  of  the  music,  from  holy  quiet  to  pagan  recklessness. 
The  accompaniments  give  a  character  to  die  whole  which  is 
highly  exciting.  The  low  tones  of  the  oboe  have  a  wild  and 
unearthly  character.  'This  new  treatment  of  the  oboe,  for 
which  composers  generally  write  high  in  the  scale,  was  first 
suggested  by  Mendelssohn  in  the  introductory  andanie  to  his 


symphony  in  A  minor,  and  by  its  frequent  employment 
becomes  a  marked  feature  in  the  instrumentation  of  Elijah* 
The  choruses  of  the  Baalite  priests  are  picturesque  and  mag- 
nificent.    They  are  full  of  varietj*,  while  the  absence  of  ajl 
feeling  of  religious  tranquillity  in  their  development  is  finely 
in  character.    The  first,  **  Baal  we  cry  to  thee,"  in  F  major, 
is  in  two  part8,-*the  theme,  a  voluptuous  melody,  set  forth 
with  the  accompaniment  of  wind  instruments  only.     It  Is  a 
double  chorus  and  the  quick  responses  of  the  opposite  dioirs 
produce  a  splendid  effect.     There  is  a  feeling  of  undisturbed 
confidence  in  this  part  of  the  chorus,  that  plainly  declared 
the  faith  which  the  Baalite  priests  entertain  in  the  divine 
power  of  their  idol.     But  the  second  part  is  more  riestless 
and  energetic.    The  idolaters  find  that  their  appeal  is  not 
answered    so    promptly    as   they    had    anticipatad  \     the 
increased    emotion,  and  the   evidenoes   of  coming   disap- 
pointment, are   strikingly   exemplified   In  the  use  of  the 
relative  minor  key,  and  the  disturbed  nature  of  Ae  orcbMlral 
accompaniments.      The  violins   and  tenors   have  a   rapid 
moving  passage,  in  full  harmony,  which  is  developod  with 
masterly  power,  while  the  organ  helps  out  the  voices,  as 
they  sing    in    unison.       The  other  instruments  aro  well 
oas^oyed  in  heightening  the  colouring,  and  the  whole  dies 
away,  at  last,  in  the  original  major  key — suggesting  the  notion 
that  the  Baalite  priests  are  out  of  breath  with  their  exertions, 
and  are  inclined  to  give  up  the  point  in  despair.     But  the 
mocking  enconragement  of  Elijah  leads  them  to  renewed 
exertions,  forcibly  expressed  in  the  recitative — and  another 
chorus,  ''  Hear  our  C17,  O  Baal,"  follows.    The  character  of 
this  is  savage  and  ferocious.    The  voices  sing  in  full  harmony, 
while  the  principal  instruments  of  the  orchestra  perform  a 
strange  passage  in  unison,  which  is  carried  on  to  the  end. 
This  chorus  is  in  the  key  of  C  sharp  minor,  and  is  introduced, 
by  a  fine  change  of  harmony,  after  the  recitative  of  Elijah. 
The  continued  scorn  and  pretended  encouragement  of  the 
prophet,  following  the  sudden  arrest  of  this  chorus,  is  answered 
by  a  third  and  last  appeal  of  the  Baalites,   developed  in 
another  chorus  of  wonderM   character.     The   unusual  key 
of  F  sharp  minor   heightens   the  depth  of  despair  which 
this  chorus  pretends  to  convey.    The  voices  sing  a  wild 
melody,  with  reckless  abandon^  typifying  the  hopelessness  and 
shame  of  the  idolaters.    The  violins  are  employed  in  passages 
of  fearful  rapidity,  and  the  general  character  of  the  orchestra- 
tion presents  a  fine  musical  picture  of  the  rage  and  anguish  of 
the  priests,  who  are  supposed  to  make  use  of  all  the  cere- 
monies they  are  accustomed  to  employ  when  they  denre  to 
avert  the  anger  of  Baal.     The  transition  to  D  major,  on  the 
words  •*  Hear  and  answer,"  and  the  cadence  in  which  this 
phrase  is  echoed  and  re-echoed  by  the  opposing  chours,  are 
magnmcent  points.    The  long  P^|f|  g^^^J?!^  ^5^^^'® 


^4 


THE  MUSICAL  WORLD. 


suppqp^  to  ^ait  aaxioi^y  the  ans^^er  of  their  god,  and  tb|s 
sudddpi  l]i^ak^goi^of  tSie  supranof  and  tenors,  on  the  interval 
of  th^  ^Hh«  IS^ve  Mso  j|p jitxttaordlnary  effect.  Elijah's  reci- 
tative,^^r^w  neSr,  ye  people,"  !mmec(iately  following  tfuS 
chorus,  is  among  the  most  heautiful  points  in  the  oratorio. 
The  sudden  chanstt  hom  the  hopelessness  of  idolatry  to  the 
comfortahleness  m  tie  true  faith,  could  not  be  more  com- 
pletely expressed  than  by  the  few  notes  with  which  it  opens. 
But  «lie«^f  tlMt  follows,  *'Lord  God  of  Abraham,'*  is  less 
to  our  liking.  It  is  cMth  and  undisturbed,  but  the  melody  is 
not  tiktadf  dtsignedj  while  the  instrumentation,  though  ela- 
borate, is  without  a  clear  purpose.  In  fact,  there  is  an 
approach  to  dullness  in  it,  that  we  cannot  elsewhere  find  in 
the  whole  work.  However,  **Dormitat  Homerus"  some- 
times— and  why  not  Mendelssohn  ? 

I'he  quartet  of  angels  that  follows,  **  Cast  thy  burden  upon 
the  Lord/'  in  C  major,  is  written  in  the  form  of  a  chorale. 
It  is  exceedingly  lovely,  and  the  combination  of  the  organ  and 
violin^  in  the  accompaniment,  is  equally  beautiful  and  new ; 
the  high  notes  of  the  violins,  sustained  through  the  concluding 
harmony  of  one  phrase  and  the  harmony  with  which  the  next 
phrase  commences,  have  a  streaming  silvery  effect  that  is 
positively  enchanting.  Elijah's  recitative,  "  Oh,  thou,  who 
makest  thine  angels  spirits/'  is  in  a  tone  of  earnest  suppli- 
cation suited  to  the  exigency  of  the  prophet's  appeal  for  a 
demonstration  of  divine  power.  The  chorus  of  the  people, 
which  answers  this,*^*  The  fire  descends  from  Heaven,  the 
flames  consume  his  offering,"  is  finely  descriptive  of  the 
surprise  and  exultation  of  the  people  at  the  celestial  manifes- 
tation ;  the  full  power  of  the  orchestra  is  employed  with  good 
effect ;  and  the  second  part,  to  the  words,  "  Before  Him  upon 
your  faces  full,"  is  in  the  highest  degree  solemn  and  magni- 
ficent. Then  comes  the  recitative  of  Elijah,  responded  to  by 
the  people  ];^in  a  short  unison  chorus,  commanding  the 
slaughter  of  the  priests  of  Baal—**  Take  all  the  prophets 
of  Baal,"  &c.  The  style  of  these  short  fragments  is  quite 
characteristic  of  the  situation.  Elijah's  bass  air,  *"  Is  not 
His  word  like  a  fire,"  is,  perhaps,  the  grandest  and  best 
developed  song  in  the  whole  oratorio.  The  melody  is  angry 
and  impetuous — the  movement  quick  and  agitated  ;  the  con- 
tinuous tremolando  of  the  violins,  with  the  fierce  and  rest- 
less motion  of  the  basses,  witli  which  the  voice  frequently 
travels  in  unison,  and  the  distribution  of  the  other  instru- 
ments in  the  orchestra,  help  to  depict  more  vividly  the 
zealous  rage  of  the  prophet  at  the  indignities  which  have  been 
ofiered  to  the  Almighty,  by  the  apostles  of  filth  and  Paganism. 
This  superb  song  will  slightly  remind  the  hearer  of  "  Why 
do  the  nations,"  in  the  Messiah,  and  '*  Consume  them,"  in 
St.  Paul — but  the  resemblance  is  only  in  feeling,  while  in 
elaboration  and  construction  it  is  perhaps  superior  to  either  of 
those  noble  efforts  of  genius.  The  key  of  this  song  is  A 
minor,  and  the  passages  require  more  flexibility  than  belongs 
to  the  majority  of  bass  voices.  A  lovely  contrast  is  produced 
by  the  quiet  desponding  character  of  the  co7iiralto  air  which 
succeeds,  "  Woe  unto  them  that  forsake  him."  This  plaintive 
and  heart-touching  melody  is  in  the  key  of  E  minor,  and 
expresses  the  words  with  exquisite  felicity.  The  instrumen- 
tation is  judiciously  sparing,  and  as  a  point  of  consummate 
art,  united  to  the  most  natural  simplicity,  we  would  cite  the 
reprise  of  the  subject,  which  surprises  the  ear  by  its  novelty, 
while  it  satisfies  the  mind  by  its  beauty. 

The  remainder  of  the  first  part  of  Elijah  is  combined  in  a 
scene  of  the  highest  musical  and  dramatic  interest.  The 
prophet  Obadiah,  and  the  people,  implore  Elijah's  intercession 
in  their  behalf.    Elijah,  appeals  to  the  Lord,  to  open  the 


heavens  %nd  send  rain.  The  people  echo  his  prayer.  Elijah 
then  sends  a  child  to  the  sea  shor^,  and  tells  him  to  look  If 
there  be  any  sign  that  the  Lord  has  listened  to  his  prayer, 
ft'e  youtt  returns  and  says  **  There  is  nothing— the  heavens 
are  as  brass  above  roe  " — El^ah  renews  his  prayer,  with  in- 
creased fervor,  the  people  joining  him,  and  again  sends  forth 
the  youth,  who  again  returns  with  an  unfavourable  answer, 
**  There  is  nothing — the  earth  is  as  iron  under  me."  A  third 
time  Elijah  prays,  and  with  intense  earnestness  and  a  fulness 
of  faith  that  never  leaves  him.  The  youth  once  more  sets 
forth,  and  returns  with  better  news, — *•  Behold  a  little  cloud 
ariseth  now  from  the  waters  ;  it  is  like  a  man's  hand  !  The 
heavens  are  blaek  with  clouds  and  with  wind;  the  storm 
rusheth  louder  and  louder !"  Elijah  and  the  people  offer  thanks 
to  God,  the  storm  bursts  forth,  and  the  thirsty  land  is  flooded 
and  refreshed. 

Mendelssohn  has  treated  this  scene  in  a  spuit  of  transcendent 
poetry  that  is  inferior  to  nothing  in  the  whole  range  of  art. 
The  prayer  of  Elijah,  in  A  flat,  is  full  of  devotion,  and  the 
burden  on  the  words,  **  Open  the  heavens  and  send  us  relief," 
echoed  in  chorus  by  tlie  people,  involves  one  of  the  most 
soothing  and  enchanting  phrases  of  melody  that  ever  was 
listened  to.  A  great  charm  is  produced  by  the  change  of 
harmony  in  the  choral  response.  The  recitatives  for  Elijah 
and  the  youth  are  indescribably  beautiful.  The  contrast 
between  the  earnest  belief  of  the  prophet  and  the  ingenuous 
unconsciousness  of  the  boy  is  finely  conveyed  in  the  instru- 
mental accompaniments.  While  Elijah  speaks  there  is  a 
motion  in  the  orchestra  that  strikingly  suggests  the  inward 
feeling  in  the  holy  man's  mind  that  rain  is  at  hand,  and  that 
God  is  preparing  to  listen  to  his  prayer.  This  increases  at  each 
resumption  of  his  supplication,  and  at  length  becomes  so 
perturbed,  that  the  poetical  idea  of  waters,  striving  to  burst 
from  their  hold,  is  strongly  conveyed.  To  Elij^,  full  of 
faith,  the  rain  comes  when  the  prayer  is  uttered  —  his 
soul  drinks  of  the  streams  ere  his  body  is  aware  of  their 
presence.  In  the  youth  quite  the  contrary.  Total  ignorance 
and  total  absence  of  belief,  is  indicated  by  the  bare  and  soli- 
tary accompaniment  of  the  oboe,  which  plays  a  single  note, 
high  in  the  scale,  in  combination  with  the  soprano  tones  of  the 
youth.  The  effect  is  new  and  picturesque,  but  no  words  can 
give  a  notion  of  it  to  those  who  have  not  been  lucky  enough 
to  hear  it.  The  youth's  description  of  the  appearance  of  the 
little  cloud,  and  the  gradual  indications  of  the  approaching 
storm,  is  conveyed  with  masterly  art.  The  tremolando  of  the 
violins,  on  high  notes,  and  the  gradual  cresce^ido,  in  which  the 
tenors,  violoncellos,  and  wind  instruments,  come,  one  after 
the  other,  to  increase  the  body  of  sound,  until  a  change  of 
harmony  employs  the  whole  power  of  the  orchestra  on  the 
words,  "  Thanks  be  to  God  for  all  his  mercies,"  uttered 
exultingly  by  the  people,  involve  something  beyond  mere 
art.  Nothing  but  inspiration  from  above  could  have  suggested 
these — the  recitative  of  Elijah  in  praise  of  God,  which,  for  a 
while,  stops  the  current  of  the  multitude's  enthusiasm — and 
finally,  the  overpowering  and  magnificent  chorus  in  £  flat, 
"  Thanks  be  to  God,"  in  which  the  full  flow  of  violent 
delight  and  heart-felt  gratitude  is  displayed,  with  a  might  that 
defies  contemplation,  and  sets  criticism  at  defiance.  The 
subject  of  this  chorus,  overflowing  with  rapturous  exultation ; 
the  entrance  of  the  second  theme  on  the  words,  "  The  stormy 
billows  are  high,"  with  the  heaving  of  the  basses  in  passages 
of  rolling  impetuosity;  the  awful  and  tremendous  modu- 
lations in  A  flat,  thence  to  D,  and  thence  back  to  E  flat,  th3 
original  key,  on  the  words,  **  But  the  Lord  is  above  them 
and  Almighty;"    the  sudden  pau^fij^d^fef Vll^l^P^fCr 


THE  MUSICAL  WORLD. 


2J96 


voices  and  instruments,  with  the  exception  of  the  violins, 
which  descend  in  a  scale  passage /mo.  with  a  novelty  of  efi'ect 
that  has  no  precedent;  and  the  crash  upon  the  dominant 
harmony  of  the  relative  minor  of  the  key,  with  which  the 
sahject  is  resumed  and  climaxed ;  all  these  are  evidences  of 
power,  that,  had  Mendelssohn  produced  nothing  else,  would 
have  given  him  an  indisputable  right  to  a  place  by  the  side  of 
the  greatest  composers  the  world  has  produced,  who,  in  their 
moments  of  highest  aspiration,  never  aspired  more  loftily,  or 
achieved  more  wonders  than  are  presented  in  this  superb  chorus 
—a  worthy  climax  to  the  first  part  of  Elijah. 

(To  be  continued.) 
[Our  notices  of  the  four  performances  at  Exeter  Hall,  and  the  two  at  Man- 
chester and  BirminghaiD,  at  all  of  which  we  were  present,  will  be  comprised 
in  the  body  of  the  general  remarks  with  which  we  intend  to  conclude  this 
notice.] 


THE  BEETHOVEN  QUARTET  SOCIETY. 

Tmk  fourth  meeting  was  very  fully  attended.  The  attractions 
were  strengthened  by  the  co-operation  of  the  justly  celebrated 
Vieuxtemps,  one  of  the  greatest  living  masters  of  the  tiolin, 
both  as  a  player  and  as  a  composer.  The  programme  consisted 
of  two  of  the  earlier  quartets— No.  2,  in  G.  major,  and  No. 
6»  in  B  fiat  major,  from  op.  13,  both  composed  in  1792,  and 
both  dedicated  to  the  Prince  Lichnowsky ;  of  No.  11,  in  F 
minor,  op.  95,  composed  in  1815-16,  and  dedicated  to 
Zmeskall  von  Domanovetz;  and  finally,  of  No.  17,  in  F 
major,  op.  135,  composed  between  the  years  1828  and  1826 
(the  precise  date  not  ascertainable),  and  dedicated  to  Herr 
Johann  Wolfimeyer.  The  first  and  third  were  led  by  Sainton, 
the  second  and  fourth  by  Vieuxtemps.  The  tenor  and 
violoncello  were,  as  usual,  in  the  handa  of  Hill  and  Rousselot. 
The  performance  was  worthy  of  the  Beethoven  Quartet  Society. 
The  two  first  quartets  are  known  to  all  amateurs,  and  need  no 
panegyric,  their  freshness,  natural  beauty,  and  masterly  in- 
genuity having  long  ago  placed  them  among  the  classics  of  art. 
The  F  minor,  which  Mendelssohn  has  pronounced  to  be  the 
most  thoroughly  Beethovenish  of  the  seventeen  quartets  leil 
us  by  the  master,  is  one  of  the  most  elaborate,  fantastic,  and 
difilcult  to  understand.  But  its  deep  meaning  and  recondite 
beauties  grow  upon  you  with  every  hearing.  It  was  very 
finely  interpreted  by  Sainton  and  his  coadjutors,  and  delighted 
all  the  amateurs  present.  The  F  major  (No.  17)  is  not  so 
captivating  a  composition  by  any  means.  It  has  some  great 
points,  especially  in  the  allegretto,  and  the  lenlo  cantante  in  D 
fiat ;  but  its  general  character  is  of  such  a  capricious  nature 
as  to  set  musical  rules  and  musical  taste  at  defiance.  We  are 
convinced  that  had  Beethoven  lived,  he  would  not  have  con- 
sented to  its  publication.  It  bears  strong  evidence  of  having 
been  the  freak  of  one  of  those  wayward  moods  to  which  the 
irritable  and  passionate  temper  of  the  composer  frequently 
subjected  him,  and  was  never  intended  by  him  as  a  work 
of  art  to  be  dedicated^  like  the  greater  number  of  his  composi- 
tions, to  immortality.  But,  like  other  fragments  which  the 
composer  would  have  disdained,  it  was  sold  by  his  greedy 
relatives  to  the  music-publishers,  who,  after  the  great  man's 
death,  hungrily  snatched  at  every  scrap  of  manuscript  that 
was  to  be  found  scattered  about  his  room,  or  carefully  laid 
aside  in  his  portfolio,  for  rejection  or  reconsideration.  The 
innumerable  violations  of  all  harmonic  proprieties  which  this 
quartet  presents  could  not  possibly  have  been  sanctioned  by 
so  profound  and  correct  a  musician  as  Beethoven,  and  nothing 
can  dissuade  us  from  the  belief  that  the  majority  of  them  are 
the  offsprings  of  the  engraver's  carelessness— as  in  the  instance 
of  the  grand  fugue  in  B  fiat,  which  formed  the  finale  to  his 
iMt  qoarteii  and  was  afterwards  replaced  by  one  of  the  loveliest 


inspirations  of  his  inexhaustible  fancy.  All  that  good  playing 
could  effect  was  effected  in  the  interpretation  of  this  quartet, 
by  Vieuxtemps  and  his  fellows  ;  but  no  playing  in  the  world 
can  make  it  musically  acceptable. 

On  Tuesday  afternoon  the  Beethoven  Quartet  Society  paid 
an  appropriate  compliment  to  the  celebrated  composer.  Dr. 
Mendelssohn  Bartholdy,  by  inviting  him  to  hear  a  performance 
of  some  of  his  own  works.  The  Beethoven  Rooms  were 
crowded  with  the  friends  and  patrons  of  the  Society,  anxious 
to  obtain  a  last  look  at  the  illustrious  musician,  who  was  to 
leave  England  immediately  for  Frankfort,  The  performances 
were  altogether  of  the  most  interesting  and  exciting  nature. 
They  commenced  with  the  quartet  in  D  major,  one  of  the  set 
of  three  recently  composed  by  Mendelssohn.  This  ingenious 
and  beautiful  work  was  exquisitely  performed  by  Joseph 
Joachim,  Sainton,  Hill,  and  Rousselot ;  the  first  three  move- 
ments especially,  which  went  to  perfection.  The  fintUe  was 
somewhat  unsteady.  The  romanza  in  B  minor,  one  of  the 
most  delicate  and  lovely  emanations  from  the  genius  of  the 
composer,  was  executed  with  a  nicety  of  detail,  and  a  purity 
of  expression,  that  went  to  the  hearts  of  all  present. 
Mendelssohn  was  then  invited  to  take  his  place  at  the  piano, 
and  performed,  d  rimprovisie,  the  charming  melody  in  A  fiat, 
from  the  fourth  book  of  his  Liede  ohne  worte^  and  Beethoven's 
33  variations,  on  an  original  theme,  in  C  minor.  The  first 
was  a  refined  specimen  of  poetical  expression,  the  last  a 
masterly  display  of  vigorous  and  faultless  execution.  The 
audience  rose  en  masse,  and  cheered  the  great  musician.  The 
next  piece  was  Mendelssohn's  second  trio  in  C  minor,  inter- 
preted by  the  composer  at  the  piano,  with  Sainton  and 
Rousselot  at  the  violin  and  violoncello.  This  trio  promises 
to  become  as  popular  among  musicians  as  the  first  in  D 
minor,  which  is  on  the  desk  of  every  pianist  of  any  preten- 
sions to  taste.  The  aUegro  is  energetic  and  splendid ;  the 
entrance  of  the  second  theme  fortissimo^  on  the  harmony  of 
the  6-4-2,  has  a  new  and  surprising  effect,  and  the  working 
of  the  two  themes  throughout  is  powerful  and  striking.  The 
slow  movement  is  a  pretty  romanza  in  E  fiat,  6-8  time,  in 
which  the  violin  and  violoncello  are  constantly  singing  in 
concert  the  most  ravishing  strains  of  melody,  accompanied  by 
the  piano  which  occasion^ly  takes  the  theme,  for  variety,  in 
arpeggio,  or  otherwise.  The  scherzo  is  in  the  Midsummer  Night* s 
Dream  school ;  a  rapid  and  ever-restless  movement,  in  moio 
continuOf  exciting  and  interesting  to  the  highest  degree.  The 
entrance  of  the  trio  in  the  major  is  astonishingly  fine,  and  the 
whole  construction  of  the  movement  is  in  the  composer's  most 
Mendelssohnian,  and  consequently,  happiest  manner.  The 
difficulties  of  this  movement,  owing  to  the  extreme  rapidity  of 
utterance,  are  prodigious,  the  quaUtiea  of  each  of  the  three 
performers  being  taxed  in  an  equal  proportion.  It  was  splen- 
didly executed.  The  pianoforte  playing  of  Mendelssohn  was 
beyond  all  praise.  The  velocity,  force,  and  sureness  of  his 
fingering — the  impetuosity  with  which  he  delivered  the  pas- 
sages of  energy— the  refined  and  passionate  sentiment  he 
infused  into  the  cantabiles—ilit  extraordinary  precision  and 
certainty  of  his  octave-playing,  with  both  hands---in  short,  the 
surpassing  excellence  of  Uie  whole  performance  was  nothing 
short  of  inspiration.  Sainton  and  Rousselot  followed  each 
movement  of  the  composer's  ever-changing  expression  with 
the  ease  and  quickness  of  the  most  practised  master.  It 
is  impossible  to  describe  in  words  the  enthusiasm  engendered 
by  this  wonderful  performance.  Greatest  of  all  pianists,  as 
Mendelssohn  undoubtedly  is,  we  question  if  ever  his  supre- 
macy was  so  triumphantly  established.  The  last  iteui  of 
this  most  intereatiDg  programme  was  the  fiuoQiu  OUetto  in  £ 


/ 


296^ 


THE  MUSICAL  WORLD. 


flat,  for  stringed  instruments,  which,  alheit  it  was  produced  at 
the  early  age  of  fifteen,  ranks  high  among  Mendelssohn's 
achievements,  and  among  the  nohlest  monuments  of  musical 
genius  that  the  whole  range  of  art  can  fiirnish.  This 
astonishing  work  was  performed — we  need  not  say  how 
superhly,  when  we  record  the  names  of  its  executants — 
Vieuxtemps  and  Sainton,  first  violins ;  Joachim  and  Steveniers, 
second  violins ;  Hill  and  W.  Thomas,  tenors ;  Piatti  and 
Roiisselot,  violoncellos.  Those  accomplished  artists  proved 
themselves  worthy  their  renown  by  their  interpretation  of  this 
glorious  work,  in  presence  of  the  gifted  composer.  Men- 
delssohn, who  had  never  heard  Vieuxtemps  before,  expressed 
his  satisfaction  in  unmeasured  terms.  Never  was  the  grand 
style  and  masterly  execution  of  that  consummate  violinist 
displayed  to  greater  advantage.  In  the  large  expression  of  the 
allegro,  the  romantic  dejection  of  the  andante^  the  efi^ervescent 
sparkle  of  the  intermezzo,  and  the  sweeping  majesty  of  the 
finale^  Vieuxtemps  was  equally  at  home,  equally  the  great 
master  which  the  world  has  long  declared  him.  The  other 
players  were  scarcely  less  admirable.  Hill's  tenor  came  out 
in  various  passages  with  magical  effect,  and  the  violoncellos 
of  Piatti  and  Rousselot  gave  double  force  to  the  energetic 
points  of  the  fugue.  With  this  almost*  faultless  performance 
the  meeting  terminated,  and  those  who  assisted  may  congra- 
tulate themselves  on  having  heard  the  Ottetto  of  Mendelssohn 
performed,  for  the  first  time  in  this  country,  with  the  accuracy 
and  spirit  necessary  to  the  full  expression  of  its  manifold 
beauties* 

TBB     AVVIBIVIBB, 

;f rom  t|ie  €itrmaii  of  iSrSt^t. 

ComHnued/rom  pag§  28S. 
PART    II. CHAPTER    XIII. 

PfiBBONS  who  aro  perfectly  strange  and  indifferent  towards  each 
other,  when  they  live  for  a  time  together,  mutually  reveal  their 
inmost  feelings,  and  a  certain  confidence  must  arise.  So  much  the 
more  may  it  be  expected,  that  with  our  two  friends,  while  they 
lived  together,  ana  were  daily  and  hourly  in  each  other's  society, 
nothing  remained  hidden  on*^  either  side.  They  recalled  the 
memory  of  former  times,  and  the  Major  did  not  conceal  the  fact, 
that  when  Edward  had  returned  from  his  travels,*  Charlotte  had 
destined  Ottilia  for  him,  meaning,  in  the  course  of  time,  to  give 
htm  the  beautiful  girl  for  a  wife.  Edward,  transported  even  to 
embarrassment  at  this  discovery,  spoke  without  reserve  of  the 
mutual  inclination  of  Charlotte  and  the  Major,  which,  because  it 
happened  to  be  pleasant  and  favourable  to  him,  he  painted  in  lively 
colours. 

The  Miyor  could  not  quite  deny  nor  quite  confess ;  but  Edward 
became  only  the  more  fixed  and  determined.  He  loolied  upon 
every  thing,  not  as  possible,  but  as  having  already  taken  place.  It 
was  only  necessary  that  all  parties  should  consent  to  what  they 
wished  ;  a  separation  was  certainly  to  be  effected ;  a  speedy  union 
was  to  follow  ;  and  Edward  wished  then  to  travel  with  Ottilia. 

Of  all  things  which  the  imagination  paints  as  pleasant,  perhaps 
nothing  is  more  charming  than  when  lovers,  or  a  young  married 
couple,  hope  to  enjoy  their  new  fresh  connection  in  a  new  fresh 
world,  end  to  prove  and  confirm  a  durable  bond  by  so  many 
changing  situations.  In  the  meanwhile,  the  Major  and  Charlotte 
were  to  have  unlimited  authority,  so  as  to  manage  all  that  belonged 
to  possessions,  property,  and  desirable  worldly  arrangements,  and 
conduct  it  according  to  equity  and  fairness,  that  all  parties  might 
be  satisfied.  But  the  pomt  on  which  Edward  most  of  all  relied, 
and  from  which  he  seemed  to  promise  himself  the  greatest  advan« 
tage,  was  this^that  as  the  child  was  to  remain  with  its  mother,  the 
Miyor  could  educate  it  according  to  his  views,  and  develope  its 
faculties.  It  was  not  in  vain  that  the  name  of  Otto,  which  was 
common  to  both  the  friends,  had  been  given  him  at  his  baptism. 


*  TUB  prdect,  wbicli  Charlotte  entertaiMd  of  marryinr  Ottilia  to  Bdwaid. 
bttore  ahe  tiouflit  of  marrying  Um  lierself,  ia  mentioned  in  the  fint  nurt.— 
Tranffafor.  "^ 


The  whole  plan  was  so  complete,  as  far  as  Edward  was  con* 
cemed,  that  he  did  not  like  to  wait  a  day  in  approaching  its 
execution.  On  their  way  to  the  estate,  they  came  to  a  little  town, 
where  Edward  possessed  a  bouse,  in  which  he  wished  to  stop,  and 
await  the  return  of  the  Major.  However  he  could  not  prevail  on 
himself  to  aliffht  there  at  once,  and  accompanied  his  friend  through 
the  place.  They  were  both  on  horseback,  and  being  occupied  in 
important  conversation,  rode  further  on  together. 

'  All  at  once  thev  discerned  in  the  distance  the  new  house  on  the 
heights,  the  red  tiles  of  which  they  saw  glittering  for  the  first'time. 
An  irresistible  desire  seizes  Edward  ;  he  wishes  to  have  all  settled 
this  evening.  He  will  remain  concealed  in  a  neighbouriog  village ; 
the  Major  is  to  represent  the  affur  urgently  to  Cnariotte ;  take  her 
prudence  by  surprise ;  and,  by  the  unexpected  proposal,  compel  her 
to  make  a  tree  revelation  of  her  feelings.  For  Edward,  who  had 
transfeirred  his  wishes  to  her,  onlv  thought  that  he  was  meeting  her 
own  decided  wishes,  and  hoped  for  a  speedy  consent  from  her. 
because  he  himself  could  have  no  other  will. 

Joyously  ho  saw  the  happy  result  before  his  eyes,  and  that  this 
might  be  speedily  communicated  to  him,  while  ho  was  watching, 
cannon  were  to  be  fired,  and,  if  it  were  night,  rockets  were  to 
ascend. 

The  Mqor  rode  to  the  castle ;  he  did  not  find  Charlotte,  but 
learned  that  for  the  present  she  resided  in  the  new  building,  and 
that  now  she  was  paying  a  visit  in  the  neighbourhood,  from  which, 
probably,  she  would  not  soon  return  in  the  course  of  the  day.  He 
went  back  to  the  inn,  where  he  had  put  up  his  horw. 

Edward,  in  the  meanwhile,  impelled  by  unconquerable  impatience, 
glided  out  of  his  retreat  by  solitarv  paths,  known  only  to  hunters 
and  fishers,  to  his  park,  and  found  himself  towards  eveninsr  in  the 
vicinity  of  the  lake,  the  surface  of  which  he  now  saw,  for  ue  first 
time,  in  its  perfection  and  purity. 

This  afternoon,  Ottilia  nad  taken  a  walk  along  the  lake.  She 
carried  the  child,  and,  according  to>  custom,  read  as  she  went 
Thus  she  reached  the  oaks  at  the  place  of  crossing.  The  bey  had 
fallen  asleep  i  she  sat  down,  laid  him  by  her,  and  continued  to  read. 
The  book  was  one  of  those  which  are  attractive  to  a  tender  heart, 
and  do  not  allow  the  reader  to  leave  off.  She  forgot  time  and 
hour,  and  did  not  think  that  by  land  it  was  a  long  way. back  tftihe 
new  building,  but  sat  absorbed  in  her  book — in  herself  so  lovely  to 
behold,  that  the  trees  and  shrubs  around  her  should  have  been 
animated,  and  endowed  with  eyes,  for  the  purpose  of  admiring  her, 
and  taking  delight  in  her.  And  a  reddish  streak  of  light  from  the 
sinking  sun  just  fell  behind  her,  and  illumined  her  cheek  and 
shoulder. 

Edward,  who  had  hitherto  succeeded  in  pressing  forward  so  far 
unobserved,  finding  his  park  empty,  and  the  spot  lonely,  venture^ 
fuither  and  further.  At  last  he  broke  through  the  bushes  by  the 
oaks — he  saw  Ottilia — she  saw  him — he  flew  to  her,  and  was  at  her 
feet.  After  a  long,  mute  pause,  during  which  both  endeavoured 
to  collect  themselves,  he  explained,  in  a  few  words,  why  and  how 
he  had  come.  He  had,  he  said,  sent  the  Miyor  to  Charlotte,  and 
their  common  fate  was,  perhaps,  decided  at  this  moment.  He  had 
never  doubted  of  her  love,  and  certainly  she  had  never  doubted  of 
his.  He  begged  for  her  consent ;  she  hesitated  :  he  implored  her  ; 
he  wished  to  avail  himself  of  his  old  privileges,  end  clasp  her  in  his 
arms— she  pointed  to  the  child. 

Edward  saw  it,  and  was  astounded.  «<  Gi eat  God  T  he  cried, 
"  if  I  had  cause  to  doubt  my  wife  and  my  friend,  this  form  would 
bear  fearful  witness  against  them.  Is  not  this  the  image  of  the 
Major?    Such  a  likeness  I  never  saw." 

'*  Nay,"  said  Ottilia,  <*  all  the  worid  says  it  is  like  me."  «*  Is  it 
possible  ?"  said  Edward  ;  and  at  that  moment  the  child  opened  its 
eves — two  great,  black,  penetrating  eyes,  deep  and  kindly.  The 
child  alreack  looked  on  the  world  with  so  much  intelligence,  it 
seemed  to  know  the  pair  who  stood  before  it.  Edward  cast  him- 
self down  by  the  child,  and  knelt  a  second  time  before  Ottilia. 
"  It  is  thvsell  r  he  cried  i  «« these  are  thine  eyes.  But,  O,  let  me 
only  look  into  thine  own.  Let  me  cast  a  veil  over  that  evil 
hour  which  gave  existence  to  this  being.  Shall  I  scare  thy  pure 
soul  with  the  unhappy  thought,  that  human  beings  can  press  each 
other  to  the  heart,  while  mentally  estranged,  and  thus  profane  a 
legal  tie  by  ardent  wishes.  Or,  rather,  since  we  hate  gone  so  fiuv^ 
•^since  my  connection  with  Charlotte  mi^  be  distolved-rSiuciBf^ 


THE  MUSICAL  WORLD. 


;297 


thou  wilt  be  mine — why  should  I  not  say  it  ?  Wh^  should  I  not 
speak  out  the  hard  word  ?  This  child  is  the  fruu  of  a  double 
.  adultery  I  It  separates  roe  from  my  wife,  and  my  wife  from  me, 
even  as  it  should  have  united  us.  Let  it  then  bear  witness  against 
me ;  let  these  fine  eyes  tell  them  that  I  belonged  to  thee,  while  in 
the  arms  of  another.  Ma/st  thou  feel,  Ottilia,  truly  feel,  that  I 
can  atone  for  that  fault — that  crime,  in  thine  arms  alone  I" 

'*  Hark  I"  he  cried,  as  he  sprang  up,  and  thought  he  heard  a  shot 
as  the  signal  which  the  Major  was  to  give.  It  was  a  hunter,  who 
bad  fired  among  the  neighbouring  mountains.  Nothing  further 
ensued  ;  Edward  was  impatient. 

It  was  not  till  now,  that  Ottilia  saw  that  the  sun  had  sunk  behind 
the  mountains.  "  Retire,  Edward,"  cried  Ottilia.  The  sun  still 
glimmered,  for  the  last  time,  from  the  windows  of  the  upper  edifice. 
*'  Retire,  Edward,"  cried  Ottilia.  '*  So  long  have  we  practised  self- 
denial— so  long  have  we  endured.  Reflect,  what  we  both  owe  to 
Charlotte.  She  must  decide  our  fate ;  let  us  not  anticipate  her. 
I  am  thino,  if  she  permits  it ;  if  not,  I  must  renounce  thee.  Since 
thou  tbinkest  the  decision  so  close  at  hand,  let  us  wait.  Go  back 
into  the  village ;  there  the  Major  expects  thee.  How  much  may 
happen  which  requires  an  explanation  1  Is  it  probable  that  the 
mde  report  of  a  cannon  coula  announce  to  you  the  success  of  his 
negociations  ?  Perhaps  he  is  looking  for  thee  at  this  moment. 
He  has  not  found  Charlotte,  I  know,  but  he  may  have  gone  to 
meet  her,  as  it  was  known  where  she  was.  How  many  cases  are 
possible !  Leave  me.  She  must  be  coming  now.  She  waiu  for 
me  and  the  child  up  yonder." 

Ottilia  spoke  in  haste.  She  summoned  together  all  possible 
contingencies.  She  was  happy  in  Edward's  presence,  and  felt 
that  she  must  now  remove  him.  *'  I  beseech,  I  entreat  thee,  my 
beloved,"  she  cried,  <*  return  and  watt  for  the  Major."—**  I  obey  thy 
commands  "  cried  Edward,  while  he  looked  upon  her,  for  the  first 
time,  with  passion,  and  then  folded  her  closely  in  his  arms.  She 
clasped  him  in  her's,  and  in  the  tenderest  manner  pressed  him  to 
her  Dosom.  Hope  soared  over  their  heads,  like  a  star,  which  falls 
from  heaven.  They  fancied,  they  believed,  that  they  belonged  to 
aaeh  other ;  for  the  first  time,  they  exchanged  free,  oecided  kisses, 
and  then  forcibly  and  painfully  parted. 

The  sun  had  set ;  twilight  had  already  begun ;  and  there  were 
dmp  exhalations  about  the  lake.  Ottilia  was  moved  and  per- 
plexed ;  she  looked  over  towards  the  house  on  the  mountain,  and 
ikncied  that  she  saw  Charlotte's  white  dress  on  the  balcony.  The 
circuitous  route  by  the  lake  was  long,  and  she  knew  how  impatienUy 
Charlotte  was  expecting  the  child.  She  sees  the  plane-trees  oppo- 
site ;  only  a  piece  of  water  separates  her  from  the  path,  which  at 
once  leads  to  the  building.  The  danger  of  venturing  upon  the 
water  with  the  child  vanishes  in  the  emer^fency.  She  hastens  to 
the  boat ,  she  does  not  feel  that  her  heart  is  beating,  that  her  feet 
are  tottering,  that  her  senses  threaten  to  leave  her. 

She  jumps  into  the  boat,  seizes  the  oar,  and  pushes  ofil  She  is 
obliged  to  employ  force ;  she  repeats  the  push  ;  the  boat  totters, 
and  moves  some  distance  into  the  water.  With  the  child  in  her 
left  arm,  with  the  book  in  her  left  hand,  with  the  oar  in  her  right, 
she  also  totters  and  falls  in  the  boat.  The  oar  slips  from  her  hand 
on  one  side,  and  while  she  tries  to  support  herself,  the  child  and 
book  drop  one  after  another  into  the  water.  She  snatches  at  the 
child's  dress,  but  her  inconvenient  position  prevents  her  from 
raising  hcrielf.  The  right  hand,  whicn  is  free,  is  not  suflident  to 
twine  itsdf  round — to  lift  itselfl  At  last,  she  succeeds — she  draws 
the  child  from  the  vrater ;  but  its  eyes  are  closed — it  has  ceased  to 
breathe. 

At  the  moment  all  her  presence  of  mind  returned,  but  so  much 
the  ffreater  was  her  pain.  'Jlie  boat  is  impelled  almost  into  the 
middle  of  the  lake  ;  the  oar  floats  afar  off;  she  sees  no  one  on  the 
bank ;  and,  indeed,  what  would  it  have  availed  her,  if  she  had  seen 
any  one !  Severed  from  every  thing,  she  floats  upon  the  faithless 
and  inaccessible  element 

^  She  seeks  ud  in  herself.  She  had  so  often  heard  of  the  restora- 
tion of  the  drowned.  She  had  even  witnessed  it  on  the  evening  of 
her  bin h -day.  She  undresses  the  child,  and  dries  it  with  her 
muslin  dress.  She  tears  open  her  bosom,  and,  for  the  first  time, 
exposes  it  to  the  open  air ;  for  the  first  time  she  presses  to  her 
naked  breast  a  living  thing— which,  alas  I  is  not  living.  The  cold 
limba  of  the  unfortunate  creature  chill  her  bosom  to  the  inmost 


heart.  Infinite  tears  flow  from  her  eyes,  and  communicate  to  the 
surface  of  the  stiffened  form  an  appearance  of  life  and  warmth. 
She  does  not  remit  her  exertions  ;  she  envelops  it  in  her  shawl, 
and  by  rubbing,  pressing,  breathing,  kisses  and  tears,  she  thinks  she 
cau  supply  the  place  of  those  remedies  which  are  denied  her  in 
this  lonely  position. 

But  all  in  vain  I  Without  motion,  the  child  lies  in  her  arms ; 
without  motion,  the  boat  stands  upon  the  surface  :  but,  even  here, 
her  beautiful  soul  does  not  leave  her  helpless.  She  turns  her 
thoughts  above.  Kneeling,  she  sinks  down  in  the  boat,  and,  with 
both  arms,  raises  the  stiffened  child  over  her  innocent  heart,  which 
resembles  marble  in  whiteness,  and,  alas  I  in  coldness  also.  With 
tearful  eyes  she  looks  upwards,  and  calls  for  aid  fiom  that  place 
where  a  tender  heart  hopes  to  find  the  greatest  fulness,  if  it  is 
wanting  everywhere  else. 

She  also  turns  herself,  not  in  vain,  to  the  stars,  which  already 
begin  to  shine  forth  one  by  one.  A  soft  wind  arises,  and  impels  the 
boat  towards  the  plane-trees. 

{To  be  eoHtimud.) 
S*  To  prevent  miiiindentandiiiflr>  it  may  be  stated  that  the  C0|»7rigM  of  this 
translation  belonga  solely  to  the  tranilator. 


SONNET. 

No.  XXXIII. 

My  better  angd,  always  hover  near  me. 

And  with  the  tender  glances  of  thine  eyes. 
Scatter  the  gloomy  thoughts  which  in  me  rise ; 

"With  the  soft  lustre  of  thy  count* nance  cheer  me. 

Oh,  have  they  told  thee  thou  shouldst  never  hear  me,— 
That  in  my  words  some  deadly  poison  lies, 
Which  carries  mischief  wheresoe'er  it  flies  f— 

They  know  me  not,  who  say  that  thou  ihould'st  fear  me. 

To  me  thou  seem'st  some  spirit  from  above. 
Looking  serenely  upon  passions  wild. 
Though  thy  dear  heart  with  love  is  flowing  o'er. 

Thou  shunn'st  all  earthiness,  but  shunn'st  not  love ; 
Checking  each  outbreak  with  a  look  so  mild, 
That  while  I  hope  the  less,  I  love  the  more.-^N.  D. 


MADAME   BISHOP   IN   DUBLIN. 

Tbe  production  of  Linda  di  Chamouni  on  Tuesday  evening, 
at  the  Theatre  Royd,  Dublin,  has,  it  would  appear,  from  the 
notices  of  all  the  journals,  created  a  powerful  sensation.  We 
shall  extract  an  article  from  the  Pilot,  which,  however  warmly 
it  speaks,  is  certainly  frigid,  compared  to  the  comments  of 
many  of  its  cotemporaries  on  Madame  Bishop's  acting  and 
singing.     The  journal  alluded  to  speaks  as  follows  : — 

"  Since  La  Simnambula  was  translated  and  produced  on  the  English 
stage,  we  do  not  recollect  any  foreign  opera  which  pleased  so  much,  or 
deserved  better,  and  received  more  enthusiastic  success,  than  Linda  di 
Chamouni,  performed  last  night  (for  the  first  time)  for  the  benefit  of 
that  accomplished  artiste,  Madame  Anna  Bishop.  The  interest  and 
simplicity  of  the  story  (which  is  of  a  domestic  nature),  the  beauties  of  the 
music,  one  of  Donizetti's  best,  and,  aboTe  all,  the  exquisitely  toueUng 
manner  in  which  the  gifted  ben^ciaire  represented  the  innocent  and 
loving  Maid  of  Chamouni,  could  not  fail  to  delight  the  crowded  audience, 
whose  applause  throughout  was  almost  incessant.  We  admired  much  the 
good  taste  and  modesty  of  Madame  Bishop,  in  bringing  forward  with  her, 
when  she  was  unanimously  called  for  after  the  opera,  all  the  principal 
vocalists  who  supported  her,  and  the  public  rewarded  the  successful 
troupe  with  tbe  loudest  acclamation.  Pressure  of  matter  prevents  us 
giving,  as  we  should  wish,  full  detaiU  of  the  plot  of  the  opera  (which  is 
taken,  we  believe,  from  the  admired  French  comedy,  La  Grace  do  Dieu), 
and  noticing  the  many  morceaux,  which  struck  us  as  being  eminently 
dramatic  and  beautiful ;  but  we  cannot  omit  to  speak  of  a  most  effective 
religious  chorus  opening  the  first  act— the  light  and  pretty  song  of 
Madame  Bishop  which  follows  (and  which  was  vociferously  encorael)— an 
exquisite  duet  between  Linda  and  Carlo  (T.  Bishop),  contoining  a  simple 
and  bewitching  melody,  which  is  often  repeated  through  the  opera;  and 
the  rondo  finale  (also  encored)  in  which  Anna  Bishop  performed  some 
feats  of  vccalisation  quite  stupendous.  Our  decided  opinion  is,  that 
Anna  Bishop,  in  the  part  of  Linda,  is  equal  to  any  artiste  we  have  ever 
seen,  in  point  of  acting  or  singing ;  and  last  night  she  proved  herself  to 
be  an  O'Neil  and  a  Malibran.  Ber  mad  scene  was  admirable ;  and  her 
forlorn  aspect  in  the  third  act,  when  she  returns  to  Chamouni  destitute 
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THE  MUSICAL  WORLD. 


and  insane,  waa  true  to  life.  The  two  Corria,  Mr.  T.  Bishop,  the  Misses 
De  La  Vega,  &c.,  acquitted  themselves  well  In  their  respective  arduous 
roles,  although  a  few  more  rehearsals  for  them  would  not  have  been  amiss. 
The  choruHses  and  orchestra,  under  the  able  direction  of  the  talented 
leader,  Levey,  went  oflf  admirably.  To-morrow  evening  Madame  A. 
Bishop  has  consented  to  repeat  the  Linda  for  that  night  only." 

We  should  be  much  pleased  at  having  an  opportunity  of 
hearing  Madame  Bishop  in  an  opera  so  well  befitted,  in  every 
respect,  to  her  genius  and  capabilities.  By  all  accounts, 
Linda  is  by  far  the  greatest  part  in  which  Madame  Bishop  has 
yet  appeared.  The  opera,  we  understand,  has  been  admirably 
adapted  to  the  English  stage.  Linda  di  Chamouni,  in  point 
of  music  and  dramatic  effect,  is  one  of  Donizetti's  happiest  and 
best  constructed  works.  It  was  done,  for  the  first  time  in  an 
English  form,  on  Tuesday  evening,  at  the  Dublin  Theatre. 
No  doubt  we  shall  have  an  early  letter  from  our  kind  Corres- 
pondent in  Dublin,  R.  C.  explaining  the  performance  at 
greater  length. 

CONCERTS. 

RoTAL  Academy  op. Music— The  second  concert  took  place  on 
Saturday,  at  the  Hanover  Square  Rooms.  We  can  do  little  more 
than  cite  the  programme  of  the  performance,  which  certainly  did 
not  bear  out  the  notions  we  have  a  right  to  entertain  of  what  such 
a  public  Exhibition  of  academic  process  should  be.  There  was 
not  one  composition  by  a  pupil,  and  the  whole  selection,  as  will  be 
seen  by  the  following,  was  a  series  of  fragments. 

Part  I.— Selection  from  the  oper*  of  **  Eubyanthb."— Introdactory  chorus, 
— **  AU  hail  the  room."  WalU.  Romance.—*'  Near  thy  Bay,  when  day  ii 
closinfj:.*'  Mr.  Hbabbrt.  Song.— '<  Morn  is  now  breaking,*'  Mfas  Golb.  Dnet. 
-  "  Joy,  Joy,  he  stiU  ia  mine,"  liias  Holboyd  and  Mr. Wbthbbbbb,"  Song.— 
*'  Home  of  my  CbUdhood  dear,"  Mr.  Gabpnbb.  Finale  to  First  Act.  '*  Quartet." 
—Miss  Ransfobo,  Miss  Salmon,  Mr.  Gabdnbb,  and  Mr.  Wbthbbbbb,  with 
Chorjjs.— Weber,  Song.—**  O  too  lovely,"  Miss  Salmon,  (Arttixerxee)  Dr. 
Ame,  "  Adagio  and  First  moyement  from  Concerto  in  D,"  Tioloncello,  Mr. 
Horatio  Chipp,  Romberg,  Aria.— "Elena  O  ta  mi Cbiami,"  Miss D'Ernst, 
(La  Donwa  del  Logo)  RoesuH,  "  Andante  and  Rondo  in  B.  mmor,"  Pianoforte, 
Miss  D.  Watbins,  Mendeeaohn, 

Pabt  II.— Overture.-"  Egmont,"  Bwthoven,  Duo.—**  lo  vi  perdooa,  O  stelle." 
Miss  HoLBOYo  and  Miss  £.  IIolboyd.  {Zadig  ed  Attturtea)  Vaece^.  Concerto. 
— **  B  minor.  First  movement,"  Pianoforte,  Miss  M.  E.  Smith,  {KingU  Scholar), 
Htmmel,  Duo.— **Pray  leave  us  but  a  moment,"  Miss  D'Ebnst  and  Miss  Rans- 
FOBD,  {Jeeeonda).  Spohr,  Madrigal.—**  Lady,  your  eye  my  love  enforced," 
Wfekee.  Aria,— *«  Di  placar,"  Miss  Solomon,  {La  Qazxa  Ladra),  AoeeM, 
•«  Introduction  to  Guglielmo  TelL"— The  principal  parts  bvMiss  Solomon, 
Miss  Ranspord,  Mr.  Hbbbert,  Mr.  Wbthbbbbb,  and  Mr.  wbeks.  Reeeini. 
Harp,— Mr.  Thomas. 

Among  the  vocal  performances  we  noticed  the  singing  of  Miss 
Ransford,  in  the  quartet  from  the  Euryanthe  finale,  which  was 
neat,  spirited,  and  in  good  taste.  The  encore  of  this  movement 
was  mamly  indebted  to  the  exertions  of  this  very  improving  vocalist. 
Miss  Cole  also  earned  distinction  bj  her  interpretation  of  the 
8o«g,  **  Mom  is  breaking."  This  young  lady's  voice  is  good,  and 
experience,  under  proper  tuition,  may  do  much  for  her.  There  was 
nothing  else  to  specialize  in  this  department,  but  the  fact  that  Mr. 
Wctherbee,  one  of  the  best  voices  and  one  of  the  most  promising 
singers  in  the  institution,  had  no  solo  to  show  what  progress  he  has 
made.  This  was  not  fair  to  so  good  a  pupil.  The  violoncello 
playing  of  Mr.  Chipp  demands  a  word  of  strong  eulogy.  His 
tone  is  good,  his  execntion  neat,  and  his  style  unaffected  and 
agreeable.     Misses  D.  Watkins/  and  M.  £•  Smith,  the  two  lady 

Sianistfl*  exhibit  promise — ^but  the  latter  scarcely  enough  for  a 
Ling's  Scholar.  The  band  played  the  overture  to  Egmont  very 
well,  but  the  chorus  was  not  Quite  what  it  should  have  been  in  the 
introduction  to  Euryanthe.  This  was  not  a  concert  to  advance  the 
interests  of  the  institution  nor  to  give  the  pupils  a  proper  reverence 
for  the  classical  forms  of  the  art.  There  is  nothing  more  pernicious 
than  this  habit  of  giving  fragments  of  works.  Much  better  would 
it  be  to  treat  the  patrons  of  this  institution  with  the  efforts  of  one 
or  two  reallv  e£Bcient  pupils,  than  to  the  crude  attempts  of  many, 
which  can  do  no  good  to  the  students  themselves  and  little  credit 
to  the  institution.  Where  is  all  the  talent  for  composition  that  was 
wout  to  signalize  the  Academy  so  honourably  ?  Is  it  all  fled  ?  it 
would  really  appear  so  by  the  obstinate  persistance  in  presenting 
concert,  after  concert,  with  scarcely  one  note  from  the  pen  of  a 
student.' 

The  Musical  ^Union. — Mr.  Ella,  the  Director,  has  aow  begun 


to  set  to  work  in  right  earnest  His  third  ''  seance^  was  more 
interesting  than  either  of  its  predecessors.  The  programme  was 
in  itself,  good  ;  and  combiuea  an  agreeable  novelty  in  the  depart* 
meut  of  the  executive,  in  the  shape  of  two  young  German  viohnists 
of  considerable  repute — the  brotners  Joseph  and  George  Helmes- 
berger.     The  selection  was  as  follows  : — 

**  Qaartet  in  G,  No.  76,"  Havdn,    "  Andantino  and  Rondo,"  (tiro  violins). 
Spohr,    •<  Quartet  in  F,  No.  I).  Btethot^, 

Haydn's  Quartet,  one  of  his  best,  was  performed  by  the  elder 
Helmesbeger  (Joseph),  Deloffi^,  Hill,  and  Hausroatin.  We  have 
seldom  heard  one  of  the  works  of  the  patriarch  of  the  quartet 
more  effectively  played.  The  Hnaie,  in  G  minor,  an  ingenious 
and  masterly  movement,  was  rendered  with  great  accuracy  and  bo 
nicest  perception  of  expression.  M.  Deloffre  was  a  capital  vioUno 
secundo.  The  quality  of  ^the  elder  Helmerberger's  playing  was  at 
once  declared  to  be  of  the  right  sort,  combining  classical  feeling 
and  excellent  mechanism*  The  Andantino  and  Rondo  of  Spohr, 
from  his  Second  Concertante^  Op.  88,  was  well  adapted  to  test  the 
skill  of  the  young  Helmesbergers,  and  to  manifest  the  perfection  of 
their  ensemble.  It  was  a  masterly  performance  on  both  hands. 
Lindsay  SlopeVs  pianoforte  accompaniment  was  perfection.  Never- 
theless, we  cannot  accept  the  excuse,  proffered  by  Mr.  Ella,  for 
only  giving  a  fragment  of  thb  work.  If  it  were  too  much  fatiguo 
for  the  elder  Helmesbeiger  to  lead  the  two  auartets,  why  could  not 
one  have  snfficed  ?  so  as  to  have  renderea  Spohr  the  justice  of 
performing  his  concertante  entire.  There  is  no  possible  excuse  in 
concerts  of  such  pretensions  as  those  which  Mr.  Ella  offers  to  his 
patrons,  for  presenting  any  composition,  by  a  great  master,  in  frag- 
ments. The  Rasoumoffsky  was  capitally  played,  and  showed  Herr 
Joseph  Helmerberger  to  be  a  thorough  proficient  in  the  highest 
branch  of  qnartet-piaying—- equally  a  master  of  difficulties  and  of 
style.  The  tenor  and  violoncello  playing  of  Hill  and  Hausmann 
was  admirable.  On  the  whole,  the  impression  produced  by  the 
Helmesbergers  was  quite  up  to  the  mark  of  their  Viennese  repa- 
tation.  Their  style  is  more  remarkable  for  its  charm  than  its 
vigour,  for  its  finish  than  for  its  passion.  Jules  de  Glimes  christened 
them  **  les/emmes  de  JoachinC* — and,  perhaps,  a  happier  definition 
than  that  applied  by  the  spiritual  Belgian  musician  could  hardly  have 
been  appHecl.  We  shall  have  further  occasion,  shortly,  no  doubt,  to 
criticise  the  talents  of  the  Helmesbergers — ^meanwhile  we  proffer 
our  obligation  to  Mr.  Ella  for  having  accorded  us  the  opportunity 
of  hearing  them.  Willis's  large  room — a  sorry  medium  for  sound,  by 
the  way— was  filled  with  feshionables  on  the  occasion,  and,  among 
the  dilettanti  present,  was,  H.  R.  H.  the  Duke  of  Cnnbridge.  The 
stance  took  place  on  Tuesday  the  27th  ultimo.  Vteuxtemps  will 
play  at  the  fourth  and  Joseph  Joachim  at  the  fifth  meeting. 

Messrs.  Gollmick  and  Chables  OBERTHoa's  Concert. — This 
came  off,  in  the  Hanover  Square  Rooms,  on  Friday  evening,  the 
SOth  instant.  The  concert-givers  are  Germans — Herr  Gollmick  a 
pianist,  and  Herr  Oberthurs  a  harpist.  They  have  both  con- 
siderable pretensions.  Herr  Gollmick  exhibited  his  powers  in  a 
fantasia  by  Thalberg,  and  in  the  same  composer's  Norma  duet, 
for  two  pianos,  with  a  Mdlle.  Le  Coq.  He  has  also  much  fticility 
as  a  violinist,  which  he  proved  by  taking  the  violin  part  in  Hummel's 
Quintet,  with  Madlle.  Le  Coq  at  the  piano,  Herr  Riiekner  at  the 
tenor,  Herr  Hausmann  at  the  violoncello,  and  Mr.  G.  Flower  at 
the  contra-basso,  altogether  an  excellent  perfoimance.  Herr 
Oberthur  executed  two  of  the  clever  harp'/antasias  of  Parish 
Alvars  very  neatly  and  effectively.  Some  vocal  compositions  of 
merit  by  both  the  concert-givers  were  also  introduced  in  the 
programme.  Those  by  Herr  Oberthur  were  from  a  MS.  opera, 
called  Love*s  Counterplot,  and  exhibit  no  small  share  of  musical 
knowledge  and  feeling.  The  other  instrumental  features  were  a 
violoncello  solo,  admirably  played  by  Herr  Hausmann,  and  a 
clarionet  solo  by  Herr  Schott,  of  the  Queen's  band,  an  artist  who 
ought  to  be  heard  much  oftener.  He  has  a  fine  tone,  facile 
execution,  and  musician.like  style,  all  of  which  qualities  he  ex- 
hibited very  effbctivelv  in  a  solo  by  Barmann.  The  vocalists  were. 
Miss  Eliza  Nelson,  Mr.  and  Mrs.  Weiss,  Mr.  F.  Kingsbury,  Miss 
Sabilla  Novello,  Miss  M.  O'Connor,  HerrKrauz,  Mr.  A.  Novello, 
Madame  Santa  C^oce,  and  Signor  Alessandro  Gallic  Miss  Eliza 
Nelson  is  a  promising  young  artist  and  won  an  encore,  which  she 
well  merited,  in  a  pretty  cavaiina,  by  her  father,  Mr.  S.  Nelson, 
the  well-known  composer,  called,  **^h  come 


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THE  MUSICAL  WORLD. 


•299 


The  Tocal  selection  was  good  and  Taried  enough,  but  one  half  too 
long.  The  conductors,  according  to  the  programme,  were  M. 
Benedict  and  M.  Jules  de  Glimes,  but  our  excellent  and  witty 
friend,  Jules,  did  not  make  his  appearance. 

Mr.  F.  KiNosBuaTgaYe  a  concert  at  the  Manor  House  Assembly 
Booms,  Hackney.  Mr.  Kingsbury  was  assisted  by  the  Misses 
Williams  and  several  other  popular  vocalists,  including  John  Parrv. 
The  instrumentalists  were  Mr.  F.  Kingsbury,  Pianoforte;  Mr.C. 
A.  Putey,  violin ;  Mr.  W.  L.  Phillips,  violoncello ;  altogether  the 
concert  gave  general  satisfaction,  and  no  doubt  Mr.  Kingsbury  will 
find  it  advantageous  to  give  another  concert  in  the  same  locale. 

Choeal  Haemonists.— The  last  meeting  of  the  season  took 
place  on  Monday  evening  and  was  very  fully  attended.  Want  of 
space  prevents  us  giving  an  analytical  notice  of  the  pcrrormanco 
which  consisted  of  Beethoven's  Mass  in  C,  tolerably  well  per- 
formed ;  a  very  dull  madrigal  of  Bennet*s  "  Come,  Shepherds,*^ 
1599;  Weber's  overture  to  •' Der  Freischutz ;  *  Hummel's  well 
known  graduale  '*  Quod  quod  in  Orbe,"  and  Handel's  '*  Aois  and 
Galatea,"  concluding  with  *'  God  save  the  Queen."  The  principal 
vocalists  were  Miss  Lockey,  Miss  Cubitt,  Mr.  Lockey  and  Mr. 
Machin. 

DRAMATIC  INTELLIGENCE. 
Drubt  Lane. — This  theatre  closed  on  Monday  night  for 
the  season  1846-7.  In  reviewing  the  operations  of  the  past 
campaign,  we  find  that  the  management  has  been  more  enter- 
prising than  for  many  years  previously.  The  first  speculation 
was  the  engagement  of  Madame  Bishop,  who,  by  being  native 
bom,  and  by  being  a  great  artist  in  every  sense  of  the  word, 
had  a  double  claim  on  the  English  public.  Madame  Bishop's 
success  was,  undoubtedly  great;  but,  we  hardly  believe  that  Mr. 
Bunn  displayed  his  usual  forethought  and  acutnen  in  the 
performances  he  selected  for  the  artiste,  Madame  Bishop's 
voice  is  a  pure  soprano,  yet  the  first  opera  selected  for  her 
appearance  was  one  which  was  written  for  a  contralto.  The 
Maid  of  Artois  was  not  suited  to  exhibit  Madame  Bishop  in 
her  most  captivating  colours,  Mr.  Ijavenu's  opera,  Loretia, 
produced  for  the  first  time,  was  not  altogether  of  a  character 
to  befit  the  brilliant  style  of  the  fair  cantatrice,  who  was 
wont  to  revel  in  the  dsLZzling  Jlorilure  of  the  Italian  school. 
This  opera  was  not  written  for  the  singer.  Madame  Bishop, 
however,  created  an  immense  impression,  and  proved  herself 
the  great  artist,  both  in  her  style  and  method.  With  this 
opera  ended  Madame  Bishop's  performances,  and  the  London 
public  had  absolutely  no  opportunity  of  witnessing  the  vocalist 
in  those  characters  in  which  she  won  her  continental  fame. 
Had  La  Sonnamhula,  Linda  di  Chamouni,  VElisir  D*Amore, 
or  Mercandante's  Leonora^  been  produced  for  Madame  Bishop 
at  Dniry  Lane,  we  have  little  doubt  that  the  singer  would 
have  won  ten-fold  the  favour  she  did,  great  as  it  was,  from 
her  audiences ;  and  that  the  manager  would  have  boasted  of 
a  more  pregnant  treasury  than  he  did  at  the  last  moment. 
Loretta  performed  some  thirty  nights,  or  thereabouts,  was 
necessarily  withdrawn  with  Madame  Bishop's  secession  from 
the  theatre.  Balfe's  new  opera.  The  Bondman,  next  had  a 
successful  run  of  nearly  fifty  nights,  and  added  a  fresh  laurel 
to  the  composer's  coronal.  It  bad  a  triumphant  career,  and 
was  pronounced,  by  the  best  judges,  Balfe's  chef  d'oeuvre. 
Subsequently,  treading  close  on  the  kibes  of  The  Bondman, 
came  Wallace's  Matilda  of  Hungary,  and  elevated  the  name 
of  the  composer  oi  Mar  it  ana  still  higher  in  public  estimation. 
Thus  we  had  three  new,  original,  and  native  operas,  produced 
at  Drury  Lane,  within  the  space  of  four  months.  Can  any- 
thing more  eulogistic  be  spoken  of  the  manager  ?  Are  not 
British  musicians  under  deep  obligations  to  Mr,  Bunn  ?  To 
be  sure  those  whose  operas  have  not  been  produced  may  have 
cause  to  grumble,  and  may  deprecate  the  want  of  taste  and 
judgment  that  led  to  others  being  preferred  to  themselves ; 


but,  from  such  objurgation  no  manager  ever  was  free  ;  and, 
notwithstanding,  these  outcries  and  fancied  grievances,  we 
repeat,  Mr.  Bunn  is  deserving  of  thanks  from  our  native 
composers.  But,  as  no  operas  can  be  greatly  successful  without 
singers  of  pre-eminent  talents,  so  the  success  of  The  Bond" 
man,  and  oi  Matilda ,  at  Drury  Lane,  did  not  fulfil  the  highest 
expectation.  The  first  grand  requisite  for  an  operatic  per- 
formance is  the  vocalist :  the  next  is  the  music.  If  there  be 
no  superlative  artist  who  can  enchain  the  public  by  his,  or 
her  singing,  the  composer,  had  he  written  a  Don  Giovanni,  or 
a  Gviilavme  Tell,  must  rest  satisfied  with  a  moderate  success. 
Such  a  state  of  things  is  to  be  deplored  :  it  is,  however,  but 
too  true.  Mr.  Bunn,  finding  the  resources  of  his  operatic 
establishment  by  no  means  as  attractive  as  he  could  desire, 
had  recourse  to  a  very  questionable  mode  of  soliciting  the 
favour  of  the  public.  Nevertheless,  in  engaging  the  Monster 
Menagerie  for  his  theatre,  the  manager  was  instigated  by 
necessity,  not  by  choice ;  and  they,  who  abuse  him  most,  for 
his  desecration  of  Drury  Lane,  would,  undoubtedly,  have  been 
driven  to  the  same  course  of  management  if  the  theatre  had 
been  submitted  to  their  direction  under  like  circumstances. 
The  entertainments,  on  Monday  evening,  were  given  for  the 
benefit  of  Mr.  Harley.  The  opera  of  Guy  Mannering  was 
revived,  Mr.  Harley  playing  the  Dominie  with  **  prodigious" 
efi^ect,  and  the  veteran  Braham  once  again  undertook  his  old 
part  of  Tom  Tug  in  The  Waterman,  It  did  our  hearts  good 
to  witness  the  uproarious  reception  Mr.  Harley  reccLyed.  It 
demonstrated  to  the  fullest  extent  the  high  favouritism  in 
which  he  stands  with  the  public  both  as  manager  and 
actor.  Mr.  Harley's  Dominie  Sampson  is  a  delicious 
morceau  of  piingled  comic  and  pathetic  acting.  He  was 
greatly  applauded  throughout  the  performance.  At  the  end 
of  the  piece — we  cannot  designate  Guy  Manneriny  an  opera- 
Mr.  Bunn  came  forward,  amid  the  most  tremendous  hurricane 
of  applause,  and  delivered  the  following  address : — 

"  jLadies  and  Gentlemen— At  the  end  of  a  long  and  eventful  seaBon,  I 
appear  before  you  in  my  wonted  poaltion,  to  give  you  some  slight 
account  of  my  stewardship.  I  say  a  'long*  season,  because  a  period  of 
about  170  nights  U  entitled  to  that  appeOation;  and  when  I  took  back 
on  its  events,  my  wonder  is  that  It  ever  reached  70,  to  say  oothing  of 
the  100  [laughter].  The  distress  which  has  swept  over  the  country, 
the  unprecedented  fluctuation  of  weather,  the  Incessant  sickness  arising 
therefrom  (which  at  onetime  led  to  our  dosing  for  an  entire  week),  and, 
in  addition  to  other  causes,  especially  that  of  another  Italian  Opera,  the 
want  of  co-operation  on  the  part  of  some,  who,  dependent  altogether  on 
public  pleasure,  do  all  they  can  to  deprive  the  public  of  ei^joying  any,  are 
matters  detrimental  to  the  interests  of  a  theatre,  and  positive  impedi- 
ments to  its  progress  [cries  of  '  hear,  hear'].  It  may  be  expected  that 
I  sbouM  say  something  respecting  a  popular  artiste  recently  arrived  in 
this  country.  I  have  been  lustily  abased  for  endeavouring  to  make  that 
lady  fulfil  her  contract,  and  having  failed  in  such  endeavour,  I  can  only 
say  that  were  she  singing  here,  and  drawing  the  money  she  will  elsewhere, 
our  season  would  terminate  with  great  profit  [cheering].  So  much  for  the 
past.  As  respects  the  future,  permit  me  to  assure  you  that  the  perfect 
good  understanding  which  has  so  long  existed,  still  exists  with  the 
committee  of  this  theatre  and  myself— a  body  of  gentlemen  actuated  at 
all  times  by  the  utmost  liberality  and  best  feeling  [much  applause].  They 
renewed  my  lease  of  their  theatre,  and  when  I  asked  them  to  cancel  the 
renewal,  to  enable  those  (who  continue  to  excite  the  doubtful  que^on 
of  the  legitimate  drama)  to  compete  for  its  possession,  their  assent  to  my 
request  was  conveyed  with  an  cxpresion  ol  great  regret.  If  the  theatre, 
from  such  competition,  should  pass  into  other  hands,  I  shall  meet  you 
elsewhere ;  if  not,  I  shall  once  more  meet  you  on  this  scene,  where  I 
have  had  so  often  to  acknowledge  those  ftivours  which  I  shall  never 
cease  to  remember  with  the  deepest  gratitude." 

The  entertainments  concluded  with  Mr.  Hughes's  Mamtnoth 
Establishments  in  the  new  grand  spectacle,  and  then  old 
Drury  closed  its  lids  fpr  another  session. 

Haymarket. — Th6  performances  of  this  favourite  little 
theatre  have  offered  us  nothing  of  late  in  the  shape  of  a  new 


3oa 


THE  MUSICAL  WORLD. 


production.  The  much-talked  of  five  act  comedy  is  in  re- 
hearsal, and  will  be  brought  out  with  the  whole  strength  of 
the  company.  It  is,  we  read,  from  the  pen  of  Lady  Dufferin, 
or,  as  we  hear,  from  that  of  Lady  Dacre.  Now,  whether  our 
reading,  or  our  hearing,  stand  as  in  truer  stead,  remains  to  be 
discovered.  There  is  one  thing  we  can  safely  pledge  our 
veracity  to,  which  is,  that  the  new  comedy  is,  undoubtedly, 
written  by  a  title,  but  whether  the  title  be  Lady  Dacre,  or 
Dufferin,  we  cannot  aver.  Perhaps,  after  all,  it  may  not  be 
of  such  vital  consequence  to  inquire  as  yet*  Mrs.  Nisbett 
plays  four  times  a  week  and  continues  to  draw  immensely. 
She  has  appeared  in  nothing  new  since  our  last  report.  The 
New  Planet  is  still  culminating  on  the  Haymarket  meridian, 
and  is  not  likely  soon  to  hasten  to  its  declination. 

Princess's. — Mrs.  Butler  has  appeared  in  Mrs.  Beverley, 
in  the  Gamester^  a  play  with  which  we  have  so  little  sympathy, 
that  we  would  ^in  dispense  with  all  notice  whatsoever  of  the 
performance,  did  not  justice  ui^  ns  to  speak  in  high  terms 
of  praise  of  Mrs.  BuUer's  acting.  The  piece,  though  devoid 
of  a  glimpse  of  power  or  poetry,  has  scenes  in  which  the 
energy  and  feeling  of  the  actor  is  taxed  to  the  uttermost.  In 
these  scenes  of  passion  Mrs.  Butler  displayed  her  tragic 
capabilities  in  an  unmistakeable  manner,  and  drew  down 
reiterated  acclamations.  As  we  have  already  said,  it  is  in 
depicting  the  conflicting  and  stormy  emotion  of  the  mind, 
that  the  artist  is  happiest  and  most  at  home,  and  having  so 
many  opportunities  in  this  drama  of  horrors,  yclept.  The 
Oamester,  she  did  not  fail  to  produce  an  immense  impression 
on  the  audience  in  the  character  of  Mrs.  Beverley.  The  next 
play  in  which  Mrs.  Butler  is  to  appear,  is,  we  understand, 
Sheridan  Knowles's  Wtfe^  a  tale  of  ManitM.  ■ 

French  Plats. — **  Sans  Norn,"  was  given  on  Monday 
last.  It  is  an  extravagant  charae,  intended  to  ridicule  the 
pomposity  and  absurd  sentimentality  of  our  modem  novelists. 
The  vaguef  the  incompriSf  the  sympathetic  and  diSjgiistingly 
horrible  axe  impersonated  by  turns  and  held  up  to  sarcasm. 
The  idea  is  a  good  one,  and  was  well  carried  out.  M.  Ihmiery 
as  F^Ux  Bonkomme  was  admirably  moyen^et  as  the  French 
Romanticists  and  young  EngUnders  style  themselves,  and 
made  ^e  house  roar  with  laughter  at  ms  eccentricities  and 
the  awkward  predicament!  into  which  his  abhorrence  of  his 
family  cognomen,  and  his  attempts  to  escape  therefrom,  pre«- 
cipitate  him.  We  have  also  to  record  the  d&ut  of  MdUe. 
Denain  and  of  Monsieur  Regnier.  We  of  course  give  pre- 
cedence  to  the  lady ;  she  is  pretty,  has  a  fine  figure,  a  clear 
and  melodious  voice,  perfecdy  distinct  pronunciation  at  all 
times,  a  great  desideratum  in  any  country,  but  particularly  so 
in  England,  where  the  French  language  is  universally  but 
most  imperfectly  cultivated.  Mademoiselle  Denain  dresses 
uncommonly  well,  and  her  deportment  is  a  model  of  ele^psnce 
and  ease ;  she  is  not  what  we  should  call  a  great  actress,  but 
she  makes  up  for  any  lack  of  power  by  the  care  she  takes 
even  in  the  most  minute  details,  both  of  voice  and  gesture. 
In  genteel  comedy,  she  will  be  found  an  acquisition,  and  her 
molest  and  lady-like  manners  cannot  fail  to  make  her  a  uni« 
versal  favourite.  Monsieur  Regnier  has  a  great  reputation 
and  deserves  it ;  his  acting  is  easy,  dignified  and  natursl,  lie 
speaks  his  part  as  written,  without  attempting  to  add  any 
bufibonery  of  his  own,  and  is  consequently  always  effective ; 
nothing  is  overdone  or  strained  with  him,  no  ranting  or  tear- 
ing a  passion  to  tatters.  The  play  cho^n  for  the  cMmt  of 
Mdlle.  Denain  and  M.  Regnier  was  Alexandre  Dumas's 
comedy  in  five  acts  entitled  Les  Demoiselles  de  SU  Cyr, 
curtailed  by  the  bye  into  four.  Alas  I  these  are  sad  times, 
gradually  everything  changes  around  us,  poets  and  authors 


share  the  common  lot,  and,  if  we  go  on  improving  at  the 
present  rate,  we  shall  soon  have  nothing  left  to  improve  upon. 
Epic  poetry  we  have  given  up  long  ago ;  there  is  but  one 
mortal  who  dares  to  write  dramatic  lyrics,  and  he  is  ridiculed 
for  his  pains ;  the  light  of  other  days  is  indeed  faded^  as  this 
identicid  person  insinuates  in  one  of  his  melancholy  moments, 
when  indulging  in  melancholy  forebodings  on  the  future,  and 
regret  for  the  past.  Tragedy  is  extinct  except  amongst 
Les  aiies  de  Pigeon  of  the  French  Academy,  young  gentie- 
men  of  eighteen,  fresh  from  Oxford,  and  a  few  well  meaning 
enthusiasts  who  stick  up  for  the  legitimate  at  any  price  :  but 
it  will  not  do,  they  find  no  one  to  re-echo  the  cry ;  even 
comedy  is  going  to  the  dogs  at  a  rail-road  pace  ;  people  vote 
five  acts  of  any  thing  a  bore,  a  nuisance ;  or  if  they  permit 
the  infiiction,  it  is  only  on  condition,  that  each  separate  act 
shall  be  a  farce  of  itself,  and  totally  independent  of  the  otiiers. 
No  one  will  deny  that  Alexandre  Dumas  is  a  raey  writer ;  we 
never  yet  found  the  man  that  had  not  something  to  say  against 
him  in  some  shape  or  other,  but  at  the  same  time  all  read 
him  and  feel  interested  and  amused ;  yet,  he  too  has  shared 
the  common  lot  and  has  been  cut  down  to  four  acts.  Les 
DemaiseUea  de  St.  Cyr  was  carefully  got  up  as  regards  the 
decorations,  and  well  cast ;  the  piece  is  too  well  known  to 
need  any  explanation ;  the  two  pensionnaires  were  charmingly 
played  by  Meademoiselles  Denain  and  Duveiger.  M.  Regnier 
was  richly  humorous  in  the  part  Hercule  dst  Couloy ;  the 
situations  are  well  arranged,  and  the  actors  made  the  best  of 
them.  Nothing  could  be  better  than  the  scene  in  which  the 
two  gentiemen  endeavour  to  diaeover  to  which  of  the  ladies 
the  Duke  d'Anjou  is  attached.  Le  Marriage  Fvrd^  or  rather 
a  few  scenes  of  it  were  played  in  order  to  exhibit  the  volubility 
of  a  learned  aigamentative  doctor  who  reasons  upon  every 
thing,  ^  jything,  (nt  nothing,  waxes  wroth  at  his  opponents 
applying  the  word/orme  to  a  hat,  and  insists  that  th^  proper 
term  should  \i^  figure ;  and  then  launches  forth  into  an  ever- 
lasting speech,  on  the  cause  and  nature  of  things  in  general, 
leaves  the  stage,  and  appears  at  the  balcony,  where  ha 
continues  his  discourse,  although  pelted  with  stones  by 
Sganarelle  from  the  street.  This  was  uncommonly  well  dona 
by  M.  Regnier ;  so  much  so,  that  the  public  remained  waitiqg 
for  the  second  act,  even  after  the  actors  had  left  the  house, 
and  nothing  but  extingishing  the  gas  could  persuade  them 
that  all  was  over.  We  must  also  briefly  notice  that  Le  Mart  i 
la  Campagne  was  given  on  Wednesday ;  the  part  of  Colombet, 
the  husband  who  is  ever  out  of  town,  and  never  leaves  it,  was 
capitally  done  by  M.  R<^ier ;  Mademoiselle  Denain  made 
a  charming  Ursule.  Mademoiselle  YaUfe  was  highly  enter- 
taining in  the  small  part  of  Pauline,  and  Mademoiselle 
Fouquet  made  a  lively  and  piqwkiefemme  de  Chambre. 


ROYAL  ITALIAN   OPERA. 

SAtvtkPJkT  was  the  epoch  of  a  great  event  for  the  Royal 
Italian  Opara-— the  appearance  of  Bwlemoiselle  Fanny  Elssler, 
afi#r  an  absence  of,  we  believe,  five  years  from  this  country. 
Pmiag  ihU  period  the  ^rious  danseuse  has  turned  the  heads 
9f  ba0  AnMirica,  and  ravished  Italy  and  Allemayne.  This  to 
Fanny  was  an  easy  task.  People  said,  ''  the  Yankeas  know 
notiifaf  of  g/mt  dancin^fod  so  thay  wont  understand  Elssler.'* 
But  JP'anny  appasaed  ai|2r conquered  New  York  with  n  pirouette, 
and  each  city  of  the  UnHad  States  with  an  entreek^.  WiUi 
a  smile— and  ia  ilMie  not  infinity  in  her  smile  ?— ahe  enslaved 
Yienna,  and  Soase,  a^d  Naples,  and  Milan;  and  all  the 
Northern.  Sovtbem^  Kastarn,  and  Western  cities  of  the  two 
great  lands  of  song.  Fraoaa  yat  lalt  iU  iofluance— ef^  aussi^ 
ette  avait  pass^par  M— tha  lap«a  af  jwais  bad  but  sofkned 

Digitized  by^^UOy  It: 


THE  MUSICAL  WORLD. 


3Ctl 


down  lU  ;fiia  io  the  calmer  light  of  a  lamp  that  bums  eternally. 
And  now  ^anny  has  returned  to  conquer  over  again  her  re- 
hellions  subjects  of  England,  who,  since  her  flight  over  the 
broad  Atiantic,  have  owned  the  allegiance  of  other  queens  of 
the  dance— of  the  swan-like  Taglioni,  of  the  Hebe-lipped 
Cento,  and  of  the  dove-eyed,  slopy-winged  Carlotta.  And, 
not  Ibese  alone  have  been  worshipped,  but  the  daring  Grahn, 
the  quick-footed  Rosati,  the  astonished  Kane  Taglioni,  have 
wpa  their  moments  of  empire-— the  fint  with  a  bound  ;  the 
Hcotid  with  a  forget-me-not  sown  hj  the  feet ;  the  third  with 
m  look  of  most  expressive  inezpretsion.  But  Fanny  has  re- 
totned  to  her  dominions,  charioted  in  fame,  and  has  resolved 
t6  regain  the  footing  she  has  lost.  On  Saturday  her  fickle, 
Adtbless  admirers  assembledi  in  vast  multitudes,  to  scofP  at 
her  pretensions.  Fanny  appeared,  robed  in  the  splendour  of 
eternal  youth.  Never  looked  she  more  coquettish,  more  pretty, 
more  archly  ffiuHne,  (mutinous,  don't  hit  it).  She  defied  the 
vain-glorious  rebels  to  resist  her.  But  their  hearU  at  first 
were  as  stone.  Sfldom  has  a  colder  reception  been  accorded 
to  an  immortal  artiste^tor  Fanny  is  immortal  if  there  be 
divinity  in  twinkling  steps. 

Nothing  daunted,  Fanny  mimed  and  flitted  about  the  stage 
with  a  nonch0^nce  that  was  combined  of  coquetry  and  art,  and 
seemed  to  eare,  for  the  nonce,  for  nothing  so  little  as  for  the 
audirace.  She  cast  a  pretty  look  of  disdain  at  the  muddy- 
pated  crowd,  as  they  fixed  upon  her  their  vacant  eyes,  fit  out- 
lets for  the  emptyness  of  their  hearts,  with  apparent  unconcern. 
But  F^anny  had  made  up  her  mind  to  shame  them  at  one  coup. 
She  ipied  out  little  Perrot,  who  sat  in  one  of  the  boxes,  gazing 
at  her  with  a  look  of  mingled  sympathy  and  astonishment^ 
■ympathy  for  the  great  creatore  who  stood  before  him  un- 
acknowledged, astonishment  at  the  pig-like  stupidity  of  the 
mob*  She  spied  out  little  Perrot,  and  she  said  within  herself 
— "  Perrot  is  my  audience — he  is  the  greatest  artist  in  the 
world— he  alone  understands  me— and  to  Perrot  alone  will 
I  dance."  And  with  wonderful  respect  for  Perrot,  wonderful 
contempt  for  the  audience,  and  wonderful  unconcern  for  herself, 
this  creature  of  a  thousand  triumphs,  this  fruitful  mistress  of 
the  dance,  Terpsichore's  chosen  emissary,  the  incarnation  of 
the  conglomerate  attributes  of  all  the  Graces,  moved  leisurely 
to  the  back  of  the  scene,  and  made  her  ready,  in  a  pote^  to 
accomplish  her  first  step  in  the  pas  de  trots.  She  danced  1 
There  was  one  hand  to  clap — one  mouth  to  cheer!  It  was  the 
hand  and  the  mouth  of  the  whole  crowd,  that,  as  some  gigantic 
animal,  roared  and  shouted  with  an  ecstacy  of  delight.  Encore! 
JSneore/I  Encore!! t  was  the  unanimous  cry*  But  no- 
Fanny  was  not  such  a  butterfly.  There  must  be  time  for  her 
heaving  bosom  to  subside — there  must  be  time  for  her 
throbbing  heart  to  cease  its  knocking.  The  excitement  of 
resolve  had  for  awhile  stayed  the  anger  and  vexation  that  beat 
vainly  their  prison  doors  for  egress — but  that  over,  the  triumph 
v^on,  the  infidels  abashed,  the  fame  retrieved,  the  talent 
avenged  of  the  insult  that  had  humbled  it--and  like  strong 
waters  stayed  by  an  artificial  dam,  the  dam  removed,  Fanny's 
blood  rushed  in  torrents  to  her  heart— her  dead  feelings  burst 
their  cerements  and  rose  again  to  vigorous  life,  almost  choking 
her  with  utterance.  For  awhile,  she  stood  moveless  and  re- 
solute, hardly  deigning  to  acknowledge,  by  the  slightest  incli- 
nation of  her  charming  head,  the  clamorous  acclamations  of 
the  multitude.  Fanny's  soul  thirsted  for  revenge,  and  she 
drank  of  the  overflowing  cup  until  she  had  emptied  it  to  the 
very  dregs.  Then  by  degrees  her  bosom  ceased  ito  heaving, 
her  heart  its  knocking,  her  blood  its  rushing,  her  pulse  its 
blazing—  then  by  degrees  composure  came  over  her  like  a  soft 
vision,  and  its  tranquil  light  beamed  upon  her  expresdve 


features.  At  first  a  pout  of  pretty  irony — then  a  smile  of 
sweet  complacency— dien  a  little  frown  that  curled  itself  up 
in  a  comer  of  her  brow  like  one  of  the  good-natured  devils  of 
the  German  mythos— then  a  look  that  fiashed  the  full  con- 
sciousness of  victory— and  then  she  condescended  to  repeat 
the  dance.  A  more  complete  and  astounding  triumph  we 
never  witnessed.  And — Reader^— if  you  could  have  heard 
little  Perrot  applaud,  and  have  seen  the  content  that  sat  upon 
his  face>  it  would  have  done  your  heart  good. 

The  divertissemnt  produced  for  the  appearance  of  Mdlle. 
Elssler  is  called  La  Bouqueiihre  de  Venise,  It  is  slight  and 
pretty.  There  is  no  attempt  at  a  plot,  and  we  shall,  therefore, 
make  no  attempt  to  describe  it.  It  served  to  exhibit  the 
excellencies  of  the  danseuse^  and  that  was  enough  and  a  feast 
in  all  conscience.  The  principal  danbes  were  of  course  those 
in  which  Fanny  Ellsler  took  a  part.  The  first,  a  Pas  de  trois^ 
contained  the  step  we  have  recorded,  in  which  the  great 
artiste  put  the  unfeeling  mob  to  shame ;  the  second,  a  Grande 
Pas  de  Masque,  gave  Fanny  an  opportunity  of  acting  as  well 
as  dancing ;  and  in  teasing  and  perplexing  an  unhappy  suitor, 
she  displayed  all  the  coquetry  and  graceful  pantomime  of 
which  she  is  so  consummate  a  mistress.  The  moment  of 
throwing  off  the  mask  and  discovering  her  identity,  was 
glorious*-the  moon,  emerging  from  behind  an  envious  cloud, 
is  not  more  beautiful  than  was  Fanny  at  that  instant.  In 
short,  Fanny  Elssler,  both  as  a  mimist  and  a  dancer,  is  all  her 
incomparable  self  She  never  looked  better,  danced  better,  or 
acted  better ;  and  those  myriad  sparkling  steps,  '*  like  light 
dissolved  in  star-showers,"  which  characterise  her  style,  and 
have  long  been,  and  must  for  ever  be  the  despair  of  all  who 
would  emulate  her  excellencies,  were  there  in  all  their  ancient 
glory.  Her  pointing  is  miraculous  as  of  yore ;  her  gestures  aro 
as  graceftil  and  as  full  of  meaning ;  her  invention  is  as  fertile  and 
inexhaustible ;  her  movements  are  as  agile  and  quick ;  her 
looksas  intelligent  and  fascinating  as  ever.  The  time  is  yet  far 
distant  when  Elssler  shall  find  her  rival.  That  she  will  endow 
Carlotta  Grisi  with  her  mantle  we  have  little  doubt,  but  that 
Itie  enchanting  Esmeralda  may  have  a  long  time  to  wait  is  our 
earnest  wish,  and  we  have  little  doubt  Jier  own — ^for  there  is 
no  jealousy  or  envy  in  the  etherial  Giselle  ! 

llie  baliett  or  dherti*semeni,  which  was  the  great  event  of 
the  evening,  was  preceded  by  the  Puritanic  with  the  same 
cast  as  on  the  Thursday.  Her  Majesty,  Prince  Albert,- and 
suite  wero  present,  as  was  also  His  Royid  Highness  the  Duke 
of  Cambridge,  who  exhibited  unmistakeable  symptoms  of 
delight  at  the  singing  of  Grisi,  Mario,  and  Tamburini. 

On  Tuesday  the  Italiana  in  Algeri  was  repeated,  and 
Signor  Marini  having  recovered  from  his  indisposition,  we 
had  an  opportunity  of  judging  of  his  true  merits.  This 
artist  possesses  one  of  the  most  exquisite  bass  voices  we  ever 
listened  to.  It  is  rich,  full,  and  mellow,  and  calls  to  mind, 
strongly,  the  quality  of  Zuchelli's  voice,  in  the  best  days  of 
that  once  popular  singer.  Signor  Marini  is  an  excellent 
artist  in  every  respect,  and  although  performing  a  part  foreign 
to  the  line  assigned  him  when  engaged  as  a  serious  huffot  in 
the  role  of  Mustapha  he  exhibited  capabilities  of  a  rare 
kind.  His  manly  person  was  seen  to  great  advantage  in  the 
Turkish  costume,  and  his  deep,  full-toned,  and  fiexible  voice 
was  of  the  greatest  possible  service  in  the  concerted  music. 
Signor  Marini  displayed  admirable  taste  in  his  singing  of  the 
favourite  duet,  •'  Se  inclinassi,"  with  Signor  Salvi,  by  the 
manner  in  which  he  adapted  his  voice  so  as  to  make  it  blend 
in  the  piano  passages  with  those  of  the  tenor.  It  showed 
that  the  clever  basso  had  no  desire  to  exhibit  the  power  of  hia 
voice  to  the  detriment  of  ^^fQIff^^^^^^  expense  of 


302 


THE  MUSICAL  WORLD. 


the  more  delicate  singer ;  a  practice,  we  are  sorry  to  say,  too 
often  indulged  in  by  those  who  could  afford  to  be  modest  on 
such  occasions.  Of  Signor  Rovere  we  can  merely  refer  to 
what  we  have  already  said,  leaving  to  another  opportunity, 
when  we  have  heard  and  seen  him  in  a  character,  which  will 
more  legitimately  tax  his  vocal  and  histrionic  power,  to 
discuss  his  merits  at  greater  length.  Signor  Salvi  was  as 
excellent  as  on  the  first  night ;  and  Alboni  more  wonderful 
than  ever.  It  is  impossible  to  speak  in  exaggerated  terms  of 
the  qualifications  of  this  accomplished  artist.  Her  cavatina 
in  the  second  act  was  one  of  the  most  perfect  specimens  of 
vocalization  we  have  ever  heard.  The  opera  was  admirably 
rendered  as  a  whole,  the  efliciency  of  the  orchestra  and  chorus 
ehancing  the  general  effect. 

The  opera  was  followed  by  the  Bouquetiere  de  Venise,  in 
which  Fanny  Elssler  was  as  incomparable  as  ever ;  and  by 
the  last  act  of  the  Reine  des  Fees,  in  which  the  elegant 
X>umilatre  displayed  her  graceful  talent  to  the  greatest  advan- 
tage. On  Thursday,  Semiramide  was  repeated  for  the  fifth 
time,  by  general  desire.  Grisi  was  in  magnificent  voice,  and 
never  sang  more  splendidly.  Alboni  was  equally  fine,  and 
both  the  great  artists  obtained  repeated  recalls  during  the 
performance.  Owing  to  the  length  of  the  opera,  the  ballet 
performances  were  confined  to  La  Bouquetiere  de  Venise ;  but 
the  inimitable  Fanny  Ellsler  is,  in  her  own  charming  person, 
equal  to  a  whole  ballet,  and  she  never  danced  better  ^han  on 
this  occasion.  Though  it  was  the  second  appearance  of  Jenny 
Lind,  at  Her  Majesty's  Theatre,  the  house  was  immensely 
crowded. 

HER   MAJESTY'S  THEATRE. 

On  Saturday,  /  Due  Foscari  was  given  for  the  last  time 
during  the  present  season.  For  the  sake  of  the  music  we  are 
glad  of  this  ;  but  for  the  sake  of  Coletti  we  are  sorry.  The 
Doge  is  his  great  part,  and  we  know  of  few  things  finer  than 
his  singing  and  acting  in  the  last  scene.  Fraschini  is  also 
heard  to  very  great  advantage  in  this  opera,  and  has  gained 
considerably  on  the  public  since  its  production.  Madattie 
Montenegro  is  scarcely  less  to  be  admired  for  her  impersona- 
tion of  the  character  of  Lucretia,  a  performance  in  which 
energy  and  grace  are  happily  combined.  The  usual  honours 
were  accorded  to  the  principal  actors,  and  at  the  fall  of  the 
curtain  Coletti  reappeared,  leading  on  Madame  Montenegro. 
A  divertissement  followed,  in  which  was  combined  the  pas  de 
cinqt  from  Cerito's  own  ballet  of  Rosida^  produced,  as  our 
readers  will  recollect,  last  season,  in  which  the  fair  dart' 
sense  was  assisted  by  M.  St.  Leon,  Mdlles.  Cassan,  James, 
and  Honor6 ;  a  grand  pas,  composed  and  executed  by  Lucile 
Grahn,  supported  by  the  same  triad  of  coryphies,  and  the 
characteristic  dance  called  La  Manola,  performed  with  ad- 
mirable spirit  by  Cerito  and  St.  L^on.  A  selection  from 
La  Favorita  followed,  in  which  Gardoni  and  Bouch^  officiated, 
and  the  picturesque  ballet  of  Thka,  with  Rosati,  Marie 
Taglioni,  and  Paul  Taglioni,  as  the  chief  exponents,  concluded 
the  entertainments  of  the  evening, 

Tuesday  was  the  evening  fixed  for  the  first  appearance  of 
Mademoiselle  Jenny  Lind.  The  excitement  which  heralded 
this  important  event  beggars  description.  The  prices  offered 
and  paid  for  boxes  and  stalls  were  fabulous.  Some  speculators 
evidently  outdid  themselves,  for  on  the  eyening  there  were 
some  dozen  or  more  boxes  empty.  We  were  not  sorry  to  see 
this,  for  we  hold  it  to  be  unfair  that  the  public  should  be 
obliged  to  pay  through  the  nose  for  every  good  thing,  while 
it  has  been  paying  the  regular  prices  for  matters  less  attractive. 
On  our  way  to  the  theatre  we  were  impeded  at  every  step  by 


the  crowds  of  idle  gazers  anxious  to  catch,  if  possible,  a 
glimpse  of  the  Swedish  Nightingale  as  she  entered  at  the 
stage  door.  The  Hayroarket  and  the  adjacent  streets  were 
actually  gorged  with  vehicles,  from  the  armorialised  carriage 
of  the  aristocrat  to  the  humble  cab  of  the  plebeian.  It  was 
with  no  small  difficulty  that  we  forced  our  way  in — but  when 
we  arrived,  the  sight  that  welcomed  our  eyes  well  repaid  the 
trouble  we  had  found  in  penetrating  to  the  interior.  The 
house  was  one  living  mass  of  souls,  and  on  the  face  of  every 
individual  present  was  the  expression  of  one  thought,  of  one 
idea — they  were  going  to  hear  Jenny  Lind—  they  were  going 
to  see  the  Nightingale  of  Sweeden.  The  part  selected  for  her 
debiU  was  that  of  Alice,  in  Meyerbeer's  Robert  le  Diqble,  an 
opera  to  which  the  composer  chiefly  owes  his  fame,  lie 
music  of  this  opera  is  well-known  in  England,  and  we  are 
spared  the  pains  of  an  analysis,  but  a  word  or  two  about 
Meyerbeer  himself  may  not  be  out  of  place  here. 

Meyerbeer's  art  career  has  been  a  singular  one.  A  fellow 
student  of  Carl  Maria  Von  Weber,  under  the  notorious  Ahh6 
Vogler,  he  commenced  by  imbibing  the  stiff  and  pedantic 
notions  of  that  brilliant  but  superficial  empiric.  His  first 
operas  exhibited  abundant  dryness  and  a  false  show  of  depth. 
These  neither  moved  the  heart  of  the  populace  nor  excited 
the  respect  of  the  truly  learned.  Like  the  early  operas  of 
Weber,  they  were  vapid  infiations,  without  melody,  or  soul. 
That  they  are  now  forgotten  is  hardly  to  be  regretted,  since 
they  contained  nothing  worth  remembering.  As  dramatic 
compositions  they  were  feeble  and  insipid,  and  as  displays  of 
contrapuntal  profundity  as  worthless  as  the  productions  of 
the  Abb^  Vogler  himself,  who  in  the  manufacture  of  his 
overture  upon  a  subject  of  three  notes,  (so  rabidly  extolled 
by  his  disciples)  simply  manifested  his  inability  to  find  an 
agreeable  melody  that  should  consist  of  more.  Both  Weber 
and  Meyerbeer,  who  have  since  become  illustrious,  suffered 
irredeemably  from  the  defective  mode  of  instruction,  adopted 
by  this  eccentric  system-maker — a  kind  of  musical  Paracelsus, 
but  without  the  genius  of  that  coaster  on  the  borders  of 
philosophy.  Even  their  masterpieces  show  it,  in  vagueness  of 
form,  want  of  connection,  and  superfluous  redundancy  of 
style.  Meyerbeer,  a  man  of  less  faith  than  his  celebrated 
fellow-pupil — who  was  true  to  his  principles,  hollow  as  they 
were,  to  the  last— soon  found  occasion  to  throw  off  his 
allegiance  to  the  Abb^  Vogler,  and  thoroughly  to  change  hia 
style.  Enchanted  with  Tancredi,  and  som6  of  the  earlier 
operas  of  Rossini,  his  mind  became  filled  with  new  ideas  and 
new  notions  of  art.  As  impressionable  as  water,  and  as  up* 
stable,  tie  talent  of  Meyerbeer  will  ever  reflect  the  form  and 
colour  of  whatever  outward  influence  may  predominate  for 
the  time.  The  originality  which  he  seems  to  possess  is  not 
the  offspring  of  spontaneous  feeling  but  the  result  of  a  certain 
obstinacy  of  volition,  which  by  long  exercise  has  enabled  him 
to  make  old  forms  wear  the  aspect  of  novelty,  by  exaggerating 
their  characteristics,  or  by  omitting  some  points  essential  to 
their  symmetry.  Thus,  in  his  hands,  a  melody  that  would  at 
first  sight  appear  but  a  vulgar  tune,  affects  a  kind  of  ex- 
clusiveness  on  the  strength  of  a  quaint  turn  of  cadfencei  ^ 
unusual  distribution  of  a  chord  or  two  in  the  harmony,  or 
absolute  oddity  in  the  orchestral  arrangement.  Innumerable 
examples  of  this  kind  of  treatment,  scattered  over  the  sur&ce 
of  a  large  work,  such  as  a  grand  opera,  endow  the  whole 
with  a  distorted  something  which  is  not  originality  but  its 
shadow.  Meyerbeer  is  for  ever  straining  for  effect.  His 
melodies  are  rarely  fresh  and  genuine ;  they  dp  not,  like 
Mozart's,  ^ow  from  the  soul,  as  water  from  (he  hidden  springs. 
His  ejects  are  seldom  vigorous  and  natural  iUastrations  of 


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303 


sentiment  or  incident,  but,  like  the  images  which  delirium 
paints  upon  darkness,  vague,  incoherent,  and  without  manifest 
purpose.  Yety  with  all  this,  Meyerbeer  is  a  remarkable  man. 
Influenced,  himself,  by  the  brilliant  models  of  his  time,  he 
influences  others  in  his  turn,  and  may  be  said  to  have  ori- 

finated  a  school,  at  the  head  of  which  stands  Hal^vy,  the 
^rench  composer.  After  writing  one  or  two  operas,  however, 
under  the  temporary  influence  of  the  "  Swan  of  Pesaro," 
vrith  whose  sensuous  fancies  he  was  for  the  time  intoxicated, 
Meyerbeer  became  bitten  with  the  modern  German  style, 
which  may  be  regarded  as  the  actual  ecclectie,  albeit  it  is  but 
a  poor  representative  of  the  universal.  II  Crociato  in  Egitto, 
the  second  best  opera  of  the  composer,  was  the  result  of  this 
new  mania.  There  we  find  the  Italian  cantilena  without  i^ 
sentiment,  the  French  tune^  without  its  sparkle,  and  the 
German  harmony  without  its  depth*  But  the  instrumentation 
is  entirely  Meyerbeerian,  and  the  whole  has  a  charm  that  is 
not  easily  definable.  The  next  coup  d'essai  of  Meyerbeer  was 
at  the  Acad^ie  Royale  de  Musique  in  Paris.  The  successes 
of  Spontini  and  Rossini  at  this  institution — erst  the  temple 
of  Glttck,  M^hul  and  Cherubini,  and  since  the  arena  of 
Auber's  most  dazzling  triumphs,  La  MueUe  de  PorUci,  and 
Gustave  III, — had  been  followed  by  a  dearth,  exhibited  in 
the  failure  of  several  grand  operas  consecutively.  Meyerbeer 
was  called  to  the  rescue.  His  Robert  le  Viable  had  been 
composed  with  an  eye  to  the  great  singers  who  were  then  the 
stars  of  the  y^caclemte— Falcon,  Cinti  Damoreau,  Nourrit, 
and  Levasseur.  It  was  the  work  of  long  and  arduous  toil. 
Meyerbeer  was  conscious  that  his  chef-dceuvre  was  now  in 
his  portfolio ;  and  it  was  resolved  on  all  sides  to  bestow  the 
minutest  care  on  its  production.  Nine  months  were  devoted 
to  the  rehearsals,  during  the  whole  of  which  period  it  was  the 
unanimous  topic  of  public  interest  and  conversation.  At 
length  it  was  produced,  and  in  a  style  of  splendour  unexam- 
pled even  at  the  Acadhnie,  The  mise  en  sc'^ne  was  gorgeous 
and  magnificent,  and  the  celebrated  Taglioni,  then  in  the 
zenith  of  her  popularity,  was  the  principal  danseuse  in  the 
ballet  scenes.  Great  as  had  been  the  success  of  II  Crociato, 
that  of  Robert  was  far  greater.  It  was  Meyerbeer's  grand 
triumph.  He  gave,  from  his  own  pocket,  a  sum,  little  short 
of  twenty-five  thousand  francs,  towards  the  expenses  of 
getting  it  up.  Crowds  flocked  to  the  Opera,  and  the  fortunes 
of  the  Acad^ie  were  completely  renovated.  Robert  was 
shortly  afterwards  brought  out  in  London,  at  both  the  national 
theatres— Bishop  presiding  at  Drury  Lane,  and  Rophino  Lacy 
at  Covent  Garden.  Subsequently,  in  1832,  it  was  produced 
at  Her  Majesty's  Theatre,  when  under  the  management  of 
Mr.  Monck  Mason,  with  the  original  French  company,  and 
in  the  French  language — but,  strange  to  say,  its  success  was 
less  brilliant  in  that  fashionable  theatre  than  at  the  more 
plebeian  temples  of  the  drama.  Robert  le  Liable,  in  a  short 
time,  became  known  in  every  musical  town  of  Germany  and 
France,  emasculate  Italy  alone  being  deaf  to  its  elsewhere 
irresistible  attractions.  Its  melodies  were  the  delight  of  salons 
and  the  aliment  of  the  orgues  de  Barbaric.  The  popularity 
hinted  at  in  the  Crociato  was  confirmed  in  the  Robert,  and 
Meyerbeer  was  forthwith  installed  among  the  musical 
'*  Penates."  The  Huguenots,  the  only  opera  he  has  since 
produced  at  the  ^cac^emie— ^albeit  there  are  still  two  new  ones 
that  remain  in  manuscript  in  his  portfolio — has  not  increased 
his  fame.  Ithas  not  the  strong  dramatic  interest,  thepicturesque 
melody,  nor  the  vigorous  freshness  of  the  Robert ;  while  it 
abounds  in  experiments  of  harmony  and  orchestration  that 
are  decided  failures,  and  in  fantastic  passages  only  remarkable 
as  convulsive  e£forts  at  originality,  ending  in  the  result  of 


being  musically  disagreeable.  The  Robert  must,  unless  the 
Prophkte  or  the  Africaine  snatch  away  its  laurels,  remain  the 
acknowledged  masterpiece  of  Meyerbeer.  But  for  the  King 
of  Prussia,  s^t  whose  command  Meyerbeer,  Director  of  the 
music  at  the  Opera  of  Berlin,  wrote  the  Camp  of  Silesia,  the 
composer  of  Robert  would  have  remained  silent  unto  this  day. 
The  cause  is  easily  explained.  Meyerbeer  is  a  wealthy  man, 
and  writes  con  amore.  His  sensitiveness  verges  on  the  ridi- 
culous.  He  is  never  satisfied  with  the  resources  that  a  e 
placed  at  his  disposal,  and  fifty  rehearsals  of  an  opera  are  not 
enough  to  content  him.  Of  the  singers  who  have  recently 
figured  at  the  Acadimie,  Duprez,  the  famous  tenor,  at  their 
head,  Meyerbeer  has  no  opinion,  and  he  has  consistently 
declined  to  trust  cither  of  his  MS.  .operas  to  their  interpre- 
tation. The  manner  in  which  he  writes  places  his  arias 
altogether  out  of  the  reach  of  ordinary  vocalists,  and  the 
massive  fulness  of  his  orchestration  demands  lungs  of  brass 
to  strive  against.  This  is  the  defect  of  modem  ox>era,  which 
must  shortly  decay  for  want  of  singers  to  interpret  it.  The 
style  of  voicing  and  instrumentation  that  has  prevailed  in 
Italy  and  France,  since  Rossini  ceased  to  compose,  is  gradually 
destroying  all  the  available  voices.  The  legitimate  carUo  of 
the  operas  of  Mozart  and  Cimarosa,  which  also  characterises 
the  early  and  mediaeval  operas  of  Rossini,  Mercadante,  and 
Donizetti,  is  now  fast  fading  into  oblivion ;  but,  it  is  much  to 
be  feared,  that  what  has  usurped  its  place  is  neither  so  natural 
nor  so  musical.  If  Verdi  continue  writing  successfully, 
there  will  not  be  a  voice  in  all  Italy  in  ten  years.  Is  not 
this  inevitable  consequence  of  the  present  mode  of  voicing 
worthy  the  consideration  of  composers?  Without  voices 
there  can  be  no  singers,  and  without  singers  no  operas.  But, 
we  have  little  doubt,  that  modem  opera,  as  it  now  stands,  will 
speedily  die  of  its  own  excess,  and  that  a  new  and  healthier 
form  of  dramatic  composition,  combining  the  imperishable 
principles  established  by  Mozart,  with  modem  form  and 
colour,  and  modem  taste  and  sentiment,  will  arise,  Phoenix- 
like, from  its  ashes. 

However,  the  public  interest,  on  Tuesday  night*  was  not  in 
Meyerbeer's  opera,  but  in  the  representative  of  Alice-->Madlle. 
Jenny  Lind.  The  opening  chorus  of  knights,  spirited  as  it  is, 
was  listened  to  with  apathy  by  the  immense  crowd — all 
anxious  for  one  thing — all  bent  upon  one  object.  Raimbaut's 
pretty  ballad,  ''  Jadis  r^gnait,"  although  sung  by  the  especial 
favourite,  Gardoni,  passed  equally  without  notice.  Staudigl's 
mysterioust  ones  in  Bertram,  and  Fraschini's  valiant  bearing  in 
Robert,  were  equally  overlooked.  There  was  bat  one  desire 
in  the  bosoms  of  all  present — and  when  that  was  gratified,  as 
Alice  was  forced  on  by  the  pages  of  Robert,  demanding  pro- 
tection and  appealing  for  pity,  the  one  shout  that  burst  spon- 
taneously from  three  thousand  throats  made  the  roof  of  the 
edifice  vibrate  and  tremble.  It  was  a  multitude  of  insensate 
madmen,  in  a  sea  of  hats  and  handkerchiefs.  We  never 
recollect  such  a  sight  within  the  walls  of  a  theatre,  or  without 
them.  The  object  of  all  this  enthusiasm,  though  evidently 
moved  by  its  exhibition,  responded  to  it  modestly  and 
humbly,  saluting  and  bending  to  the  audience  with  a  girl-like 
grace,  that,  before  she  sang  a  note,  conquered  the 
suffrages  of  at  least  one-half  of  the  audience.  The  other  half 
-*the  ptony-hearted  ones — waited  to  hear,  and  then  to  judge. 
There  was  little  in  the  music  by  which  the  vocalist  could  dis- 
tinguish herself  previous  to  the  romance,  **  Va  dit-elle."  Yet 
she  found  means  to  thrill  h6r  hearers  by  the  earnest  pathos 
with  which  she  declaimed  the  recitative,  wherein  Alice  con- 
fides to  Robert  the  news  of  his  mother's  death.  Her  ''  I^'u 
non  vi  lice,  ne  vederlo,  nh  uderla"    went  to    every   heart, 


ao4 


THE   MUSICAL  WORLD 


and  at  once  proclaimed  the  presence  of  a  great  artist,  and  a 
soul  full  of  poetry.  The  romance  sung,  gave  us  an  opportu- 
nity of  forming  some  notion  of  Jenny  Lind's  qualities  as  a 
vocalist,  although  the  repeated  interruptions  of  the  excited 
crowd,  and  the  nervousness  attendant  on  so  critical  a  moment, 
stood  much  in  the  way  of  the  possihility  of  arriving  at  a 
sound  opinion.  The  exquisite  purity,  and  bell-like  fulness  of 
tone,  with  which  the  first  five  sustained  notes  of  the  romance 
— B,  E,  G  sharp,  B,  E — ^were  delivered,  at  once  gave  us  a 
notion  of  the  beauty  of  that  voice,  in  the  praises  of  which  bo 
much  of  the  ink  of  criticism  has  been  used,  and  so  many  of 
Rumour's  tongues  have  wagged.  The  general  reading  of  the 
romance  was  as  delicately  pure  as  it  was  fervent  and  natural. 
The  cadences  at  the  end  of  each  couplet  were  quite  novel,  and 
executed  with  the  utmost  taste  and  finish.  The  second 
couplet  was  prefaced  by  a  long  shake,  and  another  cadence  of 
singular  elegance.  All  these  ornamental  matters,  and  the 
general  excellence  that  marked  the  entire  interpretation  of  the 
romance — impaired  as  it  was,  slightly,  by  a  nervousness  that 
was  inevitable  under  the  circumstances — threw  the  audience 
into  such  a  paroxysm  of  rapture,  that  they  continued  shouting, 
clapping,  bravaing,  and  waving  hats  and  handkerchiefs  about, 
for  upwards  of  three  minutes.  Our  own  opinion,  however, 
albeit  we  were  irresistibly  compelled  to  join  in  the  applause, 
was  not  quite  formed  on  the  subject.  The  remainder  of  the 
scene  with  Bertram,  which  is  all  comprised  in  recitative,  was 
admirably  declaimed  and  acted.  The  moment  at  which  Alice 
perceives  Bertram,  and  starts  back  affrighted,  exclaiming, 
**  Cielo  chi  veggo,"  was  exquisitely  embodied  by  Jenny  Lind. 
Her  declaring  that  he  resembles  a  likeness  of  Satan  Uiat  she 
has  seen  in  a  picture,  still  frightened,  and  yet  half-ashamed  of 
her  weakness,  was  equally  good.  Not  less  admirable  was  her 
exit,  shuddering  as  she  passes  near  to  Bertram,  yet  irresistibly 
compelled  to  turn  back  and  gaze  at  him  as  she  slowly  glides 
away.  Her  disappearance  was  followed  by  long  and  reiterated 
applause.  In  the  mind  of  the  audience,  Jenny  Lind  was, 
almost,  if  not  quite,  confirmed  the  Jenny  Lind  of  Fame's 
repute  ;  albeit  her  talent  as  yet  had  been  but  half  disclosed. 

The  second  scene  in  which  Alice  appears— that  of  the  glen 
among  the  rocks  of  St.  Irene— completely  set  doubt  at  rest, 
and  proved  Jenny  Lind  to  be  all  that  has  been  said  of  her  by 
those  who  speak  without  raving  in  unintelligible  hyperbole. 
The  way  in  which  she  twice  repeated  the  name  "  Rambaldo," 
as  she  wound  her  way  down  the  rock's  side,  swelling  the  note 
gradually  into  Jorte,  and  then  as  gradually  diminishing  it  to 
the  nicest  piano,  was  truly  charming.  At  the  close  of  the 
recitative  of  which  this  forms  the  commencement,  she  intro- 
duced a  cadence  so  entirely  new,  and  at  the  same  time  so 
intrinsically  elegant,  and  executed  with  such  finished 
delicacy,  that  it  drew  down  peals  of  applause.  Her 
delivery  of  the  first  part  of  the  ballad  to  which  this 
leads,  "  Quand  je  quittai  la  Normandie,"  seemed  to  us 
unfinished ;  she  did  not  stay  long  enough  on  the  first  B  flat, 
and  took  the  G  and  F  that  terminate  the  first  half  of  the 
first  half  phrase  somewhat  abruptly,  thereby  damaging  the 
even  fiow  of  rhythm  which  is  one  of  the  chief  charms  of  this 
simple  melody.  These  spots  in  an  ordinary  singer  we  should 
have  passed  without  noticing,  but  every  note  that  is  uttered  by 
Jenny  Lind  has  sufficient  value  to  be  criticised.  The  rest  of  the 
song — excepting  the  cadence  at  the  end  of  the  first  couplet, 
which  was  less  elegant  than  most  of  hercadences,and  was  execu- 
ted with  less  absolute  facility  and  perfection,  admitted  of  nothing 
but  unqualified  admiration.  The  pianissimo  echo  of  the  flute 
phrase  on  the  words  <<  Ahim^ !  Tattendo  ancor,"  was  delicious. 
The  cadenza  with  which  she  prefaced  the  second  couplet, 


holding  a  high  F  for  a  long  time,  and  increasing  the  volume 
until  it  filled  the  whole  theatre  with  vibration,  and  then,  when 
you  thought  she  had  finished,  and  no  more  breath  was  in  her, 
taking  the  G  above  as  the  first  note  of  a  florid  and  elaborate 
flight  of  vocal  display,  leading  ultimately  to  the  reprise 
of  the  theme,  was  little  less  than  astounding.  The  cadenza 
with  which  she  terminated  the  second  couplet  was  even  more 
beautiful  and  more  wonderful  -,  and  the  pianissimo  shake  on 
C,  D,  leading  to  the  concluding  notes,  was  executed  with  a 
clearness,  equality,  and  perfection  for  which  we  should  in 
vain  seek  for  a  precedent.  Mdlle.  Lind  begins  the  shake  on 
the  highest  note,  and  rounds  it  ofP  with  wonderful  finish  and 
completeness,  calculating  the  exigencies  of  rhythm  and  accen- 
tuation to  a  nicety.  It  is  unnecessary  to  speak  of  the  applause 
with  which  this  delicious  display  of  vocalisation  was  greeted.  In 
fact,  it  would  be  somewhat  difficult  to  find  words  big  enough 
for  the  task,  and  we  are  tired  of  recording  the  raptures  of  an 
audence  that  so  often  indiscreetly  lavishes  its  enthusiasm  on 
mediocrity.  Sufllce  it  that  both  couplets  were  encored 
unanimously,  and  both  fully  merited  the  compliment.  Jenny 
Lind*s  triumph  was  now  complete,  and  it  did  not  require 
anything  more  to  establish  her  in  the  highest  opinion  of  the 
best  judges  assembled  in  the  house. 

But  we  have  many  more  things  to  praise.  The  acdng  of 
the  whole  of  this  scene  proved  Mdlle.  Jenny  Lind  to  be  as 
great  a  histrionic  as  a  vocal  artist.  Her  terror  on  discovering 
the  horrors  of  the  cavern  was  impressive  in  the  extreme.  In 
tlie  duet  with  Bertram  her  acting  was  as  fine  as  the  finest 
efforts  of  Rachel  or  Grisi,  those  twin  mistresses  of  the 
dramatic  and  lyric  stage.  As  passages  recalling  themselves 
forcibly  to  the  memory,  we  may  specialise  the  half-stifled  cry 
with  which  she  uttered  the  words,  "  A  mezza  notte-misero," 
and  further  on,  *'  Quale  orror !  mi  reggo  appena,"  when  she 
overhears  that  at  midnight  her  foster  brother,  Robert,  must 
be  sacrificed  to  the  powers  of  evil.  And  when  Bertram 
seizes  her  by  the  wrist  and  savagely  asks  her  what 
she  has  seen  and  heard,  her  answer,  "  Nulla  nulla, " 
was  terrible  in  its  truth.  Her  fragile  form  quivered 
with  emotion,  and  the  words  seemed  to  force  themselves  in- 
voluntarily from  her  lips.  Her  fleeing  to  the  cross  for  pro* 
tection,  at  the  approach  of  Bertram,  was  wonderfully  fine ;  and 
her  attitude  betokening  a  mixture  of  terror  and  resolution,  was 
singularly  picturesque  and  beautiful.  Nor  can  we  pass  over 
without  mention  the  earnest  devotion  with  which  she  pro- 
nounced the  words,  "II  Cielo  h  meco,"  and  the  starding 
intensity  that  marked  her  exclamation  of  *'  Vien  Roberto,*'  at 
the  approach  of  her  foster-brother.  Her  singing  in  this  duet — 
which,  by  the  way,  is  one  of  the  best  compositions  in  the 
opera— was  quite  as  fine  as  her  acting.  The  cadenza  a  due 
was  so  perfectly  intonated,  and  delivered  with  such  animation 
and  boldness,  that  the  effect  was  quite  electric.  In  the  un- 
accompanied trio,  "  Crudel  memento,"  with  Robert  and 
Bertram,  we  remarked  with  what  extraordinary  facility  MadUe. 
Lind  played  with  the  high  notes,  dwelling  upon  C  in  alt.  with 
the  utmost  ease,  and  then  taking  D  above  it,  as  the  commence- 
ment of  a  florid  passage,  without  the  slightest  appearance  of 
effort.  Her  acting  after  this  trio — ^involving  her  determination 
to  stay  by  Robert  and  brave  the  danger,  and  her  subsequent 
hurried  exit — ^was  beyond  praise. 

Alice's  next  and  final  appearance  is  in  the  grand  trio 
of  the  last  act,  the  best  piece  of  music  in  the  opera. 
Here  Mademoiselle  Lind's  acting  and  singing  were  of  a 
piece  with  the  rest  of  her  performance.  If  we  must  specialise 
points  where  all  was  great,  let  us  refer  to  the  impressive 
manner  in  which  she  addressed  Robert  while  tendering  him 

Digitized  by^^OOvltT 


THE  MUSICAL  WORLD. 


305 


his  mother's  testament :— •**  Roberto,  prendi,  figlio  ingrato/' 
-—her  impasaioned  fervor  in  the  prayer,  *'  S'^  in  te  pietade,  o 
Cieloy"  and  the  heavenly  enthusiasm  with  which  she  shrieked 
oat  the  words,  "  Mezza  Nott^ !  ah  !  che  11  Cielo  lo  salvd !" 
when  she  hears  the  roll  of  the  midnight  drum^  and  knows 
that  Rohert  is  saved.  Again,  and  to  conclude,  no  words  can 
convey  the  infinite  meaning  of  her  gesture  in  the  last  scene, 
when  seeing  Robert  kneel  at  the  altar,  she  gives  vent  to  her 
delight  at  having  been  the  instrument  of  saving  her  foster- 
brother  from  destruction,  conveying,  without  a  word,  by  the 
mere  poetry  of  motion,  as  much  as  could  be  conveyed  by  all 
the  eloquence  of  a  poet's  inspiration.  The  curtain  fell  amidst 
a  torrent  of  enthusiasm,  and  Jenny  Lind  was  called  forward 
again — no  less  than  three  distinct  times.  But  of  this  we  take 
little  account*  We  should  have  been  equally  delighted  had 
her  performance  not  received  a  single  hand. 

Judging,  then,  by  her  performance  in  Robert  le  Liable^  it 
will  be  easy  to  perceive,  that  our  opinion  of  Mdlle.  Jenny 
Lind  differs  materially  from  that  which  we  felt  constrained  to 
offer  upon  her  NormOf  two  years  and  a  half  ago,  in  a  letter 
addressed  to  this  journal  from  Cologne.  We  then  considered 
her  vastly  overrated  ;  we  are  now  of  a  totally  opposite  opi- 
nion. Whether  it  be  that  Norma  is  a  character  out  of  her 
speciality,  or  that  she  has  made  wonderful  progress  in  the  time 
that  has  elapsed  since  we  then  heard  her,  we  are  not  prepared 
to  say ;  but  that  one  or  the  other  is  the  case,  we  have  too 
much  reliance  upon  our  own  judgment,  when  formed  afler  calm 
consideration,  to  doubt.  Certain  it  is,  that  as  an  actress  Mdlle. 
Lind  now  ranks  amongst  the  highest-— and  that  as  a  singer  few 
can  compete  with  her.  The  exquisite  purity,  fulness,  quality, 
and  flexibility  of  her  vocal  organ — the  consummate  art  she 
possesses  in  the  leggare,  which  the  Italians  rightly  prize  as 
the  greatest  vocal  requisite— her  almost  irreproachable  intona- 
tion—her prodigious  facility  in  executing  florid  passages-— and 
the  numberless  beauties  of  her  style  and  expression,  proclaim 
her  right  to  associate  with  the  greatest  mistresses  of  the  art  of 
smging  that  the  world  has  produced. 

Of  the  general  performance  of  the  opera,  on  Tuesday  night, 
we  would  rather  say  nothing.  From  this  implied  censure  we 
can  make  few  exceptions.  But  there  was  much  to  palliate  the 
imperfections  of  the  execution.  The  fatigue  of  constant  and 
long  rehearsals,  and  the  excitement  dependent  on  the  issue  of 
so  important  an  event,  upon  which  hung  the  ruin  or  renova- 
tion of  a  great  and  magnificent  establishment,  being  enough, 
in  all  conscience,  to  excuse  the  artists  and  the  subordinates, 
who  naturally  felt  deeply  interested  in  the  matter.  It  is  but 
just  to  state  our  opinion,  that  with  any  other  conductor  than 
the  talented  and  indefatigable  Balfe,  the  opera  would  never 
have  proceeded  to  the  end  without  a  dead  stop. 

On  Thursday,  matters  wore  a  diflerent  aspect.  Madlle.  Lind 
renewed  her  triumph  of  the  previous  night,  and  the  other 
artbts  seemed  to  have  recovered  all  their  lost  composure. 
Staudigl,  whose  engagement  at  this  theatre  has  been  one  of 
the  wisest  steps  of  the  administration,  was  magnificent.  He 
is  undoubtedly  the  best  living  representative  of  Bertram,  and 
his  acting  and  singing  on  this  occasion  were  worthy  of  his 
name  and  reputation.  Fraschini  was  far  better  in  Robert 
than  we  had  anticipated.  Gardoni's  Rambaldo  was  exquisitely 
natural,  and  his  duet  with  Bertram,  '*  Ah  I'honn^te  homme,*' 
was  inimitably  acted,  and  sung  with  the  most  finished  art. 
The  opera,  as  it  stands,  is  but  fragmentarily  represented. 
We^  suggest,  therefore,  as  a  further  curtailment,  the 
excision  of  the  whole  of  the  third  act,  in  which  poor 
Madame  Castellan  has  to  sing  to  ^eat  disadvantage.  How 
moch  better  would  it  have  been  to  have   given  the  opera 


entire,  with  a  haUet  soign/,  in  which  Mr.  Lumley's  whole 
choregraphic  force  might  have  been  employed.  The  per- 
foimance  would  have  lasted  long  enough  to  preclude  the 
necessity  of  an  after-da/Ie/,  and  Meyerbeer's  dignity  would 
not  have  been  offended  by  the  mutilation  of  his  acknowledged 
chef^oBwrt*  It  is  to  be  hoped  that  the  run  of  Robert  will 
have  concluded,  ere  the  celebrated  composer  makes  his 
promised  appearance  in  England,  or  we  would  be  loth  to 
answer  for  the  consequences.  To  a  certainty,  Meyerbeer  would 
turn  Covent-Gardenite  forthwith.  However,  the  band  and 
chorus  were  much  more  like  the  thing  on  the  second  night, 
and  with  Mr.  Balfe's  vigilance  and  ability  we  have  hopes  that 
the  third  performance  will  be  still  better.  At  all  events, 
Jenny  Lind  has  saved  the  fortunes  of  Her  Majesty's  Theatre, 
and  that  is  everything.  Her  Majesty  and  Prince  Albert  were 
present  on  both  occasions. 

The  ballet  on  Tuesday  and  Thursday  consisted  of  a  diver^ 
tissementj  called  Une  SoMe  du  Camaval,  in  which  the  talents 
of  Cento,  Lucile  Grahu,  St,  L^on,  and  the  principal  coryphM 
were  employed  in  the  exposition  of  various  dances. 


REVIEWS   ON    MUSIC 

'*  An  Engliih  Harveat  Home,"  the  wordt  by  G.  Linnjsus  Banks.  Esq. 
the  iiuMie  competed  by  Giorgb  Dixon.    "  The  btricken  Oak,*'  eong 
written  by  John  Dumah,  Esq.  ;  the  murie  eompoud  and  dedicated  to 
hit  pupUt,  by  Gborgb  Dixon.— Coventry  &  Hollibr. 
Mr.  George  Dixon's  two  ballads  are  verjc  nicel}  written,  and 

have  pleasing  tunes.   They  are  essy  for  the  voice.   "  The  Stricken 

Oak/ in  3-4  is  the  best  of  the  two.    The  poetry  in  either  is  barely 

tolerable. 


"  /  wander  o'er  moorland  and  lea,"  tony  of  the  Zephyr,  wrUten  by  R.  W. 
Hammond,  competed  by  L.  Lavbnu— Chappbll. 
Very  simple  and  very  pretty.     Mr.  Lavenu  has  hit  the  words 
admirably.     His  ballad 'throughout  is  as  light  and  aerial  as  the 
Zephyr  itself.    The  poetry  is  neat 

*'  The  Wood Nympht,"  duet,tung  by  the  Missis  Birch  and  E.  Birch, 
wriUen  by  A.  W.  Hammond.  Competed  by  G.  A.  MAOPAaRBN.— 
Cbappbll. 

An  exquisitely  graceful  effusion,  full  of  musical  points  of  interest, 
admirably  voiced,  and  entirely  expressing  the  sentiment  of  the 
words.  Mr.  Macfarren  is  now  our  most  successful  composer  of 
chamber  duets  and  the  present  charming  specimen  is,  in  every 
respect,  worthy  of  bis  reputation.  Simple,  natural,  and  flowing, 
as  IS  the  melody,  it  does  Aot  prevent  the  accomplished  musician 
from  giving  us  some  new  and  beautiful  points  of  harmony  that 
declare  no  common  hand  to  have  been  at  work. 

"  Theory  of  the  New  Patent  Diatonic  Flute ;  by  AbblSiccama.  B.  A. 
Patentee,  CvLKUtLtL,  Bbalb,  &Co. 

The  work  before  us  is  not  a  mere  key  to  the  newly  invented 
flute,  whose  peculiarities  and  essential  properties  it  lays  down  and 
explains  at  large,  but  enters  philosophiodly  into  the  theory  of 
sounds,  and  elucidates  with  sufficient  clearness  the  causes,  harmo- 
nically speaking,  that  have  long  stood  in  the  way  of  rendering  the 
flute  perfect  in  iu  tone  in  e\ery  key.  There  is  much  good  musical 
discourse  struck  out  in  the  introduction,  and  the  author  is  evidently 
a  man  who  has  looked  beyond  flutes  and  their  stops.  To  the  flute 
player,  and  to  such  as  are  anxious  about  obtaining  perfect  into, 
nation  on  that  instrument.  The  Theory  of  the  Patent  Diatonic 
Flute  will  be  found  extremely  interesting,  if  not  highly  useful  in 
the  perusal ;  and  to  such  we  may  honestly  recommend  the  work. 
Of  the  Patent  Diatonic  Flute  itself  we  can  say  nothing,  never 
having  heard  one. 

MISCELLANEOUS. 

MustCAL  Mouse.— A  few  days  ago  a  gentleman,  residing 
in  South  Moulton  Street,  sent  for  a  tuner  to  put  his  jMano 
to  rights,  which  had  suddenly  taken  it  into  its  head  to  lose 
nearly  all  its  tone.    Upon  removing  the  sound-board,  lo !  a 


3U6 


THE  MUSICAL  WORLD. 


mouse  had  built  its  nest  beneath  the  wires  and  had  brought 
forth  four  young  ones.  The  leather  of  the  hammers  were 
nearly  all  eaten  away. 

Mr.  Wilson's  Entebtainments. —  The  fourth  of  these 
interesting  soirees  was  given  on  Monday  evening,  in  the 
Music  Hall,  Store-street.  Mr.  Wilson  introduced  several 
novelties,  including  "  O I  Waly,  Waly,"  "  Despairing  Mary," 
and  the  lament ''  McLeod  of  Iiungevan."  The  latter  is  quite 
a  gem,  and  was  exquisitely  sung  by  Mr.  Wilson ;  indeed  we 
seldom  recollect  to  have  heard  him  in  better  voice.  Mr. 
Land  presided  at  the  pianoforte  with  his  accustomed  ability. 

Mr.  Vincent  Wallace,  the  popular  composer,  purposes 
taking  a  Benefit  at  Drury-lane,  on  the  17th  inst.,  on  which 
occasion  'one  of  hi?  recent  operas  will  be  performed,  and 
aftewards  a  grand  concert,  in  which  he  will  be  assisted  by 
several  eminent  artists,  and  the  Beneficiaire  will  play  a  grand 
fantasia  for  the  pianoforte,  of  his  own  composition.  The 
Dedication  of  Mr.  Wallace's  opera  of  Matilda  of  Hungary 
has  been  graciously  accepted  by  the  King  of  the  Belgians, 
This  opera  is  to  be  produced  at  Vienna  in  August  next. 
Mr.  Wallace,  in  consequence  of  the  delicate  state  of  his 
health,  purposes  taking  a  tour  this  summer  through  Italy 
and  Germany,  during  which  period  he  will  be  occupied  in 
the  composition  of  two  new  operas.  He  will  locate  himself 
in  Vienna  in  August,  to  superintend  the  production  of  his 
opera  of  Matilda  of  Hungary,  which  is  to  be  produced  in 
great  splendour  in  that  city. 

HuNOARiAN  Instrumental  Vocalists.-— Among  the  greatest 
novelties  of  the  day,  we  are  assured  that  the  four  Hungarians, 
Messrs.  Weis,  Zorer,  Schwarz,  and  Grunzwag  stand  conspicuous. 
If  we  ate  to  accredit  the  French  and  German  journals,  they 
are  the  wonder  of  the  age.  Their  success  in  Paris  has  been 
so  great  that  Louis  Philippe,  before  whom  they  performed, 
honoured  them  with  an  especial  recommendatory  epistle  to 
Queen  Victoria  on  their  departure  for  England.  In  com- 
pliance with,  or  in  compliment  to  the  French  King,  the 
Hungarian  Vocalists  have  been  already  honoured  with  a 
hearing  by  Her  Majesty  and  Prince  Albert,  both  of  whom 
evinced,  we  are  told,  great  delight  at  their  singing.  Their 
first  public  performance  takes  place  this  morning  at  the 
Haymarket  theatre,  when  a  grand  concert  will  be  given,  in 
which  the  Hungarian  brothers  will  sing  solos,  concerted 
pieces,  and  give  their  imitations  on  wind  and  stringed  instru- 
ments. We  shall  speak  of  these  artists  more  at  large  when 
we  have  heard  them. 

Misa  Emily  Grant  gave  a  farewell  soire^  musicals  at  the 
Music  Hall,  Sheffield,  on  Friday  evening,  April  30th,  under 
the  immediate  patronage  of  the  Mayoress  and  ladies  of 
Shefiield.  The  Hall  was  very  much  crowded  on  the  occasion, 
the  fair  artist  being  supported  by  her  numerous  friends  and 
admirers.  The  programme  comprised  some  capital  music, 
selections  being  made  from  the  best  masters,  and  the  per- 
formance, on  the  whole,  was  highly  satisfactory.  The  beautiful 
recitation  and  aria  from  the  Orfeo  of  Gluck,  **  Che  faro  senza," 
was  given  with  great  judgment  and  expression  by  Miss  Grant, 
and  gained  her  considerable  applause.  Miss  Grant  was  equally 
good  in  the  grand  scena  from  FideHOf  **  Sweet  Hope,  I  have 
no  friend  but  thee."  She  was  also  extremely  happy  in  several 
other  pieces,  in  the  majority  of  which  she  was  rapturously 
encored.  Miss  Grant  is  a  very  great  favourite  with  the  good 
folk  of  Sheffield,  who  step  forward  on  all  such  occasions  as 
the  present  to  pay  homage  to  her  as  an  excellent  artist.  The 
rest  of  the  performance  demands  no  particular  notice,  if  we 
except  the  singing  of  Miss  Scale,  a  pupil  of  Miss  Grant's, 
who  made  a  very  promising  debut.'^From  a  Corre^ondeni* 


TO   CORRESPONDENTS. 

W.  E.— TV)  thefirtt  query  of  our  Correspondent  we  can  return  no  answer, 
the  infonrntum  required  lying  beyond  the  sphere  of  our  knowledge.  T# 
the  second  we  answer,  decidedly  Mr.  Jarritt. 

ADVERTISEMENTS. 

Warren^s   20  Ghdnea  Cottage  nano-Fortea 


ARE  NOW  SELLING  AT  THE 

MaxiVifyLCtorjf  71,  laeadenhall  Street 

{Retnovedfrom  1  and  2,  Liverpool  Street,  Bithopsgato  Street.) 
Tbese  Imtrumenta  are  wdl  muiuActRred  of  the  beit  lewooed  wood,  FINB 
FULL  TONE  AND  GOOD  TOUCH.  A  two  yean  wamnty  givea  with  each  inatra- 
ment.  SSTABUSHED  TWENTT-ONE  YEARS.  The  onW  honae  in  Laodon 
where  a  rood  aoand  inatmment  can  be  obtained  at  the  above  low  price,  (for  cuh 
only).  SMALL  FROFIT  AND  QUICK  RETURNS  I 
JOHN  WARttENj  71,  LeadenhmU  St.,  opposite  Aldirato  Pomp. 

JITLLIEN'S  NEW  MUSiaiTE  DE  BAL 

For  the  PRESENT  SEASON  {received  with  the  most  diitin^lahed  ihvovr,  and 
re«demanded  at  Almack's  and  the  nobility's  balls)  includes  the  foUowingr  aoperblf 
illustrated  morceaux,  viz.— The  Flowers  of  the  Forest  and  Phantom  Dancers' 
Quadrilles,  the  Priuceas  or  Obra  Walts,  and  the  Rhine  Polka,  Jullien  {  Adrienne 
Valse  and  Fin  du  Bal  Galop,  Barret ;  the  Garland  and  Jenny  Lind  Waltaes,  the 
Cashio  and  German  Polkas,  Kceni^ ;  the  Celestial  Valse,  Mellon.  &c.  To  be  bad 
of  every  respecUble  MusicseUer  in  the  kingdom,  and  at  JuUien's  Royal  Conser- 
vatory of  Music,  214,  Regenc  Street,  and  45,  King  Street. 

GRATIS  I    GRATIS!    GRATIS  I 

Every  Person  who  shall  subscribe  for 

THE    DISPATCH 

DttHfig'  the  Month  of  June  next, 

WILL  BE  PRESBIITED  WITH  A  FIKKLT  ENQEATED 

PORTRAIT  OF   ELIZA  COOK. 

The  likeness  of  this  Poetic  Genius  is  most  striking^  and  the  Engraving 
is  by  Adlard,  in  the  first  style  of  the  art 

An  Edition  of  the  Dispatch  is  published  at  Five  o'clock  everr  Saturday 
morningy  for  transmission  by  the  First  Trains  and  Mornin(|  Mails,  so  that 
persons  residing  in  towns  250  miles  from  London  may  receive  it  the  same 
evening. 

This  Edition  contains  the  London  Markets  of  the  week,  indnding  those 
held  on  Friday ;  also  the  spirited  Letters  of  Publicola,  Caubtic,  and 
Cbnsorios  i  and  frequently  original  Poems  by  Eliza  Cook. 

Persons  desirous  of  bdng  supplied  with  the  Weekly  Dispatch,  may 
give  their  orders  and  pay  their  subscriptions  to  any  News  Agent ;  or  to 
Mr.  Richard  Wood,  at  the  Dispatch  Office,  139,  Fleet-street, 
London,  who,  by  a  remittance  of  2s.,  or  Postage  Stamps  to  that  amonnt, 
will  supply  the  Dispatch  throughout  June  next. 

Tlio  TemiB  for  the  Dispatch  are,  per  Quarter      •    •    78.    Od 

Per  Year,  in  Adrance     .         .  .  .    £l     Cte.    Od. 

Ditto  on  Credit,  payable  bjr  reference  in  London    £i  10b.    Od. 


NASSAU 


PRESS/ 


STEAM 

AMD 

PUBLISHING     OFFICE, 

60,    ST.    MARTIN'S    LANE,    CHARING    CROSS. 

Eyery  description  of  CONCERT  PRINTING,  (Public  or  Prirate,)  oonsistinff 
of  Proorammbs,  Notes,  Tickbts,  Postiho  Bills,  Music  and  Musicax 
WoBKs,  8k,,  are  nenUf  and  expeditiously  executed  with  economy  and  taste  by 
W.    8.    JOHNSON,  ^ 

PRINTIR    TO    HER    MAJBSTT'S    THBATRB  21  YBARS  I 

Where  also  may  be  had  "Hie  Musical  World,**  and  aU  Opoiis^OoBM^a» 
FUys,  Vtacee,  BwUaqiies,  and  the  wlu)k  of  Webfrter's  uaiqne  Acting  9i^^ 


THE  MUSICAL  WORLD. 


307 


HER    MAJESTY'S    THEATRE. 
— e — 

The  NoUlitr,  Sdbscriben,  wd  the  PoUle,  ire  renpecUoUy  infinmed  that  an 
UTRA  NIGHT  wm  take  phce 

On  tHURSDAT  NEXT,  Kay  13,  1847, 

'WlMD  will  be  ftttormei  Bsluni's  celebrated  Open,  entitled 

LA    SON  N  A  MB  U  LA. 

Amina  .  ;  Mdlle.  JENNY  LIND. 


Solsri^Coiint  Bodolpli,  Slgnor  T. 

Biad  BlTliiQ,  BlKiiOr  Oardonl. 

UTiUi  Tarioui  fintertaliuneBts  in  the  BALL'BT  DBPARTMBHT,  oom- 

blli&BKl^UaenU  of  MdUe.  Ckrito,  MdOe  Rosati,  MdUe.lLaiiB  Taouovi, 

mSUp^  PurriT  Stsphan.    Mdlies,  Honobb,  Cassan,  Jdlibn.  Lam oubbux, 

aadifdlto  tccxw  Gbahn.    M.  Psbbot,  M.  P.  Taolioni,  ma  M.  Sr.  Lbon. 


ROYAL 


ITALIAN 

COVENT 


OPERA, 

GARDEN. 


On  THUBSDAY  NEXT,  May  13,  an  Extra  Night, 

Ob  wbich  occasion  the  combined  stren^h  of  the  Company  will  peribrm. 

The  Operatic  Performances  wiU  embrace  the  talents  of 

Madame    Oiisi— Madame    Peralani— Signora   Albonl^8i|rnor 

Mario  ^ftlcnor  SalYl— Slcnor  Borere  —  SiKnor   Marini—  and 

Mciaer  Tam,1iixrUiit 

The  BAUiLBT  wffl  lie  supported  hf  Mdlle.  Fannt  Blsslbb,  Mdlle* 
]>uiiii.AVBB,  Mdlle.  Badwrna,  Mdlle.  Db  Mblissb,  Mdlle.  Auriol, 
Mad.  Pblchavz,  M.  Pan  pa,  M.  Crocb,  M.  O'Bryan,  M.  Dblfbrixr,  fcc, 

Tickeliy  Stafls.  and  Boxes  io  be  obtained  at  the  Box  Qfice»  Bow  Street ;  and 
at  Cramer.  Beaie  and  Co's,  901,  VLefstut  Street.  The  doors  will  be  opened  at 
halApaat  SeTen,  and  the  performance  to  commence  at  Eight  o'clock* 


WILSON'S     SCOTTISH     ENTERTAINMENTS, 

AT  THE  MUSIC  HAIX,  OTOEB  STBSBT. 
OM    MONBAT    BVBNIMG,    MAY    10,    at    8    •'Cloek, 

MR.   WILSON 

Win  Binif— The  flowen  o*  the  Forest— Caller  Herrln'— Hame  cam  our  g^de  man 
al  e'en— Ower  the  water  to  Charlie— Bonnie  Besse  Leea— The  Married  Man's 
Leasent— Pibroch  o'Donnel  Dhn— The  Aold  School— Woo'd  and  married  and  a*^ 
Anid  Joe  Nioolson'a  Bonnie  Nannie— Of  a^  the  airts  the  wind  can  bhiw— The 
boatie  rowi— Sit  np  and  bar  the  door. 

MR.    C.    MUHLENFELDT 

Has  the  honor  to  announce  that  hii 

GKAND    SOIKEE    MUSICALE, 

-wm  take  place  on  WB]>NB8DAT,  MA^  latik, 

AT  THE  PRINCESS'S  CONCERT  ROOMS, 

On  whidi  ooeasion  he  wiU  be  assisted  by  the  following  eminent  Artists  i— 

Ifadame  Jenny  Lutser,  Miss  Sabilla  Novello,  Miss  Elisa  Nblsom, 

Madame  Macparrbn,    Madame  Santa  Crocb.      Mr.  Lockby,  .Herr 

Brandt,   Signor   Galli,    Herr    Schnitzler,    Madame   D'Gichthal, 

M.  Sainton,  M.  Lavione,  M.  Rousselot,  Meesra  Godfrie,  Streather, 

WsBLAKfe,  Rousselot,  R.  R.  Reinaole,  &c.  &c. 

TkketaHa»«.6iiiBea  each,  may  be  had  at  all  the  principal  MusicseUen,  and  of 
Mr.  Muhlbnfbldt,  6,  Albany  Street,  Regoit's  Park. 

FLU  T  E. 

Jnrt  fmbUshed  by  Messrs.  CRAMER,  BEALE,  &  Co.,  901,  RxeBKT  Strbbt, 

Theory  of  fhe  New  Patent  Diatonic  Flute, 

By  a.  SICCAMA,  B.A.,  Patentee. 

Tide  work  oootBins  a  fWl  description  of  the  instrument,  with  the  Ungeriafliof 

the  scales  and  chords,  &c. 
An  whohaYe  adopted  this  flute  pronounce  it  to  be  superior  to  any  other  in  cor- 
leetaesB  of  tone,  and  power  and  brilliancy  of  tone.    It  is  so  constructed  as  to 
TCI^  the  old  method  of  flngarliiff,  which  enables  the  amateur  immediately  to  see 
ttaaafanngsB. 

nfetastraBSflBt  can  be  procatcd  only  of  the  P»tentee,--Maoiiftictory, «,  Bxu. 
Yjkmm,  OmAOSOBVBCH  l»ra»iT, 


aUEEN'S  CONCERT  ROOMS,  HANOVER  SQUARE. 


Under  the  immediate  Patronage  of  Her  Gradl  the  Ducrbss  of  Sutherland, 
and  the  Most  Noble  the  Marchioness  of  Londondbrry. 

HEER  AND  FRA^LEIN  HELENE  STOPEL, 

(Pianist  to  Her  Grace  the  Duchess  of  Sutherland)  have  the  honour  to 
announce  that  tbey  will  give 

A   GRAND    MORNING   CONCERT, 

On  THUBSDAY,  MAT  IStb,  1847. 

On  which  occasion  BO  Pianlata  will  perflnrm  several  Pieces  arranged  for 

ID  Piano  Fortes,  by  Hbbb  »tOpxl. 

VocaUsts-MadameKNisPBLs  Madlle.EMM^  StOpel:  Miss  Eliza  Nblson; 
Signor  GiACiNTo  Marras ;  Signor  Montblli  ;  and  Gdstav  HClzbl  (ftom 
the  Imperial  Court  Theatre,  Vienna).  InstrumeutalisU  (Piano)— Mademoiselle 
H.  StOfbl  (Pianist  to  Her  Grace  the  Duchess  of  Sutheriand).  ViolonceUo- 
SJgnor  ALrRBoo  Piattx.  Harp— M.  Godbvrozo.  Violin- G.  Stbvbnibrs 
(Premier  Violin  de  sa  M^este,  le  Roi  des  Beiges)).  Xilo-Oordeon  (a  curious 
instrument  of  wood  and  straw)- Herr  Franz  StOpbl.  Conductors,  MM.  Jules 
db  Glimbs  and  StOpbl. 

Ticketo  to  be  had  at  Herr  StCpbl's  Class  Rooms,  Jullibn's  Royal  Conserva- 
tory of  Music,  214,  Regent  Street,  and  of  the  principal  Music  SeUers,  where  may 
be  had  Frospectnses  of  Herr  BTOPBIa's  Conrae  of  Inatraction 
in  Piano  Forte  Plajinc* 

HANOVER  SQUARE  ROOMS. 

MR.    J.    COHAN 

Has  the  honor  to  announce  that  his 

RECITAL  OF  PIANOFORTE  MUSIC 

will  take  place  at  the  above  Rooms 
On  Wedneaday  ETenin^r,  May  IBth, 

when  he  will  perform  the  following  Morseaux  of  kit  own  eomporitioM: 

Fantasia,  on  "  Der  Frm^ekuts," 

Fantasia  on  "  See  the  Conquering  Hero  comes." 

Ads«io  and  Bcherxe,  Arom"  Grand  Sonata  in  A  flat." 

Martial  Fantasia,  '*  Greek  Revolution." 

Bnrlesone  Variations  on  the  «*  Carnival  of  Venice."— together  with 

Bies'  Grand  Variations  on  '<  Non  piO  Andrai,"  and  in  conjunction  with 

Mr.  BLAGROVE,  ^ 

BeetliOTen'a  Sonata  In  F  for  Piano  and  Violin. 

The  following  Eminent  Vocalists  will  assist :— Miss  Birch,  Miss  Dolby, 
and  Mrs.  Sbouin.— Mr.  E.  Hart,  Mr.  Seouin,  and  Mr.  John  Parry.— 
Instrumentalists— l^aiM/or/tf,  Mr.  J.  Cohan,  Mr.  W.  H.  Holmbs,  and 
Mr.  Noblb.-  VioiiM,  Mr.  Blaorovb.  Tickets  may  be  procured  at  the  principal 
Music  Publishers,  and  of  Mr.  Cohan,  at  his  residence,  36,  Sobo  Square. 

DR.   STOLBERGPS   VOZCB   LOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removing  all  aifectioos  of  the  throat,  strongly  recommended  to 
clergymen,  singers,  actors,  public  speakers,  and  all  persons  subject  to  relaxed 
throats. 

The  Proprietors  have  Just  received  the  following  Testimonial,  amongst 
manv  others,  from  Madame  Anna  Bishop: — 

**  Dbab  Sir,— I  am  happy  to  say  Uiat  all  I  have  heard  respecting  the 
efficacv  of  Dr.  Stolbero'b  celebrated  Lozenge  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  dear,  and  my  throat  quite 
free  from  Telazation.    I  am,  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

Barclay  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard ; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Churchyard ;  Sanger,  and 
Dietrichsen  and  Hannay,  Oxford -street ;  and  retail  by  all  respectable 
Chymists  in  the  Kingdom. 

FAIR      COMPLEXION. 
Under  the  Patronage  of  the  Nobility  and  Gentry. 


ORIENTAL  BOTANICAL  PREPARATION, 

For  removing  almost  instantaneouslycutaneous  eruptions,  freckles,  pimples,  vpots, 
and  other  discolorations  of  the  skin.  After  one  appucation  of  the  Botanic  Extract, 
which  must  be  used  twice  a  day,  a  wonderfhl  change  will  be  perceived,  and  in  the 
course  of  a  few  days  the  complexion  will  assume  a  beautiftil  transparent  roseate 
hue  appearance.  The  extract  to  apply  is  of  the  most  agreeable  nature,  and  the 
first  arottcation  will  prove  its  wonderral  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

SBOBGB  H.  J.  COOKBUBli;  B,  Ald«ate,  I^mdonj 

And  Barclay  and  Sons,  Psrringdon-stre^,  London  j  in  bottles  et  Sa.  9d.  and  4s.  6d. 

each;  also  by  Sanger,  150,  Oxford-strefct;  Keating,  St.  Paul's  Church  Ysrd; 

Johiuon,  68,  Cornhillr  Hannay  antt  Co.,  68,  Oxfoi^street ;   Butler  and  Co..  4, 

^  Cheapside)  Edwards,  St.  Paul's  aiurchyard|Proat»299»  Strand;  and  of  ell  other 

I  Chemists  end  Perttimert  in  the  kIngdoni.j^j^  ^    VjOOy  ItT 


308 


THE  MUSICAL  WOELD. 


THOMAS    BAKER'S 

MODERN   PIANOFORTE   TUTOR. 

Has  the  honor  to  announce,  that  he  has  iutt  publUhed  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratum  so  lone  sought  after  by  th6 

frofession.  Notwithstanding  the  improvements  that  nave  taken  place  in 
ianoforte  Playing  within  the  last  ten  years,  no  deviation  has  been  made  in 
the  system  of  teaching  from  Tutors  of  the  Old  School;  in  consequence,  many 
giAed  with  brillUnt  talenU  have  been  unable  to  execute  the  music  of  the 
present  day.    For  this  reason  the 

MODERN    PIANOFORTE   TUTOR 
H«s  been  introduced,  and  met  with  the  greatest  success  from  the  tUte  of  the 
profession,  who  have  universally  adopted  it.    The  work  is  divided  into  two 
parts :  the  first  being  a  complete  Tutor  in  iuelf,  containing  the 

RUDIMENTS  OF  MUSIC, 
Iftttle^  for  H^t  Jpotmatfon  of  tf^e  l^attb,  Sbcabs, 

FINGER    BXBROI8B8,    *c. 

Interspersed  with  Morceaux  from  the  works  of 

BeetliOTMs,  Momart,  Spolir,  Webtr,  M«j«rb««r,  Rocli«A]bert, 

Rossrtnl,  BttUlBl,  Donisetti,  *e.— Price  8s. 

The  second  part  consists  of  a  more  advanced  course  of  Studyj  proceeding  to 
the  most  refined  style  of  Modern  Playing  ; 

ninstrated  With  numeroiu  Examples  &  BRereUes, 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Pianistes  of  the 
Modern  School  :  with  Selections  from  the  Pianoforte  Compositions  of 
Herz,  Dohler,  Thalbero,  &C. ;  in  fact,  everything  necessary  to  constitute 
a  first-rate  Pianist    Price  8s.,  or  15s.  tlie  entire  work. 

Publiflhed  by  M.  JULUEN  fc  Co., 

AT  THE  ROYAL  MUSICAL  CONSERVATORY, 

214,  REGENT  STREET,  and  45,  KING  STREET, 

Where  all  the  Compositions  of  the  above  Author  may  be  had. 

JULLIEN'S  ALBUM  for  1847. 

M.  JuLLiBN  has  the  honor  to  announce  that  the  sixth  edition  of  his 

MUSICAL     AKNUAIc    FOR    1847 

Is  now  Published,  and  will  be  found  by  far  the  best  work  of  the  kind  that 
has  ever  appeared ;  containing  no  less  than 

ThtrtjT  Pieces  of  Voeal  and  Fonrieen  of  Instnuoaontal  Musle, 

The  greater  part  of  which  have  never  before  been  published,  the  copTrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  mth  the 
view  of  rendering  it  immeasureably  superior  to  an^  of  its  predecessors. 

The  portion  which  has  already  appeared  comprise  those  pieces  only  whose 
decided  success  has  induced  M.  Jullien,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

The  Illustrations,  in  addition  to  the  elaborately  executed  Covers,  Title,  and 
Dedication  pages,  indude  two  magnificent  Views  of  the  interior  ofCovent 
Garden  Theatre.  The  one  Uken  during  the  brilliant  scene  exhibited  in  that 
splendid  arena  of  the  occasion  of  M.  JULLIBN'S  GRAND  BAL  MASQUE; 
the  other  a  VIEW  OF  THE  THEATRE  TAKEN  DURING  THE  CON- 
CERTS,  the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  a  manner  at  once  Itfe-like  and  elegant.  To  those  who  haye  visited  the 
Theatre  on  either  occasion,  the  Album  will  form  a  delightful  'Souvenir,  and 
to  those  v(ho  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. 

A  splendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  Fabbri,  in  the  admired  Pas,  La  Castigliani.  Aft  original  subject, 
<•  The  Fortune  Teller,"  illustrating  Baker's  beautiful  ballad  of  that  name. 

The  whole  of  this  department  of  the  ALBUM  has  been  under  the  active 
superintendence  of  J.  BRAN  DA  RD,  Esq.,  whose  pencil  only  has  been 
emploved  in  its  production. 

Nothing  more  need  be  said  in  favour  of  this  Work,  and  in  proof  of  its 
ffotl  supeYiorUy  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributes f  where  will  be  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  contains  some  .of  the  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Sipain,  &c.,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Cootinenul  diletantL    Price  18s.  and  £1  Is. 

ROYAL    CONSERVATORY    OF    MUSIC, 

214,  Rbgent-Stmibt,  and  45,  King-Stebbt. 


SOVBBKIGKr 


No.  5,  St,  JAMES'S  STREET,  LONTDON.  ^ 


Henrv  Pownall,  Esq. 


i  EdwaM  Sobtt,  Esq. 


Trpitui^ 

.Direetore, 

Henry  Broadwood,  ElO:,  M*P« 

Bir  James  CarmidMlrBflx. 

Charles -Farebrother,  Esq.,  AklemMB. 

William  Tolloh  Fraser,  Esq, 

John  Gardiner,  Esq. 

Aaron  Asher  Goldsmid,  Esq. 

, ,      ,  HenryWillUmTownall,  £sa< 

Assoranceaon  the  lives  of  jwrsODS  in  every  station  of  iife  and  ^ynMft  of  the 
world,  granted  on  a  plan  which  combines  the  utmost  amount  ofDenpt  to  the 
families  of  the  assured  at  death,  with  every  attainable  advantage  dmring  Hfe, 
which  the  system  of  Life  Assurince  is  capable  of  affording. 

Persons  wishing  to  borrow  nHAieij^o  enable  them  to  complete  the  jmnJuMCi 
property,  or  deainng  to  i>ay  off  eiastiBg  chaifi^  thereon,  can,  by  aMUrfnr  with 
this  Company,  obtain  the  adjnmce  of  the  fall  amount  of  the  Pwr,  repayable  by 
instalments,  extended  over  a  period  of  years^^n  the  advantogeo  vuu  im  explainea 
in  the  Prospectus. 
In  case  the  assured  diet^during  the  limited  number  of  years  agreed 


Sir  A.  Brydges  Henniker,;Bart. 
1.  Bond  paHbeU,  Esq.,  M.P.     . 


CHAtRifAN,  Lieutenant  Colonel  Lord 

Arthur  Iiennox. 
Dbputy-Chajkman,  T*  C.  Granger, 

EAq.,  M.P. 
John'Ashhamer,  Eeq.,  M.D. 
T.  M.  B.  Batard,  Esq. 
PbiUpP.B!yth,EMi. 


„      remaining  unpaid.     Or,  he  may  at     . 

the  payment  of  the  sums  still  remaining  unpaid  on  fpourable  terms,  and  oottti* 
■ue the  Policy,  if  hepleases, as anc«dtaar|ri4fe  Policy. 


Annui'tibs  and  I^DowMumfon  liberal  terms, 
lolldtors  and  Agents. 

H.  D.  Davbmpobt,  Beentaty* 


The  usual  commiadRi  to  Sofldtors  and  > 


THE  PAtSNT  HAEMONXUM. 


This  beautiful  Instrument  possesses  the  softness  of  the  voice  ¥rith  the  ▼aric^^ 
toneof  every  wind  Instniiftent,  as  also  the  power  of  a  large  Organ. '  ItisMaUT 
suitable  for  Sacred  Hndc,  or  the  Dance,  and  adapted  for  the  Drawing  Rooin. 
Concert  Room,  Ohurch.or  Chapel.  Printed  particulars  can  be  had  of  Lvrv  anA 
Son,  sole  agents,  where  the  PATENT  HARMONIUM  can  be  heard  firom  10  tiU4« 
daily;  and  where  can  be  inspected 

lUPP  *  SON'S 
Elegant  Assortttent  of  PIANOFORTBS9 

Made  by  experienced  workm^  and  thoroughly  seasoned  wood,  all  of  whidi  is 
prepared  on  the  premises.    They  are  warranted  to  stand  wdl  in  Tnn^  and  aie 
prepare  for  extreme  climates :  prices  one-third  less  than  usoally  chaifed. 
InstrumenU  taken  in  exchange,  and  a  liberal  allowance  to  deafara. 
LUFF  mnd  SON,  103,  Great  KusseU  Street^  BloonusbviT- 

lf.B.-The  terms  of  Mr.  JULIAN  ABAMS,  tbe  eeletorltted 
perfionaer  upon  the  Patent  Harmonlnm,  for  glTing  Initroction 
and  Performlnir  atOoncerto,  can  be  had  Of  Geo.  LUFF  *  BOlt. 

OAK  BARK  TANNED  LEATHER  HARNESS. 

Brougham  Harness,  lined,  7  gs.,  anlined  5  gs. ;  Chariot  Hamew,  Uned,  18  p. 
Since  the  introduction  of  chenucals  in  tanning,  not  one  hide  in  50  is  now  tanned 
with  bark ;  the  chymical  process,  by  sulphuric  and  other  acids,  impoverishes  the 
hide,  oak  bark  alone  converts  it  into  solid  leather. 

D.  HOBIAKTT,  34,  Berwick  Street,  Soho, 

invit9  gentlemen  to  inspect  the  process  of  currying  on  his  own  premises, 
whereby  alone  they  can  depend  on  bark  Unned.    Old  harness  taken  m  exchange. 


Printed  and  Published,  for  the  Proprieton,  at  the  ^Naasan  Steam  Preas," 
by  WiLUAX  SPBNcka  Johnson,  60,  St.  Martin's  Lane,  in  the  pariah  of  St. 
]Jartin>sintheFidds,inthe  County  of  Middlesex:  where  aUcommuafcatiou 
for  the  Bditoraretobe  addressed  postnaid.  To  he  had  of  O. Pukaaa, Dean 
Street,  Soho :  Strange,  Patemotter  Row  s  wiiehearta  Dublin  |  tad  aU  Bookeetten. 
-Saturday,  May  8, 1847. 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Tenfts  of  BiilnieirlptloB,  ptr  Aiiii«m»  16s.  fltanped ;  16s.  Unstamped  |  to  be  forwarded  law  Mcne  j  Crder  or  PostafO  Stamps 
to  the  PttbUaher^W.  8.  Jolu^son,  "Hassan  Steam  Preas/*  SO,  St.  Martin's  Lane,  Charing  Ovossi 

^S^Amraal  Sabscrlbers  only  (wbose  niAnea  are  royistered  at  tba  Ofica)  are  entitled  to  an  Admission  to  the  OomcoH^  aiiS 

a  Piece  of  Mnsie,  (reyalar  Mnsic  sise)  Monthly. 


No.  20.— V0L.XXIL 


SATURDAY,  MAY  15,  1847. 


fPRICH   TU 
1  8TAMFRD, 


TO  OUR  HEADERS. 
Annual  Snbaeribers  wliose  iMunes  are  entered  in  tbe  Book 
at  onr  OAee,  and  whose  Subscriptions  are  paid  in  adTanee 
to  Cbristmas  nost»  are  ALONE  entitled  to  an  Admission  to 
tho  f orthoominv  Annnal  Coneort,  wMcb  will  be  civen  in  Jnno 
or  July  next. 

Our  Snbaeribers  wU  he  preeewted  vfUh  No,  22,  an  IMPBOMPTU, 
compoeed  exmreeeUf  for  ike  '*Mueieal  World,"  by  CHARLES 
LUDERS. 

A  FRENCH  CRITIC  IN  LONDON. 
Tbrre  being  nothing,  to  talk  about  in. art-matters  at  Paris, 
9,  4m&y  journal,  called  Le  CQfisUiutionelj  has  dispatched  its 
JmriHeiom9t€j  Monsieur  P.  A.  de  Fiorentino,  to  London,  for 
the  purpose  of  going  everywhere  and  describing  everything, 
in  a  series  of  letters,  called  '*  Lettres  de  Londrea"  This  is 
the  first  visit  M.  Fiorentino  has  paid  to  England— but,  doubtless, 
in  less  than  six  weeks,  Le  Constitutionei  will  be  enlightened 
thoroughly'  on  the  state  of  music,  the  drama  and  the  fine 
arts,  in  this  counUy.  The  Frencb  critics,  especially  those  of 
Paris,  have  a  maivetloos  facility  in  exploring  the  short  roads  to 
knowledge,  and  in  respect  to  itcattow^  are  decided  ecclcctics. 
M.  Fiorentino  is  one  of  the  liveliest  and  most  pleasantly 
loquacious  of  the  body,  and  combines,  in  his  own  literary 
person,  the  brevity  of  Janin,  the  solidity  of  Achard,  the 
vivacity  of  F^is  p^e,  the  ingenuousness  of  Gauthier  and 
the  musical  depth  of  Henri  Blanchard;  the  whole  smoothed 
down  and  rendered  palatable  by  that  compound  of  modesty 
and  a  desire  to  learn  which  is  the  character  of  Italian  critics 
in  general.  We  sbfdl*  therefore,  look  for  much  agreeable 
reading  in  the  "  Lettres  de  LimdreSf"  and  have  little  doubt 
of  being  enabled,  from  time  to  time,  to  present  our  readers 
with  divers  epistolary  bonnes  bouches  for  their  peculiar  relish. 
Wliile  on  the  subject,  however,  let  us  implore  M.  Fiorentino 
not  to  be  too  severe  on  us  poor  English.  Every  word  he 
says  will  have  its  weight,  and  ks  we  do  not  wish  to  stand  in 
a  worse  light  than  is  necessary  before  the  nations  of  the  world, 
we  hope  he  will  be  indulgent,  and  not  swamp  us  in  an 
epigram.  We  know  that  in  matters  of  art  we.  are  far  in  the 
rear  of  French  acquirement,  and  that  in  profundity  we  are, 
to  the  Parisians,  as  a  bowl  of  soup  to  a  bottomless  well. 
But  we  mak6  so  bold  as  to  remind  M.  t'iorentino  that  the 
mere  fact  of  his  coming  amongst  us' for  the  purpose  of 
showing  us  up  to  the  consideration  of  the  volatile  couiitry  which 
he  has  made  his  own,  argues  that  there  is  something  in  us 
worth  noticing.  That  he  may  criticise  us  tenderly  and 
charitably  is  our  earnest  petition. 

The  first  letter  of  M.  Fiorentinb  has  missed  us,  or  rather 
we  have  missed  it,  and  can,  therefore,  say  nothing  about  it. 
The  second  is  Apropos  of  the  debdt  of  Jenny  tind.  The 
description  is  eloquent,  complete,  bustling,  and  retldable.  M. 
Fiorentino  is  in  raptures  with  the  Swedish  Nightiiigale,  but 


abuses  everything  else.  This  may  be  excused,  on  the  plea 
that  the  letter  was  written  at  two  o'clock  dn  Wedoesdar 
morning,  as  is .  shown  by  the  words  with  whieh  it 
opens : — *'  U  est  deux  heures  de  matin :  je  voiia  eoria  en 
sortant  du  theatre  pour  ne  pat  perdre  une  aenla  impression 
de  cette  longue  et  curieuse  soir^."  But  as  the  main  interest 
of  the  letter  hangs  upon  Jenny  lind,  we  shall  proeeed»  at 
once,  to  quote  M.  Fiorentino's  opinions  on  that  point,  for 
which,  as  they  are  all  favourabloi  Mr.  Lumley  will,  no  doubt, 
feel  obliged  to  us.  The  brilliant  yW/Ze^onif/*  Uius  describes  the 
manner  of  her  reception.  :  (We  give  it  in  plain  English,  with 
many  apologies  to  M.  Fiorentino  for  the  lamenesa  of  our  tradfe- 
lation). 

"  To  describe  the  welcome  secorded  her  were  impossible.  The  ez'. 
plosion  lasted  twenty  miaotes  (I)  and  was  only  arrested,  at  intervala,  to 
be  resumed  with  increased  violence.  At  last  the  cantatriee  felt  wholly  at 
a  loss  how  to  express  her  feelings  and  her  thankfulness;  she  bowed  io  the 
earth,  joined  her  hands  together,  lifted  her  eyes  to  Heaven,  advanced  to 
the  foot.  lights,  turned  towards  the  boxes  with  an  expression  of  modesty^ 
gratitude,  and  happiness,  whtch  sat  very  weU  upon  her  mild  end  eaadid 
conntenance.  Jenny  Lind's  features  are  not  regular;  hut  she  has  very 
beautiful  hair  of  a  light  brown  colour,  and  blue  eyes  which  sparkle  and 
flash  whenever  her  physiognomy  becomes  animated.  Her  voice  entirely 
fills  the  theatre;  not  the  lightest  tone  of  It  is  lost.  The  whole  of  her 
upper  octave  is  of  surpassing  beauty,  purity,  freshness,  and  brilliancy. 
The  middle  notes,  slightly  veiled  at  the  beginning,  as  soon  as  the  voice  is 
exerted,  become  as  beautiful  and  pure  as  the  higher  ones.  Jenny  Und 
must  have  an  admirable  talent  to  sing  as  she  sang,  emidst  the  emotiona 
of  an  evening  the  like  of  which  will  not  present  itself  twice  in  her  entire 
artist-life.  Could  you  but  have  heard  her  first  romance,  '  Va  dit  eUe  1'— 
what  taste,  what  refinement,  what  elegance  in  the  minutest  details,  «hat 
firmness  of  style,  what  truth  of  intonation,  and  with  all  this  what  a 
comprehension  of  the  scenci  what  passion,  what  fire,  what  soul  1 — for 
Jenny  Llnd  is  such  an  actress  as  was  Falcon  in  her  beat  days.  The 
sceptical  said,  before  her  debiU — '  Wait  and  hear ;  her  voice,  which  is  . 
enchantngin  a  small  room,  will  not  fill  a  larfe  apace ;  she  will  not  gain 
in  London,  or  in  Paris,  the  prodigious  successes  she  has  obtained  in 
Germany.'  But  now  the  experiment  has  been  made;  in  London  and 
Paris,  as  in  Italy  and  everywhere  else.  Jenny  Lind  will  infiame  the  crewd 
and  captivate  the  artists.  Though  previously  unacquainted  with  the  Italian 
languaKC,  she  acquired  it  in  three  weekt  (Qy.)  and  pronounces  it  to 
perfection.  Her  organization  is  one  of  the  richest,  happiest,  and  finest 
endowed  that  I  ever  remember  in  the  dramatic  world.  Heaven  has 
been  prodigal  towards  this  child  of  the  North,  and  Art  has  charged  Itself 
with  the  accomplishment  of  what  Nature  has  so  wellbegun." 

The  compliment  to  Mdlle.  Land's  Italian  is  the  more 
flattering  since  it  proceeds  from  one  who  is  an  ItalinA  by 
birth,  a  translator  of  Dante,  an  editor  of  the  Corudfe'Saian^ ' 
and  ifeuiUeUmuU  of  the  Cimstiivaioneh  .  Bilt  M.  fiorentino 
has  not  yet  done  with  the  £ur  Swede.  Farther  on  he 
remarks  :^— 

"  Jenny  Lind  was  admirable,  beyond  all  expretaion,  in  the  duet  and 
trio  of  her  great  scene.  You  should  have  seen  her  clinging  to  the  cross, 
with  a  terror  that  was  quite  real ;  raise  herself  upon  her  feet,  stand  erect 
and  thunder-strike  the  cursed  one,  with  a  faith  sublime.  She  was 
obliged  to  repeat,  three  times,  the  couplets,  '  Quand  je  quittai  la  Nor- 
mandie^'  a  masterpiece  of  delicacy  and  grace,  and  they  would  have  been 

Digitized  by  ^^UUyiC 


«10 


THE    MUSICAL  WORLD 


tgftin  re-4iemaiided,  litit  tor  the  energetic  cries  of,  •  No— no— ehaiife-* 
s||Lm#  1'  tb«t  Droceeded  flroa  one  |>art  of  the  Audience.  It  wftl{  iodfted; 
a  iham^  thus  to  impose  upOn  an  lirtist.^ 

Still  fiirther  on,  M.  Fiorentino  de^cxdbea  his  impressions  of 
Jenny  Land  in  the  last  act : — 

"  Jenny  Lind  re-appekred,  amidst  the  plaudits  of  the  house,  and  the 
horizon  once  more  looked  bright.  She  acted  and  sang  in  the  final  trio 
—that  struggle  for  supremacy  between  the  genius  of  evil  and  the  angel 
of  gentleness  and  Innocence — with  a  power  of  Inspiration,  a  iow  of 
tenderness,  an  accent  so  appealing  and  irresistible,  that  the  public  did  like 
Robert,  and  threw  itself  at  the  feet  of  the  songstress.  Meyerbeer  him- 
self, in  this  moment  of  exultation,  would  have  pardoned  everybody.  Then 
the  curtain  fell,  and  Britannic  enthusiasm  was  enabled  to  vent  itself 
with  all  its  strength ;  clapping  of  hands  and  feet,  re-calls,  showers  of 
bouquets,  waving  of  handkerchiefs,  hats  thrown  into  the  air**  (Qy.— a 
custom  exclusively  Neapolitan);  "  in  short  they  were  at  a  loss  what 
more  to  do  or  to  Imagine  to  f^tethe  young  caniatrice,  I  have  witnessed 
few  examples  of  a  like  phrenzy.  To  conclude,  the  triumph  of  Jenny 
Lind  was  one  of  the  most  briUiant  and  well-merited  in  my  recoUection." 
.  With  Jenny  Lind  the  enthusiasm  of  M.  Fiorentino  is  at 
an  end,  and  with  a  few  more  passages,  taken  at  random,  our 
review  of  hia  epistle  must  end  also.  Of  the  general  per- 
formance of  Robert  he  speaks  in  terms  of  unqualified  censure. 
He  pummels  the  hand  and  pummels  the  chorus.  Of  the 
letter's  execution,  in  the  drinking  chorus  of  the  first  act,  ho 
asserts,  that  'Vit  was  enough  to  turn  wine  into  poison,  so 
aiffrenufU  and  so  falsely  was  it  sung."  Of  Fraschini,  M. 
Fiorentino  thus  delivers  his  opinion : — 

"  Fraschini  is  unastez  beau  garden,  of  the  middle  height,  muscular  and 
robust;  he  has  a  magnificent  voice  and  sings  d  pleine  poitrine  with  ex* 
traordinary  facility  and  power.  .  But  the  part  of  Robert  is  precisely  the 
one  which  least  suits  him,  and  he  had  to  learn  it  and  play  it  in  ten  dayt, 
(Qy.)  Fraschini  is  no  actor ;  he  comes  on  and  goes  off  the  stage  like  a 
man  sadly  embarrassed  with  his  person,  and  this  evening,  in  particular, 
his  habitual  restraint  amounted  to  an  absolute  torment.  He  has  never 
seen  Robert  le  Diable  performed ;  he  has  neither  the  esprit  nor  the  tra- 
ditions of  his  part ;  he  therefore  confined  his  exertions  to  the  occasional 
utterance  of  several  loud  notes,  and  in  the  concerted  music  only  was  he 
enabled  to  display  the  resources  of  his  admirable  tenor  voice.  After  the 
drinking  chorus,  Fraschini  rose  and  directiuK  his  goblet  to  the  public, 
exclaimed — *  lllustres  chevaliers,  c'est  k  vous  que  je  hois.*  But  the 
public  did  not  appear  to  relish  his  toast«  and  applauded  only  wltli  the 
finger-tips,  oUt  of  mere  courtesy." 

Of  Staudigl  we  have  a  criticism  somewhat  more  elaborate. 
It  runs  thus  :•— 

"  A  moment  afterwards,  Bertram  addresses  Robert,  in  an  under-tone, 
with  these  words : — •  Votre  ingrate  patrie.'  The  whole  audience  ap- 
peared to  have  waited  for  this  point  to  acknowledge  the  presence  of 
Staudigl,  the  celebrated  German  basso.  Applause  and  prolonged  bravos 
issued  from  all  parts.  Staudigl  rose  slowly  from  his  seat,  placed  his 
hand  upon  his  heart,  and  made  two  steps  towards  the  foot-lights.  His 
cOstume  was  simple  and  severe;  his  head-dress  was  not  wanting  in  origi- 
nality ;  it  was  arranged  almost  on  the  top  of  the  skull,  the  front  being 
nearly  bald,  a  black  lock  pointing  Mephistopheliquemint  to  heaven,  as  a 
sign  of  revolt  and  pride;  moustachios  thin  and  pointed,  and  beard  en 
ftr  de  lance,  gave  a  sinister  length  to  the  vis&ge,  and  to  the  lower  part  of 
the  face  a  diabolical  expression  of  irony  and  malice.  Staudigl  has  a 
vbice  of  rare  compass ;  it  descends  to  the  low  E  flat,  and  mounts  to  the 
Q  of  the  tenor^*  (say  A,  or  B  fiat  of  the  barytone,  friend  Fiorentino) 
•'  with  surprising  facility ;  he  has  two  octaves  and  a  half  of  perfect 
equality,  .fulness,  and  ton6.  But  he  appeared  so  miserable  under  the 
obligation  to  sing  in  Italian,  that  it  would  be  cruelty  to  judge  him  by 
tMs  fet  essay.  His  pronunciation  is  truly  comic,  and  the  English,  who 
have  not  the  right  to  be  difficult  on  the  point  of  Tuscan  accent,"  (why 
not  T)  "  were  themselves  scandalised." 

(  Concerning  the  popular  and  admirable  Gardoni^  we  have 
this  brief  sentence  i-^- 

**  Gardoni,  whom  the  public,  and  the  women  in  particuUus  have  taken 
under  their  powerful  pjitronage,  was  long  and  noisily  applauded  on  his 
entrie,  and  sang  his  ballad  and  the  comic  duet  in  delicious  style." 

Perhaps  no  artist  will  quarrel  with  the  strictures  M. 
Fiorentino  thinks  proper  to  make  upon  the  mutilated  condition 
in  which  Meyerbeer's  chef  d'cevvre  was  tepresented.  Let 
us  extract  some  passages  :— 


"  After  ifis  tiidilipt^i  anii  re-cills  df  the  first  act,  t  Mpected  Madame 
£aiBte)]an,  ^ilfk  a  eehslh  de|ree  dT  Inquietude.  To  siHg  tibe  air  of  Isabelle, 
by  the  aide  of  Jenny  Lind  would  havb  been  a  rough  trial  for  the  most 
proved  and  confident  talent.  3ut  judge  of  my  astonishment  when  the 
curtaih  rdse  upon  the  third  act.  An  entire  act  was  suppressed  without 
ceremony,  and  not  one  voice  f^om  among  the  audience  was  heard  to 
protest  against  this  incredible  mutilation.    Oh,  Meyerbeer  1  yon  did  well 

to  remain  at  Berlin." "  The  scene  of  the  nuns  had  been 

singularly  modified  by  the  Lord  Chamberhdn.  First,  the  nuns  are  no 
longer  nuns,  but  simple  dames,  who,  by  the 'way,  appeared  to  me  charm- 
ing. The  corps  de  ballnt  is  very  agreeably  composed,  and  I  saw  no 
specimens  upon  the  stage  of  those  figures  heteroclites,  designated  in 
Paris  by  the  sobriquet  of  '  Rats,*  for  want  of  a  more  courteous  appe* 
lation  to  suit  them.  Moreover,  the  tombs  were  suppressed,  for  the 
English  public  would  never  have  tolerated  such  a  profanation."  (Had 
M,  Fiorentino  made  inquiries  he  would  have  ascertained  the  fact  that  the  ' 
profanation  was  tolerated,  by  the  English  public,  at  Drury  Lane  and 
Covent  Garden,  some  years,  by-gone).  "  The  nuns  issue  from  the  two 
side  scenes,  upon  their  chtmin  defer,"  (a  remarkably  alow.paced  one  1) 
"  and  the  Abbess  and  Robert  are  reduced  to  the  eitremity  of  playing  at 
dice  upon  the  ground,  much  to  the  annoyance  of  poor  Fraschini.  The 
pait  of  the  Abbess,  who  is  no  tonger  an  Abbess,  bat  a  simple  chaieUnne, 
is  filled  by  Mdlle  Kosati,  a  Milanese  danseuse,  of  admirable  talent  and 
high  promise.  Mdlle.  Rosati  has  arery  pretty  face,  lery  intelligent,  and 
very  expressive;  she  dances  with  much  lightness,  vivacity,  and  eninin. 
The  haut  du  corps  Is  well  formed  and  is  shaped  with  natural  grace.  Some 
of  her  points  were  remarkable  for  precision  and  vigor.  At  Paris  Mdlle. 
Rosati  would  be  greatly  relished.  The  fourth  act  has  been  revised,  cor- 
rected, and  considerably  augmented;— I  know  not  by  what  Vandal,  and  if 
I  knew  the  name  of  the  offender  1  certainly  would  not  point  him  out  for 
the  just  vengeance  of  M.  Meyerbeer.  Here  we  stumble  upon  an  old 
acquaintance  which  we  missed  on  our  way— the  air  of  Isabelle-— and,  from 
the  style  in  which  it  was  executed  by  Madame  Castellan,  I  perfectly  un* 
deritood  why  it  was  cut  out  of  the  second  act,  but  I  could  not  under- 
stand why  it  wai  replaced  in  the  fourth.  In  short,  from  beginning  to 
end  of  this  unhappy  act,  Madame  Castellan  and  Fraschini,  assisted  by 
the  orchestra  and  chorus,  played  at  who  should  most  effectively  plunge  a 
poignard  into  the  bleeding  heart  of  Meyerbeer ;  and  1  am  sure,  for  the 
honour  of  the  country,  the  Lord  Chamberlain  will,  for  the  subsequent 
representations,  order  the  excision  of  the  whole  of  this  act,  which  can 

only  be  regarded  as  an  act  of  high  treason." "  To  conclude, 

the  execution  of  the  opera  was  pitiable.  The  parts  were  neither  studied 
nor  rehearsed.  SUudigl,  embarassed  by  the  Italian  tongue,  which  he 
mangles  frightfully,  was  far  beneatli  Levasseur,  or  even  Alixard.  Fras- 
chini, who  walked  through  this  infernal  drama  with  the  most  candid 
astonishment,  did  not  understand  the  first  letter  of  his  part.  Madame 
Castellan  knows  very  well  what  she  intends,  but  her  forces  betrayed  her. 
Gardoni  is  a  charming  Raimbaut;  but  he  has  nothing  but  a  ballad  and  a 
duet  to  sing,  after  which  he  appears  no  more  in  the  opera.  The  choruses 
reconciled  me  with  those  of  the  Salle  Fentadour.  I  will  not  speak  of 
the  orchestra  because  I  hope  that  Balfe  will  finish  by  en  avoir  raison. 
By  the  way,  I  forgot  to  tell  you  what  was  the  part  of  Sacerdote,  so  pom- 
pously announced  in  the  programme.  In  the  final  scene,  Bouch^  sang 
with  the  chorus  behind  the  scenes,  *  Gloire  k  U  Providence,  &c.'  I  am 
not  aware  whether  it  bo  the  Lord  Chamberlain,  or  any  other  lord,  who, 
for  these  few  words,  has  christened  Bouch^,  *  High  Priest' — but,  at  all 
events,  I  have  no  intention  to  offer  any  opposition  to  it.' 

I'he  undue  severity  of  this  criticism  may  be  tested  by  our 
positive  assurance  that  we  have  frequently  witnessed  a  much 
worse  execution  of  Robert  le  Diable  in  Paris  than  that  me- 
morialized by  the  hyper-zealous  feuilletoniste — and,  worse 
stilly  we  have  listened  to  works  of  a  still  more  exalted  order, 
such  as  Guillaume  Tell^  Der  Friischutz,  {Robin  de  Bote),  and 
La  Muette  de  Portici,  {Masanielhjt  mangled  in  such  a 
villanous  manner,  that,  in  comparison,  the  exhibition  at  Her 
Majesty's  Theatre  was  absolute  perfection.  The  candid  critic 
should  first  pick  the  mote  out  of  his  own  eye,  and  then  begin 
to  examine  his  brother's.  Of  all  eities  in  the  world,  the 
vaunted  Paris  is  the  one  in  which  w6  have  presided  at  the 
vilest  musical  desecrations.  Moreover,  M.  Fiorentino,  in 
judging  so  severely  the  band  of  Her  Majesty's  Theatre»  might 
have  found  a  little  oil  to  pour  into  his  salad  of  abuse,  ex- 
tracted from  the  fact  that  one  third  of  that  band  is  Italian ; 
one  third,  French;  one  sixths  Belgian;  and  one  sixth 
English.    We  should  like  to  see  the  renowne" 

Digitized  by  ^  ^' 


THE  MUSICAL  WORLD. 


311 


at  the  head  of  such  an  army  and  find  what  he  could  make  of 
it — whether,  like  our  spirited  Balfe»  he  would  have  the 
courage  to  marshal  them  to  victory,  or,  like  the  redouhtable 
Sir  John  Falstaif,  refuse  to  march  with  them  through 
Coventry.  If  M.  Fiorentino  would  like  his  own  musical 
criticisms  examined  with  the  same  severity,  we  are  ready 
to  do  it  for  him— let  him  but  give  the  word. 

One  or  two  more  extracts  and  we  have  done.  The  following 
paragraph  admits  of  a  retort  somewhat  awkward  for  the 
epigrammatic  champion  of  the  French  :-^ 

"  The  orchestra  wm  conducted,  as  usual,  by  Mr.  Balfe,  who  gave  him- 
self infinite  trouble  to  make  it  go  properly,  and,  in  spite  of  his  skill, 
knowladge,  and  zeal,  he  only  half  succeeded.  Robert  le  Diabh  was  got 
up  in  ten  days  and  the  musicians  had  but  four  rehearsals." 

In  Fans  Robert  le  Diable  was  got  up  in  nine  months,  and 
the  musicians  had  nearly  two  hundred  rehearsals,  with 
the  composer  always  at  hand  to  tell  them  how  dull  and  stupid 
they  were  and  what  a  numher  of  blunders  they  committed. 
With  this  in  his  eye,  Mr.  Balfe,  and  his  hybrid  orchestra 
may  laugh  at  the  sneers  of  adverse  criticism  d' outre  mer.  It 
would  have  been  amusing  enough  to  hear  the  French  Robert 
after  four  hand  rehearsals !  Quelle  brouhaha  infernale  cela 
aurait  ete  I !  A  word  more  and  we  have  done.  What  does 
the  lusty  feuilleioniste  mean  by  the  following  ? — 

"  Meyerbeer,  whose  arrival  had  been  announced  with  loud  flourishes, 
and  who  was  himself  to  have  conducted  the  orchestra,  on  this  solemn 
occasion,  remained  at  Berlin,  contenting  himself  by  writing  five  or  six 
letters  a  week  to  Jenny  Lind,  letters  in  which  the  illustrious  master  in- 
dulges in  a  new  method  of  signature  :^^n  i^toce  of  his  name  he  writes, 
on  every  occasion,  a  new  point  d'orgueJ* 

We  own  ourselves  at  a  loss  to  comprehend  this.  Can  it  be 
possible  that  Jenny  Lind,  whose  musical  organization  has  been 
lauded  with  such  extreme  enthusiasm,  whom  Mendelssohn 
himself  has  extolled  to  us  (so  we  can  vouch  for  it)  before  any 
other  singer — can  it  be  possible  that  a  creature,  thus  gifted,  is 
incapable  of  inventing  that  which  demands  so  small  a  modicum 
of  invention  as  a  point  dorgue — or,  in  other  words  a  cadenza  ? 
The  notion  is  preposterous,  and  yet,  if  not  that,  what  does 
M.  Fiorentino  mean  ?  He,  of  course,  can  readily  explain, 
since  Jenny  lind  has,  doubtless,  shown  him  the  letters  and 
permitted  him  to  peruse  their  contents — or,  how  could  he 
describe  them  thus  minutely,  even  to  the  peculiarity  of  the 
signature  ?  At  the  same  time,  we  must  confess  to  hold  it 
rather  strange,  that  Mdlle.  Jenny  Lind,  who,  (influenced  by 
some  unknown  and  mysterious  restraint)  has  forgotten  even  to 
leave  her  card  upon  ourselves — in  spite  of  what  we  know  that 
her  friend,  the  Chevalier  Meyerbeer,  would  have  desired, 
for  her  sake  and  for  ours — should,  with  so  little  diffi- 
culty have  laid  before  the  witty  feuilleioniste — who  never  saw 
her  before  her  deb^t  at  Mr.  Lumley's  theatre,  and,  moreover, 
is  not  in  any  way  acquainted  with  her— the  contents  of 
her  most  private,  valuable,  and  intimate  letters.  Nevertheless, 
it  must  be  true,  or  M.  Fiorentino  would  not  insinuate  it. 

In  conclusion,  we  are  glad  to  see  M.  Fiorentino  amongst  us, 
and  hope  that  his  ^'Lettres  de  Londres''  will  amuse  his  readers 
in  Paris  as  much  as  we  are  sure  they  will  amuse  his  readers 
in  London.  We  can  assure  him  that  since  his  arrival  here, 
we  have  looked  for  the  CoHstitutionel  almost  as  regularly  and 
anxioualy  as  for  The  Times*  In  short,  we  cannot  enjoy 
our  breakfast  without  it. 

MENDELSSOHN'S  ELIJAH. 

(Continued  from  our  last  J 

Trx  second  part  opens  with  an  air  and  chorus,  in  which 
the  Lord  God  declares  his  readiness  to  stand  by  and  help  the 
faithful,  no  matter  what  adverse  circumstances  may  beset 


them.  The  air  is  in  two  parts,  written  for  a  soprano  voice. 
The  first  part,  in  B  minor,  "  Hear,  ye  Israel,"  is  conceived  in 
a  style  of  tender  reproach,  as  though  while  chastising  for  the 
sake  of  chastening,  the  great  Creator  felt  pity  for  the  weakness 
of  his  creatures,  and  gave  expression  to  it  through  the  mouth 
of  a  beneficent  angel.  It  would  not  be  easy  to  combine 
beautiful  melody,  originality  of  instrumentation,  and  pathetic 
feeling,  more  happily  than  in  this.  The  second  part,  in  B 
major,  *'  Thus  saith  the  liOrd,"  involves  the  encouraging 
admonitions  of  the  Lord,  and  is  marked  by  a  more  stirring 
character  of  melody,  and  an  additional  fullness  of  orchestra- 
tion in  fine  keeping  with  the  modification  of  the  text.  The 
continuousness  of  healthy  fresh  and  vigorous  tupe  is  as 
remarkable  in  this  second  part  as  the  exquisitely  plaintive 
phraireology  of  the  first.  Altogether  the  song  is  one  of  the 
most  elaborate  and  important  in  the  oratorio.  The  chorus, 
*'  Be  not  afraid,"  is  the  climax  to  this  powerful  expression  of 
benevolence  and  encouragement.  It  is  in  the  key  of  G  major, 
and  the  unceremonious  manner  in  which  the  new  key  is  taken, 
without  modulation,  by  the  whole  force  of  the  choral  and 
instrumental  orchestra,  has  a  noble  and  inspiring  eflect.  This 
chorus  is  long,  and  written  with  masterly  power.  It  abounds 
in  splendid  eflects,  and  one  in  particular,  which  occurs  at 
every  reprise  of  the  theme,  gives  a  peculiar  character  to  the 
whole : — ^we  allude  to  the  unanticipated  transition  from  the 
chord  of  B  major  to  that  of  G  major  at  each  reoccurrence 
of  the  original  subject,  the  B  major  occurring  in  the  chorus  as 
a  half  close  upon  the  dominant  of  the  relative  minor  of  the 
key.  The  chorus  is  varied  by  an  episode  in  £  minor,  on  the 
woids,  <*  Though  thousands  languish,'*  which  is  agitated  and 
desponding,  full  of  deep  thought  and  impassioned  energy. 
This  also  leaves  off  upon  a  half  close  on  the  chord  of  B  major, 
which  is  uttered  by  the  entire  power  of  the  brass  instruments, 
the  basses  descending  gradually  to  G,  when  the  first  theme  is 
resumed  in  all  its  majesty  of  pomp,  on  the  wprds,  "  Be  not 
afraid."  In  this  magnificent  chorus,  which  is  absolutely  in* 
spiring,  from  the  wonderful  feeling  of  hope  and  mental  energy 
that  it  excites,  the  changes  of  time  and  measure  from  the  first 
part  to  the  episode,  and  thence  back  again,  must  be  nicely 
indicated  and  intelligibly  enforced  by  the  conductor,  or  con- 
fusion is  certain  to  ensue,  as  in  the  first  performance  at  Ezeler 
Hall. 

A  scene  of  great  power  and  considerable  importance  in  the 
conduct  of  the  oratorio  then  occurs.  Elijah  reproaches  Ahab 
for  his  idolatries  and  his  iniquities,  and  threatens  him  with 
God's  anger.  The  expression  of  the  concluding  words,  ''And 
the  Lord  shall  smite  all  Israel,  as  a  reed  is  shaken  in  the 
water,"  is  wonderfully  fine ;  the  continuous  tr^olando  of  the 
violins  on  high  notes,  and  the  solemn  tones  of  the  bass  voice 
underneath,  denouncing  the  wickedness  of  Ahab,  have  a  most 
grand  and  imposing  effect.  Jezebel,  the  Queen,  incensed  at 
the  boldness  of  Elijah,  throws  hersdf  upon  the  people,  and 
recounting  one  by  one  the  offences  of  the  prophet,  incites  them 
to  agree  to  his  destruction.  This  is  expressed  in  a  series  of 
accompanied  recitatives  between  Jezebel  and  the  people.  The 
eontraUo  solos  of  the  wicked  queen  and  the  choral  responses 
of  her  subjects  are  finely  contrasted.  The  gradual  increase 
of  intensity,  in  the  expression  of  the  feelings  of  vengeance 
generated  in  the  minds  of  the  people  by  the  queen's  words,  is 
rendered  with  graphic  power ;  first  the  low  muttering  tones 
with  which  they  exclaim,  in  answer  to  Jezebel's  enquiry, 
'*  Have  ye  not  heard  he  hath  prophesied  against  all  Israer* — 
"  We  heard  it  with  our  far*"— and  then  the  swelling,  as  of  dis- 
tant thunder  gradually  coming  near,  with  which  the  words,  ^^He 
shaU  perish f"  are  ejaculated^j^i^i^vivid  demonstrations  of 


»12 


THE  MUSICAL  WORLD. 


genius.  The  Queen's  last  recitative,  •'  So  go  ye  forth  and 
seize  Elijah,*'  is  wonderfully  energetic,  and  works  the  people 
up  into  a  frenzy  of  rage,  which  is  powerfully  and  terribly 
expressed  in  a  chorus,  in  E  minor,  "Woe  to  him,  he  shall 
perish,"  which  climaxes  this  dramatic  and  masterly  scene. 
This  chorus  is  conceived  in  the  same  style  as  the  "  Stone  him 
to  death,"  in  St,  Paul^  but  much  more  elaborately  developed. 
It  begins  with  a  kind  of  muttering,  as  of  an  infuriated  crowd 
resolving  upon  some  act  of  ferocity,  and  swells  suddenly  to  a 
loud  burst,  as  from  a  thousand  voices.  The  unison  passage  at 
the  end,  **  So  go  ye  forth,  seize  on  him,  he  shall  die,"  is  awful 
and  tremendous.  No  part  of  the  Elijah  is  more  interesting, 
more  exciting,  or  more  terribly  true  than  the  whole  of  this 
fine  scene. 

Obadiah  now  warns  Elijah  of  his  danger,  and  incites  him 
to  seek  the  wilderness  for  safety,  in  a  tenor  recitative,  which 
ends  with  an  exquisite  ph^jise  of  melody  on  the  words,  "The 
Lord  thy  God  doth  go  with  thee,"  full  of  consolation  and 
promise.  Elijah,  in  a  short  recitative,  consents,  and  departs 
on  his  way ;  but  the  strength  of  the  prophet  fails  him — his 
spirits  areexhausted,  and  he  longs  for  death.  This  is  musically 
expressed  in  a  song  of  great  intensity  and  beauty,  "  It  is 
enough,  O  Lord."  The  key  is  F  sharp  minor,  and  the  in- 
strumentation is  characterised  by  passionate  phrases  allotted 
to  the  violoncellos,  which  sing  throughout  the  first  part,  and 
the  reprise  of  the  theme,  as  though  in  sympathy  with  the 
prophet's  anguish  and  distress.  There  is  a  second  part  to 
this  song,  which  is  of  a  more  agitated  and  exciting  character ; 
it  occurs  upon  the  words,  '*  I  have  been  very  jealous  for  the 
Lord  God  of  Hosts,"  and  by  the  contrast  it  ensures  obviates 
the  monotony  that  might  arise  from  the  profound  melahcholy 
of  the  first  part.  This  song  is  built  upon  nearly  the  same  plan 
as  the  ••  O  Lord  God  have  mercy,"  in  St,  Paul,  the  pathetic 
loveliness  of  which  it  emulates,  if  not  surpasses.  Angels 
come  to  comfort  Elijah  :  they  tell  him  to  look  towards  the 
mountains,  for  the  T^ord  cometh  to  help  him ;  they  reproach 
him  for  languisliing  under  his  trials,  and  cite  God's  watchful- 
ness and  unsleeping  care  for  Israel,  as  an  example  for  the 
prophet  to  follow.  This  is  comprised  in  a  tenor  recitative, 
**  See  how  he  sleepeth  under  a  juniper  tree ;"  a  trio  of  angels, 
in  C  major,  "  Lift  thine  eyes  to  the  mountains,"  for  three 
female  voices  (a  soprano  and  two  contraltos),  without  any 
accompaniments;  and  a  chorus  of  angels,  in  G  major,  "He 
watching  over  Israel."  The  trio  is  simple  and  unaffected, 
but  not  the  less  captivating.  Tlie  efiect  of  female  voices, 
without  accompaniments,  is  most  happily  calculated,  and  after 
the  gloomy  excitement  of  what  has  just  preceded  it,  comes 
like  the  first  breath  of  a  fresh  breeze  on  a  burning  summer 
day,  when  the  sky  is  as  copper— or  as  the  sight  of  a  green  tree 
in  a  desolate  waste.  The  chorus  is  beautiful  beyond  all 
possible  description.  Melody  never  assumed  a  mere  enchant- 
ing form,  and  Harmony  never  arrayed  it  in  more  dazzling 
beauty.  The  instrumentation  is  transparently  lovely-* 
voluptuous  as  the  fragrant  breath  of  the  south — soft  as  the 
gently  undulating  surface  of  a  peaceful  lake,  or  as  the  bosom 
of  the  one  beloved,  rocking  and  cradling;  tlie  melody  as  a  mother 
its  child,  exciting  it  with  undefinable  pleasure,  while  scarcely 
seeming  to  disturb  its  slumbers.  This  chorus  might  be  played 
in  heaven  to  the  angels,  so  pure  is  it,  so  full  of  meekness, 
gentleness,  and  love.  Like  a  maiden  that  glows  and  blushes 
as  though  ashamed  of  her  own  beauty,  it  unfolds  its  hidden 
graces  with  a  certain  coyness  that  is, more  ravishing  than  all 
the  unblushing  splendour  of  the  sun.  It  implores  you  by  its 
beauty,  and  not  strikes  you  —  but  you  are  the  easier  and 
more  surely  conquered  !       (To  be  conduded  in  &ur  next,) 


PHILHARMONIC    CONCERTS. 

The  fifth  concert  took  place  on  Monday  night,  in  the 
presence  of  a  very  crowded  audience.  The  programme  was 
as  follows : — 

PABT    I. 

Slnfonia  In  G  Minor,  Op.  59        -  *  •        Hayin, 

Romanza,  <'  Ciel  che  feci,"  Signer  Salvl  (Oberto  di 

di  St.  Bonifacio)        ....         Fenii. 
Concerto,  Violin,  Herr  Joachim  •  •        Beetkwen* 

Recit.  ''Traacorsi  d  rora,"  \  Made.  Persiani  (Ines 
Aria,  "  Qaando  il  cor,"      j       de  Castro)  -        Pernani. 

Overture,  "Obcron"        ....        C.  M,  ran  Weber. 

PART  XI. 
Siofunii^  in  A  (No.  7)       -  -  -  •  '     Beethoven, 

Duetto,   "Ah  si  tu  per  gl'occhl  tuoi,"  Madame 

Persiani  and  Signor  SaWi  (Guglielmo  TeU>    •        JRoMtnl. 
Overture,  Lea  Deux  Journ^      ...        Cherubini. 

Haydn's  symphony  has  not  heen  played  for  more  than  ton 
years ;  it  therefore  came  out  with  all  the  freshness  of  no?elty. 
As  a  whole  it  is  one  of  the  composer's  inferior  works,  and 
though  a  collection  would  he  incomplete  without  it,  it  is  not 
of  sufficient  importance  to  occupy  a  place  in  an  annual  series 
of  concerts,  during  which  not  more  than  sixteen  symphonies 
can  he  performed.  The  first  movement,  allegro  spiritoso,  is 
hold  and  masterly.  The  themes  are  short,  well  contrasted, 
and  ahly  developed.  The  andante  is  trivial  in  construction 
and  rococo  in  style,  while  its  instrumentation  is  meagre  and 
ineffective ;  with  the  exceptions  of  here  and  there  a  phrase  or 
two  for  the  ohoe,  clarionet,  and  flute,  the  stringed  quartet  has 
all  the  work  to  do.  The  minuet  is  lively  enough,  and  con- 
tains a  striking  unison  passage  for  the  stringed  instruments ; 
hut  the  trio,  confined  chiefly  to  a  common-place  flute  solo, 
has  little  or  nothing  to  recommend  it.  The  finale  is  in  the 
rondo  form— the  suhject  a  jig  tune,  with  no  other  charac- 
teristic than  its  extreme  vulgarity.  Nor  is  this  last-named 
movement  remarkahle  for  the  scientific  treatment  which  so 
frequently  redeems  the  rondO'finales  of  Haydn  from  insipidity. 
A  hold  progression  of  harmony,  anticipating  the  first  reprise 
of  the  theme,  is  the  only  point  worth  noting.  The  exhuma- 
tion of  this  symphony  was  very  injudicious  on  the  part  of  the 
directors,  who  seem  bent  upon  regeding  their  subscribers  with 
the  weakest  specimens  of  Haydn's  genius.  Haydn  wrote 
many  symphonies  for  particular  occasions  that  he  would  have 
been  loth  to  rest  his  fame  upon,  and  this  and  the  one  in  B 
flat  (played  at  the  first  concert)  are  among  the  number.  Nor 
did  the  excellence  of  the  performance  excuse  the  feebleness 
of  the  composition.  Not  merely  were  there  many  wrong 
notes  uncorrected  in  the  parts,  but  the  general  character  of 
the  execution  was  slovenly  and  unfinished.  The  symphony 
was  followed  by  something  of  a  very  opposite  nature  : — the 
magnificent  violin  concerto  of  Beethoven,  which,  as  Signor 
Salvi  had  not  arrived  to  his  time,  was  played  before  the  aria 
of  Verdi.  Beethoven  wrote  but  one  concerto  for  the  violin, 
and  even  this  was  originally  intended  for  the  pianoforte,  and 
was  adapted  by  the  composer  for  the  former  instrument  at  the 
instigation  of  a  music-publisher.  It  is,  nevertheless,  a  noble 
work,  and  superior  to  almost  anything  of  the  kind  that  has 
been  written.  The  allegro  in  D  is  large,  expressive,  and 
passionate,  and  instrumented  with  as  much  grandeur  and 
variety  of  effect  as  most  of  the  symphonies  of  the  master. 
The  slow  movement  is  a  kind  of  serenade;  the  subject,  tender 
and  soothing,  is  relieved  by  an  episode,  eantabiht  of  exquisite 
grace  and  playfulness ;  the  orchestra  being  employed  with  the 
utmost  fancy  aud  ingenuity.  The  theme  of  the  finale,  a  rondo, 
treated  by  any  other  hand  than  that  of  Beethoven,  would  be 
considered  ordinary,  if  not  vulgar ;  but  the  masterly  style  in 
which  it  is  developed,  the  felicity  with  which  it  is  varied. 


Digitized  by^^UOy  It: 


THE  MUSICAL  WORLD. 


313 


appearing  at  every  reprise  in  some  new  and  happier  form, 
entirely  redeems  it  from  common-place.  This  concerto — like 
the  pianoforte  concerto  in  G,  played  by  Dr.  Mendelssohn  at 
the  last  concert— should  only  be  attempted  by  an  artist  who  is 
equally  a  musician  and  a  finished  executant.  The  general 
complaint  that  it  is  not  written  for  the  display  of  the  violinist's 
peculiar  powers,  abounding  rather  in  passages  and  tours  de 
force  than  in  canto — the  latter  being  principally  developed  in 
the  orchestra — is  not  altogether  without  truth.  But  the 
zealous  musician  will  bear  in  mind  that  Beethoven  should  be 
interpreted  at  any  sacrifice,  and  that  in  giving  expression  to 
his  immortal  inspirations  the  egotism  of  self-display  :s  irrele- 
vant and  unartist-like.  What  Beethoven  has  written  must  be 
performed  as  it  is  written,  and  that  in  faith  and  humbleness. 
Joseph  Joachim  is  one  of  those  who  best  understand  and  most 
willingly  accept  this  ^condition.  He  knows  and  feels  that  in 
giving  a  tongue  to  Beethoven's  thoughts  he  is  glorifying  his 
art,  and  he  has  too  much  modesty  to  regard  himself  at  such  a 
moment.  But  he  has  the  secret  of  so  interpreting  the  great 
master  as  to  produce  more  efifect  than  the  most  practised  per- 
former of  fantasias  could  arrive  at  in  the  execution  of  never- 
so-brilliant  and  flighty  a  bravura-piece ;  and  this  he  proved 
triumphantly  on  Monday  night.  It  was  a  great  and  noble 
and  artistic  performance  in  every  respect.  To  speak  of  the 
excellencies  of  the  young  violinist  were  to  catalogue  almost 
all  the  perfections  that  result  from  long  and  arduous  study, 
fecilitated  by  a  rare  natural  aptitude,  llie  fullness  and  beauty 
of  his  tone,  the  correctness  of  his  method,  the  rapidity  and 
evenness  of  his  scale  passages,  the  sweeping  grandeur  of  his 
arpeggios,  the  closeness  and  equality  of  his  shake,  the  crisp 
lightness  and  energy  of  his  staccato,  and  the  healthy  vigour  of 
his  style,  which  lends  itself  easily  and  unaffectedly  to  every 
variety  of  expression,  from  the  most  energetic  to  the  most 
tender,  are  alike  worthy  of  praise.  These  were  exhibited  to 
singular  advantage,  albeit  he  had  to  manifest  them  on  a 
violin  (a  Guamerius),  which,  though  sufficiently  good  for  an 
ordinary  player,  was  scarcely  capable  of  resisting  the  energy  of 
his  attack,  or  of  answering  all  the  exigencies  of  his  tone.  His 
cadenzas,  of  which  there  were  two  (in  the  allegro  and  the 
finale\  were  admirable  as  musical  conceptions,  and  astonish- 
ing displays  of  mechanical  force.  Formed  upon  the  themes 
of  the  respective  movements  in  which  they  were  introduced, 
they  appeared  as  natural  episodes  in  the  work,  rather  than  as 
superogatory  demonstrations  of  executive  skill.  The  applause 
was  warm  and  frequent  without,  and  at  the  end  quite  enthu- 
siastic. Since  he  last  performed  this  concerto  at  the  PhiU 
harmonic,  three  years  ago,  Joachim  has  made  great  progress, 
although  even  then,  as  a  mere  child,  he  caused  some  of  the 
first  violinists  to  tremble  for  their  reputation.  How  much 
&rther  he  may  go  it  is  impossible  to  guess,  for  it  is  not  easy 
to  put  bounds  to  the  aspirations  of  such  extraordinary  genius 
and  energy.  The  aria  of  Verdi,  selected  by  Signer  Salvi, 
was  that  which  he  sang,  four  years  ago,  at  the  Philharmonic 
concerts.  There  is  some  evidence  of  feeling  in  the  opening 
agitato^  and  the  voice  part  begins  boldly,  but  it  has  little  else 
to  recommend  it)  and  even  Signer  Salvi's  very  refined  singing 
hardly  succeeded  in  rendering  it  effective.  We  recommend 
the  accomplished  tenor  to  seek  for  a  new  concert-song,  the 
music  of  Verdi  being  singularly  out  of  sorts  with  a  programme 
of  classical  pretensions.  The  overture  to  Oheron  was  bril- 
liantly executed,  though  we  question  whether  Sig.  Costa  does 
not  carry  the  meno  mosso  with  which  he  introduces  the  second 
subject,  beyond  the  intention  of  Weber ;  it  is  sufficiently 
contrasted  in  character  and  notation  with  the  first  subject 
to  save   the    necessity  of  so  marked  a   diminution  in  the 


rapidity  of  the  movement.  Madame  Persiani,  in  the  recitative 
and  aria  of  Signor  Persiani,  which  is  skillfully  adapted  to  set 
off  the  accomplishments  of  florid  vocalising,  displayed  the 
wonderful  facility  in  ornament  and  finriture,  and  the  variety 
and  taste  in  their  employment,  for  which  she  is  famous, 
winning  the  most  lavish  applause.  The  clarionet  ohligaio 
was  admirably  played  by  Mr.  Williams. 

The  great  symphony  in  A  was  not  interpreted  in  a  style 
worthy  either  the  splendour  of  the  music  or  the  reputation  of 
the  Philharmonic  band.  There  was  a  prevalent  coarseness 
and  uncertainty  in  the  whole  performance,  that  could  only 
have  aridCn  from  the  incompetency  of  the  orchestra,  or  from 
the  conductor's  superficial  acquaintance  with  the  score ;  and 
as  it  would  be  treasonable  to  suppose  the  former,  we  have  no 
alternative  but  to  attribute  the  deficiency  to  the  latter.  The 
time  of  the  vivace  was  pretty  accurate ;  but  the  allegretto,  m 
A  minor,  the  trio  of  the  scherzo^  in  D,  and  the  finale,  allegro 
con  brio,  were  all  taken  so  manifestly  too  slow  as  to  damage 
the  general  effect,  and  induce  longueur  in  a  work  that  is 
intrinsically  one  flash  cf  brilliant  genius  from  the  first  bar  to 
the  last.  The  mistakes  and  carelessness  of  some  of  the  prin- 
cipal windi  instruments  were  also  painfully  and  constantly 
remarkable*  and  though  these  could  hardly  be  cited  as  argu- 
ments against  the  conductor's  skill,  they  were  not  calculated 
to  strengthen  his  boasted  reputation  as  a  disciplinarian.  From 
its  grandeur,  beauty,  and  importance,  the  symphony  in  A 
should  have  been  the  chief  point  of  interest  in  the  concert, 
but  as  matters  went,  it  lost  half  its  significancy.  The  clever 
duet  of  Rossini  was  finely  sung  by  Madame  Persiani  and 
Signor  Salvi,  but  its  place  is  the  stage»  not  the  concert-room. 
Cherubini's  overture,  perhaps  his  orchestral  master-piece,  was 
entirely  ruined  by  the  unusually  slow  pace  at  which  it  was 
taken.  The  score  demands  an  allegro  molto,  but  Signor  Costa 
overlooked  the  affretando  which  leads,  by  a  succession  of 
chords,  into  the  second  movement,  and  it  was  half  over  before 
an  approach  to  the  proper  time  had  been  accomplished. 

On  the  whole  this  concert  was  of  a  very  average  quality. 
There  was  only  one  novelty,  and  that  by  no  means  an  interest- 
ing one.  There  was  the  old  mistake  of  giving  two  lengthy 
pieces  by  one  composer,  whose  music  thereby  occupied  a  good 
half  of  the  evening.  The  two  overtures  have  been  hacknied 
until  even  the  Philharmonic  subscribers  are  tired  of  them,  as 
was  sufficiently  evident  in  the  Oheron  failing,  for  the  first 
time  in  our  remembrance,  to  obtain  an  encore.  The  vocal 
music  was  decidedly  mediocre,  and  entirely  out  of  character 
with  the  principles  that  should  regulate  the  Philharmonic 
selections ;  and  the  general  inefficiency  of  the  execution  threw 
an  unusual  coldness  over  the  whole  proceedings.  The  repeti- 
tion of  the  minuet  and  triot  in  Haydn's  symphony,  was  quite  a 
volunteer  on  the  part  of  the  conductor,  since  there  was  cer- 
tainly no  demand  for  it.  The  one  redeeming  point,  however, 
was  young  Joseph  Joachim's  performance  of  Beethoven's 
violin  concerto,  and  that  was  enough  to  make  amends  for 
even  a  greater  number  of  defects  than  we  have  felt  it  our  duty 
to  notice  in  the  general  character  of  Monday  night's  per- 
formance. 


VBB     AVriBIVIBS, 

JFrom  %\t  e^ttmsLVi  of  Gtft^t. 

CofUktMsdfrom  pt^  S97. 
PART    II. CHAPTER    XIV. 

Shb  hastens  to  the  new  building,  she  calls  the  suigeon,  she  gives 
him  the  child.     This  man,  who  is  prepared  for  all  emergencies, 
treaU  the  delicate  corpse  step  by  step  in  the  ordinary  way.    Ottilia 
Digitized  by  \^OOy  ItT 


314 


THE  MUSICAL  WORLD. 


assists  him  in  everything ;  she  makes,  she  brinsfs,  she  tends,  as  if 
indeed  she  were  wandering  in  another  world,  for  the  greatest  un- 
happiness,  as  woU  as  the  greatest  happiness  changes  the  aspect  of 
every  otject,  and  it  is  only  when,  alter  going  through  every  trial, 
the  good  man  shakes  his  head,  thus  silently  answering  her  hoping 
questions,  and  then  replies  with  a  soft  '*  no,**  that  she  quits 
Charlotte's  bedchamber  in  which  all  th'is  has  taken  place,  and  she 
has  scarcely  entered  the  sitting-room,  than  being  unable  to  reach 
the  sofa,  she  falls  exhausted  with  her  face  upon  the  carpet. 

At  this  moment  they  hear  Charlotte  arrive.  The  surgeon 
urgently  implores  the  by*standers  to  remain  behind---he  will  meet 
her  and  prepare  her,  but  she  already  enters  the  room.  She  finds 
Ottilia  on  the  floor,  and  a  girl  belonging  to  the  house  hastens  to 
her»  crying  and  weeping.  The  surgeon  comes  in,  and  sho  learns 
all  at  once.  But  should  she  at  the  same  time  also  give  up  every 
hope !  The  experienced,  accomplished,  skilful  man  only  regrets 
that  she  may  not  see  the  child  ;  he  retires  that  he  may  delude  her 
with  new  preparations.  She  has  seated  herself  on  her  sofa,  Ottilia 
is  still  lying  on  the  ground,  but  raised  against  her  friend's  knee, 
upon  which  her  beautiful  head  has  sunk.  The  medical  friend  is 
going  backwards  and  forwards ;  he  seems  to  busy  himself  about 
the  child,  but  is  really  busying  himself  about  the  ladies.  Thus 
midnight  arrives,  the  death-like  stillness  becomes  deeper  and 
deeper ;  Charlotte  no  longer  conceals  from  herself  the  fact,  that  the 
child  will  not  again  return  to  life,  she  desires  to  see  it.  It  has  been 
recently  wrapped  up  in  warm  woollen  cloths,  and  laid  in  a  basket, 
which  is  placed  by  Charlotte  on  the  sofa*  Only  the  foce  ia  left 
uncovered,  and  it  lies  quiet  and  beautiful. 

The  village  was  soon  in  a  state  of  excitement  on  account  of  the 
accident,  and  the  news  had  travelled  at  once  as  far  as  the  inn.  The 
Major  had  taken  the  well-known  roads,  he  went  round  the  house, 
and  by  stopping  a  servant  who  was  running  to  fetch  something 
from  tne  adjoining  building,  he  obtained  nearer  intelligence,  ana 
had  the  surgeon  called.  Ho  came,  surprised  at  the  appearance  of 
his  old  patron,  informed  him  of  the  iN*e8eot  position  of  affairs,  and 
undertook  to  prepare  Charlotte  for  an  interview.  He  then  went  in, 
began  a  misleaaiug  conyersation,  and  conducted  the  imaginatiou 
from  one  subject  to  another,  until  at  last  be  made  present  to 
Chariotte  her  friend,  his  certain  sympathy,  and  his  proximity  to  her 
mind  and  feelings,  which  he  soon  transferred  into  a  real  proximity- 
She  learned  in  fact  that  her  friend  was  standing  at  the  door,  that 
he  knew  all,  and  vrished  to  be  admitted. 

The  Major  entered,  and  Charlotte  greeCed  htm  with  a  melancholy 
smile.  He  stood  before  her.  She  raised  the  green  silk  coverlet 
which  concealed  the  corpse,  and  by  the  dim  light  of  a  taper,  be 
saw,  not  without  an  inward  shudder,  his  lifeless  resemblance. 
Chariotte  pointed  to  a  chair,  and  thus  they  sat  through  the  night 
opposite  to  each  other.  Ottilia  still  lay  gently  on  Charlott^j's  knees ; 
she  breathed  softly,  she  slept,  or  seemed  to  sleep. 

The  morning  dawned,  tne  candle  went  out,  both  tho  friends 
appeared  to  wake  from  a  heavy  dream.  Charlotte  looked  at  the 
Major  and  said,  composedly,  v  Explain  to  me,  my  friend,  by  what 
dispensation  do  you  come  here  to  take  part  in  this  scene  of  woe  ?" 

'*  This,"  answered  the  Major,  quite  softly,  as  she  had  questioned 
him — as  if  she  had  been  unwilling  to  wake  Ottilia—*'  This  is  not 
the  time  and  place  to  keep  back,  make  introductions  and  approach 
gently.  The  position  in  which  I  find  you  Is  so  monstrous,  that  even 
the  important  matter  about  which  I  came,  loses  its  yalue  in 
comparison. 

He  then  confessed  to  her,  quite  calmly  and  plainly,  the  object 
which  Edward  had  in  seudinpp  nim ;  the  olject  of  his  coming,  so 
far  as  his  own  free  will  and  interest  were  concenicd.  He  stated 
both  very  gently,  but  quite  openly.  Charlotte  heard  with  patience, 
and  seemed  neither  to  be  astonished  nor  indignant. 

When  the  Major  had  finished,  Charlotte  answered  in  a  voice  so 
soft  that  he  was  forced  to  draw  his  chair  nearer :  "  I  have  never 
found  myself  in  a  case  like  this,  but  in  similar  cases  I  haye  always 
asked, '  how  will  it  be  to  morrow  ?*"  I  feel  cleariy  that  the  fate 
of  many  is  now  placed  in  my  hands,  and  what  I  have  to  do  is 
beyond  a  doubt,  and  may  be  soon  expressed.  I  consent  to  the 
scDaration.  I  should  have  resolved  upon  it  earlier  ;  by  my  own 
delay  and  resistance  I  have  killed  the  child.  There  are  some  thingi 
which  destiny  obstinately  ;^xirposes.  In  yain  is  it  that  reason  and 
yirtue,  duty,  and  all  that  »  sacred,  place  themseWes  in  its  way ; 


something  shall  happen  which  is  right  to  destiny  and  not  to  us,  and 
thus  at  last  it  carries  its  point,  let  us  conduct  ourselves  as  we  may. 

'<  But  what  am  I  saying!  Destiny  is  really  bringing  forward 
once  more  my  own  wish,  roy  own  plan,  against  which  I  have 
inconsiderately  acted.  Have  I  not  myaelf  already  looked  upon 
Ottilia  and  Edward  as  the  most  suitable  pair?  Have  I  not  m>self 
tried  to  bring  them  close  together  ?  Were  not  you  yourself  my 
friend,  acquainted  with  this  plan  ?  And  why  could  I  not  distinguish 
the  caprice  of  a  man  from  genuine  loye  ?  Why  did  I  take  his  hand, 
when  as  a  mere  friend  I  could  have  made  him  and  another  wife 
happy  ?  And  only  look  upon  this  unhappy  slumbering  girl !  I 
tremble  to  think  of  the  moment  when  she  will  awaken  into  con- 
sciousness from  her  half-deadly  sleep.  How  can  she  live*  how 
can  she  console  herself,  if  she  cannot  hope  by  her  loye  to  compensate 
Edward  for  that,  of  which  as  an  instrument  of  the  most  wondrous 
chance,  she  has  deprived  him  ?  And  she  can  restore  him  all,  through 
the  affection  and  passion  with  which  she  loves  him-  If  love  is  able 
to  endure  all,  much  more  is  it  able  to  compensate  for  all.  I  must 
not  be  thought  of  at  the  present  moment. 

"  Retire  quietly,  dear  Major;  tell  Edward  that  I  consent  to  the 
separation,  that  I  leave  it  to  him,  you,  and  Mittler,  to  conduct  the 
whole  affair ;  that  I  am  unconcerned  about  my  future  situation,  and 
can  be  so  in  every  sense.  I  will  sign  any  document  that  is  brought 
to  me,  only  do  not  let  me  be  asked  to  co-operate,  reflect,  or 
advise." 

The  Major  rose,  she  extended  to  him  her  baud  oyer  Ottilia.    He 

ressed  his  lips  against  that  dear  band.     *<  And  for  me--what  may 
hope?"  he  softly  whispered. 

'<  Let  me  still  owe  you  an  answer,**  replied  Chariotte.  '*  We 
have  not  deseryed  to  be  unhappy ;  but  neither  have  we  merited  to 
be  happy  together." 

The  Major  withdrew,  deeply  pitying  Charlotte  in  his  heart, 
without  howeyer  being  able  to  feel  compassion  for  the  poor 
departed  child.  Such  a  sacrifice  seemed  to  him  necessary  for  the 
general  happiness  of  all.  He  imagined  Ottilia  with  a  child  of  her 
own  upon  tier  arm  as  the  most  perfect  compensation  for  that  of 
which  she  had  deprived  Edward  ;  be  imagined  hiBoaelf  with  a  son 
upon  his  knee,  who  would  bear  his  likeness  with  more  right  than 
the  departed  one. 

These  flattering  hopes  and  images  passed  before  the  mind  of  the 
Msgor,  when  on  :his  way  back  to  the  inn  he  found  Edward,  who 
had  been  expecting  him'all  night  in  the  open  air,  as  no  signal  by 
fire,  no  thundering  report,  had  announced  to  him  a  fortunate  result. 
Edward  already  knew  of  the  misfortune,  and  he  also,  instead  of 
pitying  the  poor  creature,  looked  upon  the  event — without  however 
confessing  it  to  himself,  as  a  dispensation,  by  which  every  obstacle  to 
hb  happiness  was  at  once  removed.  He  easily  allowed  himself  to 
be  persuaded  by  the  Major,  who  had  speedily  communicated  to 
him  his  wife's  resolution,  to  return  again  to  the  village,  and  then 
to  the  little  town,  where  they  might  consider  and  commence  what 
was  immediately  necessary. 

Charlotte,  after  the  M«jorhad  quitted  her,  sat  only  a  few  minutes 
absorbed  in  her  meditations,  when  Ottilia  rose  and  gazed  on  her 
with  widely  opened  eyes.  First  she  raised  herself  from  the  lap, 
then  from  the  ground,  and  stood  before  Charlotte. 

'*  For  the  second  time,"  thus  the  noble  girl  benn  with  an  un- 
conquerable graceful  seriousness—"  for  the  second  time,  the  same 
thing  has  befallen  me.  You  once  told  me,  that  men  often  in  the 
course  of  their  lives  meet  something  similar  in  a  similar  way,  and 
aU^ys  in  moments  of  impoitanoe.  I  now  find  the  remark  true,  and 
am  compelled  to  make  you  a  confession.  Shortly  after  my  mother's 
death,  I,  as  a  little  child,  had  moved  my  stool  close  to  you ;  you 
sat  on  the  sofa  as  you  do  now  ;  my  bead  Uy  on  your  knees ;  I 
was  not  a«lecp,  I  was  not  awake,  I  was  dozing.  I  beard  all  that 
took  place  around  me,  conversation  especially,  yery  plainly,  and 
yet  I  could  not  move,  could  not  utter  a  word,  and  even  if  I  had 
wished  it,  could  not  indicate  that  I  felt  conscious  of  myself.  You 
then  talked  with  a  female  friend  about  me,  you  pitied  my  fate,  as 
being  left  a  poor  orphan  in  the  worid,  you  pictured  my  dependant 
position,  and  showed  what  dangers  might  surround  me,  if  some 
fortunate  star  did  not  watch  over  me.  I  understood  well  and 
accurately,  perhaps  too  rigidly,  all  that  you  seemed  to  desire  for 
me,  and  to  require  from  me.  According  to  my  own  limited  views, 
I  made  for  myself  laws  on  this  matter.     According  to  these  I  long 


Digitized  by^^OOy  IC 


']^^E  MUSICAL  WORLD. 


tr5 


lived,  according  to  th«ge  I  regulated  what  I  should  do  and  what  I 
should  leave  undone,  at  the  time  when  you  loved  me,  took  care  of 
me,  then  received  me  into  your  house,  and  even  some  time  after, 
wards. 

"  But  I  have  stepped  out  of  my  pathf  I  have  broken  my  laws, 
T  have  even  lost  the  feeling  for  them,  and  after  a  frightful  event  yoa 
again  enlighten  me  as  to  my  position,  which  is  sadder  than  the  6r8l 
one.  Resting  in  your  lap,  naif  lifeless,  and  as  if  from  another 
wQfld,  I  again  bear  your  soft  voice  over  my  ear ;  I  learn  how 
appearances  stand  with  respect  to  myself;  but,  as  formerly,  so  on 
this  occasion  also,  have  I  in  my  half-deadly  sleep,  prescibed  for 
myself  a  new  course. 

"  I  have  come  to  a  resolution  as  I  did  then,  and  that  which  I 
have  resolved  upon,  you  shall  hear  at  once.  I  will  never  be 
Edward's  I  In  a  frightful  manner  has  God  revealed  to  me  the  crime 
in  which  I  am  involved.  I  will  atone  for  it,  and  let  no  one  think 
to  move  me  from  my  design.  According  to  this  intention,  mj 
dearest,  my  best  friend,  take  your  measures.  Let  the  Major  return, 
wnte  to  him  that  no  steps  have  been  taken,  jiow  painful  was  it  to 
me  that  I  could  not  stir  as  he  departed  I  I  wished  to  sprint  up,  to 
cry  out,  that  you  should  not  dismiss  him  with  such  impious liopes.f 

Charlotte  perceived  Ottilia's  situation,  and  felt  for  it,  but  she 
hoped  by  time  and  representation  to  prevail  over  her  In  som^ 
degree.  Bat  when  she  uttered  some  words  which  pointed  to  f, 
future,  to  an  alleviation  of  the  pain,  to  hopet  Ottilia  with  ele- 
vation cried :  "  No,  seek  not  to  move  me,  to  deceive  mp  I  At  the 
moment  when  I  learn  that  you  have  consented  to  the  separation,  I 
will  aton^  in  the  same  lake  for  my  offence — for  my  crime." 

(7*9  be  eontinmd,) 

*«.f  To  prevent  mismdoitsiMUBf  ,  it  nay  be  stated  that  the  copyright  of  thif 
translation  belongs  solely  to  the  translator. 


SONNET. 

No.  XXXIV. 

Never  look  coldly  on  me,  nevtr  give 

One  single  glance  that  aught  but  fondness  tells ; 

Thinking  thou  loVst  me  less,  my  bosom  swells 
With  such  wild  anguish,  that  I  dread  to  live ; 
And  when  another  day  arrives,  I  grieve 

To  think  that  fate  roy  bleeding  heart  compels 

To  linger  here—that  still  on  earth  it  dwells 
Where  I  must  curse  each  hour  that  I  receive. 
One  frown  from  thee,  love,  makes  the  whole  world  dreary. 

And  whatsoe'er  I  do,  where'er  I  go 

There  is  no  respite  for  the  inward  strife; 
Until  at  last  my  tortured  soul  grows  weary 

And  asks  why  it  should  bear  this  weight  of  woe.— 

Ob,  smile,  if  thou  weuld'st  have  ne  prise  my  life. — ^N.D. 


UNDA  Dl    CHAMOUNI   IN   DUBLIN. 

{K»fra€tfrom  Mtr  CorruptmdeiU'f  LeUer,) 

Linda  di  Chamouni  was  composed  for  the  Court  theatre  a|: 
Vienna  in  1841.  Anxious  to  obtain  the  lucrative  and  high 
post  of  Maestro  dj  Cap^Ua,  jind  composer  of  the  private 
concerts  of  the  Emperor  Ferdinand  the  First,  Donizetti  dedi- 
a  ted  more  time  and  care  than  usual  to  the  composition  of 
Linda ;  and  certainly  no  work  of  his,  not  even  the  Favorita, 
exhibits  more  recherch(f,  elaborate,  and  classical  harmonies, 
happier  melodies,  or  more  rich  orchestral  combinations.  The 
opera  is  altogether  worthy  of  the  best  living  composer. 

The  adaptation  of  Linda  di  Chamouni  to  the  English  stage 
is  excellently  done.  The  poetry  is  sparkling  and  finished, 
and  the  dialogae  neat  and  smart.  It  is  certainly  one  of  the 
best,  if  Qot  th^  best,  of  oiir  operatic  translations.  The  story  is 
told  ia  the  English  version  with  simplicity  and  perspicuity, 
and  is  exceedingly  interesting.    The  part  of  lAoda  is  certainly 

de.  Bishop's  happiest  efibrt.  The  Dublin  journals  have 
been  highly  laudatory  in  their  criticisms  on  the  acting  and 
singing  of  the  fair  cantafrice,  but  not  one  of  them  is  u  jot  tP9 


eulogistic.     Take  the  Freeman's  Journal,  for  instance,  which 
appears  to  me  to  say  nothing  but  what  is  conscientiously  true  : 

"The  second  representation  of  the  Linda  di  Chamouni,  last  night, 
proved  more  triumphant  even  than  the  first.  We  have  now  no  hesitation 
in  saying  that  ic  is  far  the  most  beautiful  and  BAOSt  successful  opera 
which  has  been  produced  in  Dublin  for  many  a  long  day.  It  includes  in 
its  ccore  a  greater  number  of  original  and  attractive  melodies  and  con- 
certed pieces  than  almost  any  of  the  modern  operas.  The  first  act*  is 
full  of  the  purest  and  most  delicious  melodies.  In  the  second  there  is 
also  abounding  richness — ^its  finale  particularly,  as  sung  by  Madame 
Bishop,  i«  one  of  the  greatest  vocal  triumphs  we  have  ever  listened  to ; 
the  finale  of  the  last  act,  though  not  so  magnificent  a  composition,  was 
even  more  wonderful  as  a  triumph  of  vocal  skill.  In  it  Madame  Bishop 
played  with  all  the  difficulties  of  her  art,  the  marvellous  flexibility  of 
her  voice  enabling  her  to  lavish  the  most  profuse  ornament.  The  audience 
seemed  positively  astounded,  and  would  not  be  content  without  a  repe- 
tition ;  to  their  unanimous  call  Madame  Bishop  cheerfully  responded  a 
compliance,  which  those  who  witnessed  the  arduous  nature  of  the  per- 
formance of  Linda  must  have  gratefully  appreciated.'' 

No  doubt  you  will,  ere  long,  have  an  opportunity  of  judging 
for  yourself  of  Madame  Bishop's  exquisitely  tmthfal  delinea- 
tion of  the  gentle  Swisf  peasaqt-girl ;  for  t])«  London  managers 
will  jump  at  the  opportunity  aflForded  them  of  presenting  the 
public  with  so  admirable  an  adaptation  ci  a  mosi  pleasing 
drama,  and  such  delicious  muMc,  interpreted  by  ao  great  an 
artist,  as  Madame  Bishop.  Till  which  time,  I  leave  you  to  your 
anticipations. 

ORICINAL  CORRESPONPEI«CE" 

(To  the  BdUor  of  "  The  Musical  WmU**) 

SiR,^I  observe,  in  a  late  number  of  The  Musical  World,  a  paragraph 
headed,  "  Church  Music ;"  reflecting  great  credit  on  Mr.  Surman,  the 
conductor  of  the  Harmonic  Society,  (meaning  the  Sacred  Harmonic 
Society),  for  having  introduced  at  Trinity  Church,  Gray's  Inn  &oad»a 
long  wished  for  alteration  In  the  manner  of  performing  the  service, 
which  entitles  him  to  the  thanks  of  the  congregation  and  the  gratitude 
of  the  parish.  1  am  at  a  loss  to  understand  the  meaning  of  the  word 
grotesque,  as  applied  to  the  poor  charity  boys ;  and,  in  fMt,  the  meaning 
of  the  whole  of  the  last  flve  lines  of  the  paragraph  is  obscure;  but,  what 
I  would  condemn,  sir,  if  the  practice  of  turning  a  church  into  a  concert 
room,  as  is  the  cose  in  this  long  wished  for  (T)  alteration.  1  am  the  last 
to  condemn,  and,  on  the  contrary,  have  always  upheld  the  proper  in- 
tro  uctioii  of  music  into  our  church  service ;  as,  for  instance,  in  the 
naanner  in  which  U  has  been  lately  done  by  Mr.  Henry  Smart,  at  his 
church  in  Old  Street;  hut,  when  Mr.  Surmao,  engages  some  of 
our  principal  singers  t#  exhibit  Ibem  on  a  Sunday  evening,  advertises 
these  engagements,  with  a  programme  of  the  performances,  canvasses 
for  subscriptions  from  those  attending,  and  solicits  contributions,  at 
the  foot  of  a  printed  notice  at  the  doors,  I  think  it  my  duty  to  lift  up 
a  voice  against  this  desecration  of  the  Lord^s  Temple.  If  Dr.  Worthiag- 
tOB  pleases  to  engage  Mr.  Surman,  there  can  be  no  objection ;  but  he 
has  no  right  to  give  Mr.  Surman  a  carie-hlanche  to  do  what  he  pleases 
in  a  church  consecrated  only  for  holy  purposes. — ^Yours,  most  obediently. 

London,  April  28,  1847.  PBii^Hvmios. 


(Tb  the  Editor  of  "  The  Musical  World,") 
DsAa  Sir,— It  is  with  much  pleasure,  I  perceivp,  you  have  coipmenced 
your  promised  elaborate  analysis  of  Mendelssohn's  "  Elijah."  Of 
all  things  ever  published  in  The  Musical  World  I  never  read  anything 
with  so  much  interest  u  those  occasional  criticisms  of  the  great  worlcs 
of  our  greatest  masters  with  which  we  have  often  been  favoured,  an4,  if 
it  is  not  inconsistent  with  the  plan  of  your  work,  I  should  esteem  it  a 
great  obligation  if  you  would  give  us  a  similar  criticism  on  each  of 
Beethoven's  Symphonies.  I  know  that  doing  so,  would  oblige  mere 
than  one  of  your  readera  in  thispl«ce«^a  place,  where,  notwitbatandfaig 
its  proximity  to  London,  not  one  of  Beethoven's  Symphonies  has  #ver 
been  performed.  We  have  had  Jullien  here  once,  who  gave  us  the 
Rustic  Dance  and  the  Storm  from  the  pastoral  symphony,  and  that  is  all 
that  has  ever  been  performed  here,  if  I  except  some  little  performance 
of  parts  of  one  or  two  of  the  others,  arrano^ed  as  septets.  If  it  be  too 
much  to  ask  for  an  analysis  of  each  symphony,  perhaps  you  would  not 
object  to  favour  us  with  an  examination  of  the  Pastoral.  I  have  been 
an  amateur  for  some  jrears,  yet,  I  blush  to  say,  niy  principal  acquaintance 

Digitized  by  V^OOQltT 


316 


THE  MUSICAL  WORLD. 


with  tkote  nukgnificent  works  has  been  mtde  through  the  medium  of 
pianoforte  arrangements.  One  cannot  always  come  to  London  to 
hear  a  great  work,  and,  as  that  is  the  only  chance  have  of  doing  lo,  I 
regret  to  say,  I  have  madtf  much  less  acquaintance  with  the  masterpieces 
of  art  than  1  could  wish.  Begging  you  to  excuse  my  troubling  you  with 
these  remarks.— I  am,  sir,  yours  obediently,— A  Comstamt  RsAosa. 
"     ■    r.  ^1^  29,  1847. 


REVIEWS   ON    MUSIC 

"Deux  Faita,  et  une  Polka/*  /or  the  Pianoforte,  by  Madkmoiskllk 
HoEaBNBSRGKR.— Ptt6/t«A«d  fof  tko  Authorets,  19,  Porieea  Place, 
CofMioicg'Af  Sqwwe, 

Of  the  two  waltzes,  to  which  the  fair  authoress  gives  the  names 
of  "  La  Coquette,"  and  *'  The  Arabella,"  we  can  speak  most 
fiaTOumbljr.  The  Coquette  is,  perhaps,  the  most  pleasing  of  the 
two.  Thejr  are  both  pretty  and  neatly  written.  The  Polka, 
called  the  Viragt  is  better  still,  and  is  new.  The  theme  is  well 
handled  throughout,  and  is  capitally  varied. 


DRAMATIC  INTELLIGENCE. 

F&BMCH  Plats.— There  has  been  little  novelty  this  week^ 
Le9  Dtmoisetlet  de  St,  Cyr,  Le  Mart  d  la  Campagne^  and  Le 
M^decin  Maigti  Lui,  have  formed  the  principal  attractions, 
the  first  of  these  pieces  was  noticed  by  us  at  some  length  last 
week ;  as  regards  the  second,  we  may  venture  to  assert,  that  it 
is  one  of  the  best  plays  producod  on  the  modern  stage ; 
besides  the  great  moral  lesson  inculcated  in  it,  it  contains 
much  wit  in  the  dialogue,  and  is  withal,  so  neatly  constructed 
and  characteristic,  that  a  frequent  repetition  of  it  is,  by  no 
means,  tiresome,  and  is  even  desirable  to  arrive  at  a  proper 
appreciation  of  its  intrinsic  merit.  We  may,  however,  be 
allowed  one  observation,  namely  : — that  one  of  the  principal 
characters  is  rather  too  palpabla  a  plagiarism  of  our  old  friend 
Tartuffe,  modernized  to.  suit  the  exigencies  of  the  age.  This 
being  adipitted,  for  conscience  sake,  we  give  our  unqualified 
praise  to  all  the  remainder.  Madame  Colombet,  actuated  by 
her  worthy  mother — such  mothers  being  not  unfrequently  a 
reality,  as  many  husbands  can  testify — makes  her  husband 
miserable  at  home  by  her  excessive  austerity  ;  she  loves  him, 
but  thinks  it  sinful  to  let  him  know  it.  Of  course  this  is  done 
at  the  instigation  of  the  bon  Motaieur  Matthieu^  a  modern 
TartuflTcy  who  eats  large  quantities  otyricandeau  for  supper 
and  swallows  six  glasses  of  eau  saer^e.  Our  poor  Colombet, 
who  is  of  an  eaay  nature,  and  hates  quarrelling  above  all 
things,  puts  up  with  the  infiiction ;  and,  on  pretence  of  going 
into  the  country,  sets  up  as  a  bachelor,  and  frequents  balls 
and  suppers.  At  one  of  these  he  is  discovered  by  his  wife 
and  mother-in-law;  but  the  timely  arrival  of  his  friend 
C^sar ;  brings  about  a  revolution  he  makes  him  assert  his 
rights,  reconciles  tlie  husband  and  wife,  brings  over  the  latter 
to  lets  austere  principles,  and,  finally,  turns  the  mother-in-law 
and  the  excellent  Monsieur  Matthieu  out  of  doors.  The 
piece  was  carefully  played  by  all,  and  admirably  so  by 
Mesdemoiselles  Dendn  and  Duverger,  and  by  Messieurs 
Cartigny  and  Regnier.  The  latter  more  particularly  kept  the 
house  in  a  continual  roar  during  the  second  act  and  the  latter 
part  of  the  third.  The  meeting  between  him  and  his  friend, 
C^sar,  in  the  first  act,  when  they  talk  over  the  follies  of  former 
tinies,  forgetful  that  the  excellent  Monsieur  Matthieu  is 
present,  was  admirably  done,  M*  Cartigny  looking  over  his 
spectacles  at  them ;  and  such  a  look !  It  petrifies  poor  Colombet 
when,  in  the  midst  of  his  merriment,  he  happens  to  meet  it. 
The  meeting  of  Colombet  and  his  wife,  and  afterwards  his 
mother-in-law,  at  the  house  of  a  certain  widow,  of  the  name 
of  Madame  de  Rohan,  to  whom  he  had  been  paying  his 


court,  when  it  comes  out  that  he  is  to  be  married  to  her,  and 
his  excessive  joviality  suddenly  turned  into  melancholy,  were 
ludicrous  in  the  extreme,  and  admirably  managed.  Then, 
again,  the  last  scene,  where  Colombet  asserts  his  inde- 
pendence, backed  up  by  his  friend,  Cesar,  elicited  roars  of 
laughter  and  applause.  Monsieur  Reignier,  whose  Southern 
accent  (we  think  he  must  be  from  Marseilles,  at  any  rate, 
from  the  South  of  France),  is  rather  favourable  than  other- 
wise to  the  parts  which  he  usually  undertakes,  confirmed  us 
in  the  opinion  we  have  already  given  of  him.  Mademoiselle 
Dcnain,  also,  gives  us  no  cause  to  retract  the  excellent  opinion 
we  had  formed  of  her ;  she  is  remarkably  lady-like,  and  her 
pronunciation  of  French  is  a  study  for  tyros  in  that  language. 
Her  exceedingly  handsome  person  enhances  the  charm  of  her 
intelligent  and  refined  performance.  Mdlle.  Denain  is  a  most 
valuable  acquisition  to  Mr.  Mitchell's  troupe,  and  is  already 
in  high  favor  with  his  fashionable  habitues.  Madame  Grassau 
was  good  in  the  part  of  the  mother-in-law,  and  M.  Cartigny 
admirable  in  the  modern  Tartuffe.  The  other  parts,  played 
by  Mesdemoiselles  Duverger  and  Vallde,  and  by  Messrs. 
Langeval  and  B^rou,  deserve  our  warmest  commendation. 
No  one  is  more  agreeable  and  effective  than  the  pretty  and 
lively  Mdlle  Valine  in  parts  like  the  one  allotted  to  her  in  this 
clever  comedy.  The  Midecin  Malgr^  Lui,  known  in  Eng- 
lish by  the  title  of  The  Mock  Doctor^  was  given  on  Wed- 
nesday, M.  Regnier  playing  the  part  of  Sganarelle.  with  much 
applause.  We  must  not  omit  to  mention  that  Her  Majesty 
was  present  on  Monday,  and  seemed  fully  to  enjoy  the  perplex- 
ities of  the  worthy  Colombet. 


JULES  SCHULHOFF. 

This  celebrated  pianist  dnd  composer  has  lately  arrived  in 
London  from  Prague,  and  has  brought  with  him,  or  more 
properly,  sent  before  him,  a  great  name.  M.  Schulhoff  per- 
formed for  the  first  time  before  a  British  audience,  at  Madame 
Puzzi's  concert  yesterday,  and  was  at  once  recognised  as  a 
first-rate  pianist.  His  performance  is  distinguished  by 
remarkable  brilliancy  of  tone,  immense  facility  of  execution, 
and  an  intuitive  conception  of  the  beauties  of  the  work  he 
interprets,  which  serves  to  exhibit  his  taste  and  judgment  in 
a  remarkable  manner.  As  a  composer,  M.  Jules  Schulhoff 
has  obtained  a  conriderable  reputation  on  the  continent.  Our 
excellent  friends,  the  Messrs.  Cocks  and  the  Messrs.  Wessel, 
have  severally  transmitted  to  us  sundry  works  of  the 
celebrated  pianist,  which  we  shall  review  and  consider  care- 
fully next  week. 


ROYAL  ITALIAN   OPERA. 

Donizetti's  opera  seria,  Maria  di  Rohan,  was  brought  out, 
for  the  first  time  in  this  country,  on  Saturday  last..  This  opera 
was  chosen  for  a  double  purpose,  independent  of  its  intrinsic 
merits  : — first,  to  introduce  Madame  Ronconi  to  the  subscri- 
bers of  the  Royal  Italian  Opera  and  the  public  ;  secondly,  to 
exhibit  Signor  Ronconi  in  one  of  his  greatest  parts.  The 
general  cast  was  admirable,  and  was  as  follows : — 
Maria  di  Rohan  •  .  Mad  am  b  Roncont, 

Ricardo,  (Count  of  ChtdaisJ  .  Signor  Salvi, 

Armanda  di  Gondi  .  .  Madkmoisrlls  Albovi, 

De  Fiesqae  ....  Signor  Pollonini, 

Enrico  {Dukeof  Cheoreute)         •  Si onor  Ronconi. 

Maria  di  Rohan  is  one  of  Donizetti's  latest  works,  written 
some  five  years  since,  but  is  certainly  not  one  of  his  most 
meritorious.     The  story,  which  is  powcrfullvdrMiatMJs  QW-fp 


THE  MUSICAL  WORLD. 


317 


stnicted  indifferentiy  for  lyric  exhibition.  In  this  work  we 
find  DO,  single  sustained  concerted  moreecut  and  no  chorus  of 
moment,  whereby  the  opera  loses  considerably  in  its  im- 
portance. Donizetti  is  reported  to  have  written  Maria  de 
Rohan  with  exceeding  care.  We  give  little  credit  to  the  re* 
port.  The  opera  certainly  boasts  of  a  regularly  constructed 
overture,  and  this  tells  something  in  favour  of  rumour,  since 
the  composer  seldom  hazards  a  work  of  this  kind  :  but  then, 
the  overture  itself  is  such  as  the  maestro  might  be  supposed 
to  bave  improvised,  and  there  are  unmistakeable  indications 
throughout  the  opera  of  hasty  and  careless  writing.  Maria  di 
Jtohan,  in  our  estimation,  may  be  ranked  among  Donijsetti's 
weakest  productions.  The  hand  of  the  prolific  master  is, 
however,  occasionally  apparent.  The  ballata  in  the  first  act, 
"  Per  non  istare,"  sung  by  Gondi,  is  assuredly  the  offspring 
of  one  of  the  composer's  very  happiest  moments  of  in- 
spiration. The  aria  in  the  second  act,  "  Ion  leggero  nel 
amore,"  also  sung  by  Gondi,  is  hardly  less  beautiful.  The 
supplication-song  of  Chalais  in  the  second  act,  and  the  duet 
in  the  last  act,  between  Chalais  and  Maria,  are  entitled  to 
great  praise  for  their  passionate  expression  and  dramatic 
feeling.  With  these  exceptions,  we  remember  nothing  worthy 
of  particular  notice  in  Maria  di  Rohan.  Certainly  an  opera 
of  this  kind  should  be  granted  more  than  one  hearing  to  entitle 
the  critic  to  proffer  a  well-grounded  opinion  on  its  merits ; 
but,  as  we  paid  all  the  attention  in  our  power  to  catch  the 
music ;  and,  as  the  opera  has  now  been  postponed,  in  con- 
sequence of  the  indisposition  of  Madame  Ronconi ;  and,  as 
our  paper  comes  out  on  Saturday,  and,  as  we  bring  every 
noYelty  of  the  Royal  Italian  Opera  under  our  weekly  notice, 
we  concluded  it  was  better  to  give  a  candid  opinion  on  its 
first  production,  than  to  wait  for  a  second  hearing  and  deprive 
ou^  readers  of  an  anticipated  critique.  The  story  of  Maria 
di  Rohan  is  of  French  extraction,  and  is  familiar  to  the 
frequenters  of  the  St.  James's  Theatre.  It  is  founded  on  the 
drama,  Un  Duel  sous  Richelieu,  The  plot  is  simple,  and  may 
be  thus  told  :«• 

Maria,  Countess  of  Rohan,  has  loved  and  been  loved  by 
Cojant  Chalais.  Their  union  is  interrupted,  and  Maria  marries 
privily  the  Duke  of  Chevreuse,  being  forced,  or  instigated 
thereto,  by  reasons  which  do  not  appear  in  the  operatic  version. 
Chevrense  has  killed  the  nephew  of  Cardinal  Richelieu  in  a 
duel,  and  conceals  himself  to  evade  the  vengeance  of  the 
minister.  Chalais,  at  Maria's  entreaty,  and  still  innocent  of 
her  marriage,  obtiuns  a  pardon  for  Chevreuse^  and  the  latter, 
thereupon,  declares  his  marriage  with  Maria.  Chalais  is  in- 
furiated, but  conceals  his  rage,  and,  as  a  sort  of  escape- valve 
for  his  frenzy,  quarrels  with  Amanda  di  Gondi,  a  young 
courtier,  and  challenges  him  to  single  combat.  The  challenge 
is  accepted,  and  the  hour  signified.  Chevreuse  volunteers  to 
become  the  second  of  Chalais.  Maria,  \ivho,  despite  the 
nuptial  Ue,  nourishes  a  passion  for  Chalais,  having  gained 
intelligence  of  the  intended  meeting,  flies  to  him  to  urge  him  to 
forego  the  duel.  While  she  is  pleading  with  him,  the  husband 
enters,  and  Chalais  conceals  his  mistress  in  a  closet.  This  is 
certainly  no  tragic  situation,  more  especially  as  nothing  arises 
from  it,  the  three  being  left,  at  the  end,  in  precisely  the  same 
circumstances,  with  regard'to  the  audience,  as  before  the  duke 
entered.  When  the  husband  departs,  Maria  is  still  seen 
pleading  with  Chalais  to  forego  the  combat.  We  see  no 
possible  motive  for  bringing  Chevreuse  on  in  this  scene, 
except  for  the  mere  purpose  of  affording  the  foolish  husband 
and  shameless  lover  an  opportunity  of  singing  an  obstreperous 
duet.  Maria  at  last  prevails  on  Chalais  to  stay  at  home,  and 
lay  aside  the  weapons  of  his  honour  for  those  of  Master  Dan 


Cupid.  Previous  to  the  coming  of  Maria,  Chalais  had  written 
a  letter  to  his  mistress,  which,  with  her  portrait,  he  had  en- 
closed in  a  packet,  to  be  delivered  to  her  in.  case  he  should 
fall,  Chevreuse,  meanwhile,  goes  to  the  field  of  combat,  and 
at  his  principal  does  not  arrive,  Irish  like,  takes  up  the 
cudgels,  alias  sword,  for  his  friend,  and  receives  a  wound  in 
the  sword-arm  from  Amanda  di  Gondi.  In  the  last  act, 
Chalais  comes  under  the  ban  of  Richelieu's  displeasure,  and 
plays  another  game  of  hide-and-seek  with  the  wily  minister. 
The  duke,  anxious  for  his  false  friend,  contrives  a  means  for 
his  escape.  Chalais  departs,  urging  Maria  to  fiy  with  him, 
and  vows  that  unless  she  will  follow  him  to  a'  certain  place 
before  the  clock  strikes  the  next  hour,  he  will  return  and  die 
at  her  feet.  Now  comes  the  moment  of  retribution  for  the 
guilty  lovers.  Richelieu,  suspecting  the  Count  of  treasonable 
purposes,  dispatches  a  guard  of  archers  to  his  house,  who,  in 
rummaging  his  papers,  discover  the  packet  addressed  to 
Maria,  and  bring  it  to  the  cardinsd.  Richelieu,  having 
perused  it,  sends  it  to  Chevreuse,  who  becomes  distracted  at 
the  perfidy  of  his  wife  and  friend.  He  threatens  to  kill  her, 
but  relents,  when  Chalais  arrives,  and  a  scene  of  terror 
ensues.  The  Duke  snatches  two  pistols  from  the  table,  and 
calls  on  the  Count  to  render  him  instant  satisfaction.  Chalais, 
seeing  all  is  lost,  seizes  one  of  the  pistols,  rushes  into  an 
adjoining  apartment,  followed  by  the  duke.  They  fight : 
Chalais  is  killed.  The  duke  re-enters,  Maria  falls  senseless  to 
the  ground,  the  royal  archers  arrive,  and  the  curtain  fails  on 
a  dramatic  tableau-  Such  a  subject,  it  will  be  seen  at  once, 
does  not  present  a  very  happy  vehicle  for  music.  There  are, 
nevertheless,  situations  in  the  opera  that  demand,  in  the 
artists,  dramatic  powers  of  the  highest  order,  and,  in  these 
situations,  the  vocalists  of  Tuesday  evening,  left  nothing  to 
be  desired.  Madame  Ronconi,  who  made  her  fiist  appearance 
on  Tuesday,  had  previously  appeared,  some  ten  years  since  at 
Her  Majesty's  Theatre.  She  is  an  intelligent  artist,  both  as 
singer  and  actress,  but  unfortunately  laboured  under  a  severe 
cold,  and  was  consequently  heard  to  great  disadvantage.  We 
understand  her  singing  at  rehearsal  was  far  superior  to  that  of 
her  evening's  performance ;  for  which  reason  we  do  not  feel 
ourselves  justly  warranted  in  discussing  the  fair  debutante's 
merits  at  any  length.  That  she  is  a  good  musician  and  clever 
actress  is  evident ;  and,  we  have  no  doubt,  that  she  will,  ulti- 
timately,  prove  a  useful  and  worthy  member  of  the  company 
of  which  she  forms  an  item.  Salvi  acted  with  great  ability  and 
sang  most  beautifully.  His  artistic  vocalisation  of  the  prayed 
in  the  second  act  won  him  an  enthusiastic  encore,  and  her 
obtained  great  applause  in  his  portion  of  the  stormy  scenes 
in  the  last  act.  Mademoiselle  Alboni  gained  another  ovation 
on  Tuesday  night.  Her  singing  of  the  ballata^  in  the  first 
scene,  was  absolutely  faultless.  She  roused  her  auditors  to  a 
state  of  excitement,  seldom  witnessed  at  the  Royal  Italian 
Opera,  and  this  was  accomplished  almost  without  an  effort. 
The  extreme  purity  and  delicious  quality  of  voice,  the  chaste- 
ness,  grace,  and  exquisite  finish,  exhibited  in  the  simple  and 
quaint  ballad,  could  not  fail  of  impressing  any  audience  with 
enthusiastic  emotion.  She  was  encored  in  a  perfect  tornado 
of  applause.  The  fame  words  apply  to  the  fair  contralto's 
singing  of  "  Per  non  istare,"  in  the  second  act,  also  up- 
roariously encored.  In  the  part  of  Armanda  di  Gondi,  Mdlle. 
Alboni  exhibited  comic  powers  of  much  excellence,  for  which 
we  had  given  her  little  credit,  and  obtained  as  much  applause 
in  her  acting  as  in  her  singing.  In  the  character  of  Enrico, 
Duke  of  Chevreuse,  Signor  Ronconi  upheld  his  nauie  and 
fame  as  one  of  the  very  greatest  operatic  singers  of  the  age. 
Indeed,  we  should  accord  him  the  very  highest  place  among 


ai8 


THE  MUSICAL  WORLD. 


dramatic  singers,  so  long  awarded  him  on  the  continent,  did 
we  not  reckon  fine  quality  of  voice  as  one  of  the  essentials  of 
dramatic  singing.  Signor  Ronconi's  voice  is  hard  and  guttural 
and  possesses  little  of  that  charm,  peculiar,  with  some 
exceptions,  to  Italian  vocalists.  It  has,  however,  great 
power,  and  is  as  available  in  the  upper  register  as  any 
barytone  we  know.  This  hard  organ  the  artist  manages, 
occasionally,  with  fine  effect^  and  in  the  mezza  voce  he  is  heard 
to  singular  advantage.  When  singing  thus  the  tones  of  his 
voice  sound. like  those  of  a  tenor,  a  peculiarity  we  have  not 
observed  in  any  other  barytone.  As  an  actor  we  cannot  confer 
too  much  praise  on  Signor  Ronconi.  Here  he  is  truly  great. 
Possessed  of  power,  energy,  intense  feeling,  fine  dramatic 
conception,  and  keen  judgment,  he  adapts  himself  to  th^ 
delineation  of  the  higher  passions  with  a  life-like  earnestness 
hardly  to  be  described  in  words.  The  great  tragic  artist  is 
perceptible  in  every  look  and  motion,  and  every  shade  of 
feeling  is  depicted-  with  powerful  truth.  In  the  entire  of 
the  last  act  Signor  Ronconi's  acting  was  beyond  praise.  We 
have  hardly  ever  witnessed  on  the  stage,  anything  more 
terribly  real  than  the  scene  with  his  wife  after  he  discovers 
her  perfidy,  and  the  fiendish  cry  of  exultation  that  escaped  his 
lips  when  he  finds  Chalais  within  his  grasp,  was  so  fearfully 
natural,  that  it  went  like  an  electric  shock  through  the  whole 
house.  One  universal  shout  of  astonishment  and  delight 
greeted  this  artistic  display.  Nor  must  we  omit  to  do  full  justice 
to  Signor  Ronconi's  singing.  In  one  morceau,  which  he  gave 
with  prodigious  effect,  he  was  encored,  and  afterwards  re- 
called twice.  A  greater  triumph  it  was  hardly  possible  to 
achieve.  The  scenery  and  mise  en  scene  were  excellent,  and 
the  dresses  extremely  splendid.  The  choruses  were  good,  but 
had  not  much  to  try  them.  The  band  was  hardly  so  irre- 
proachable in  Maria  di  Rohan  as  it  was  in  the  previous  operas 
produced  at  this  establishment.  Another  performance  will, 
no  doubt,  set  matters  right,  and  exhibit  Signor  Costa'^ 
orchestra  in  its  wonted  perfection. 

After  the  opera,  the  divertissement.  La  Bouquetth-e  de 
Venise,  was  repeated,  in  which  was  introduced,  for  the  first 
time,  a  pas  de  devx,  by  Mademoiselles  Fanny  Elssler  and 
Dumilatre.  This  was  no  other  than  the  favourite  Spanish 
dance.  La  Gitana,  doubled  for  the  fair  danseuses.  The  dance 
was  received  with  great  favour,  and  though  it  was  the  last 
performance  of  the  evening,  it  produced  a  furore  and  was 
encored  with  tremendous  acclamations,  the  enraptured  spec- 
tators waiting,  to  a  single  individual,  to  catch  the  last  twinkle 
of  the  all-gracious  Fanny's  feet,  and  the  last  pose  of  the 
elegant  Dumilatre.  It  was  a  sight  to  win  all  gaze  that  way, 
to  behold  the  two  artists,  in  their  various  styles,  perfbro)  the 
same  steps,  and  go  through  the  same  evolutions.  Now  the 
eye  rested  on  the  Juno-like  suavity  of  Fanny  Elssler's  move- 
ments ;  and,  anon,  the  Sylph-like  attitudes  of  Dumilatre, 
rivetted  the  attention.  Now  Fanny  tossed  her  head  proudly 
as  an  Andalusian  barb,  and  seemed  to  tread  the  earth  as 
conscious  of  supremacy;  and,  again,  Dumilatre  sailed  onwards, 
like  a  Swan  of  Cynthia,  winning  her  way  by  graceful  un- 
dulations. The  pas  de  deux  was  by  far  the  most  excellent 
production  of  the  ballet  department  since  the  opening  of  tlie 
Royal  Italian  Opera,  and  will,  no  doubt,  be  repeated  for  many 
many  nights,  with  the  same  effect.  i 

On  Tuesday,  in  consequence  of  the  continued  indisposition 
of  Madame  Ronconi,  Maria  di  Rohan  was  postponed  until 
further  notice,  and  Sonnamhula  was  performed  instead,  with 
Madame  Persiani,  Mademoiselle  Corbari,  Mario,  and  Tarn- 
burini,  in  the  principal  characters.  La  Bouquetih-e  de  Venise 
followed,  in   which  Mdlles.  Fanny   Elssler    and  Dumilatre 


again  CQraptured  the  spectators  with  the  pas  de  deux  prq4iwed 
on  Saturday. 

On  Thursday  the  Elisir  d'Jmare  was  produced,  for  the 
first  time,  very  strongly  cast.  Persiani  played  Adina ;  Sal^i^ 
Nepaoriro  :  Rovere,  Dulcamara;  and  Tamburini,  Belcore. 
Persiani  wati  not  in  such  fine  voice  as  we  have  heard  her. 
She  played*  however,  most  charmingly,  and,  in  several  in- 
stances, sang  with  her  usual  brilliancy.  Salvi  waa  excellent 
in  Nemorino.  He  gave  all  the  music. with  the  greatest  taste 
and  nicest  finish.  In  the  beautiful  aria,  '<  Una  furtiva  lagrima," 
he  was  encored  with  universal  acclamations.  Tamburini  i3  by 
far  the  best  Belcore  we  ever  saw.  Indeed,  it  is  hazardous,  for 
any  Dulcamara — except  ON£^-to  come  in  contact  with  him 
in  this  opera.  He  is  so  full  of  whim  and  drol|ery,  whether 
he  be  singing,  or  unoccupied  in  the  dialogue,  or  music*  that 
he  elicits  laughter  the  whole  time  he  la  on  the  st^,  and 
seems  to  hold  every  eye  fixed  upon  him.  His  gimig  the 
word  of  command  to  the  soldiers  in  English  had  ^  very 
laughable  effect.  The  singing  of  this  artist,  i^  Belcore,  was 
no  le89  admirable  than  his  acting.  Of  Rovere,  we  hi|Te  far 
higher  opinions*  since  we  have  seen  his  Dulcamara.  If  he 
possesses  not  any  of  that  rich,  unctuous  bumo^r,  we  b»ye 
been  accustomed  to  witness  in  the  gr^  artist  vbQ  hw  W«p- 
tified  himself  with  this  character,  he  is  vivacious  imd 
bustling,  and  his  singing  is  highly  artistic.  Signor  Eovere 
was  admirable  all  through  the  first-ecene,  and  in  the  duet  with 
Adina  in  the  second  act  he  proved  himself  a  first-rate  comic 
actor  and  buffo  singer.  He  caused  immense  laughter^  aod 
received  great  applause  in  the  course  qi  the  performaiHie. 
The  opera  was  carefully  done,  the  chorus  being  excellent. 
The  new  scenery  was  beautiful.  After  th^  ^*tir,  a  selection 
irom  Semiramide  was  performed*  embracing  the  grand  duet, 
f  *  Se  la  vita,"  for  Grisi  and  Tamburini ;  the  aria,  •*  II  si  har- 
bara,"  for  Alboni,  and  the  duet,  ••  Ebben  a  to  ferisci/'  for 
Grisi  and  Alboni.  This  portion  was  the  most  acceptl^ble  of 
the  evening's  entertainmente.  The  duet,  "  §e  la  vita,"  w«s 
magnificently  given  by  Grisi  and  Tamburini,  the  execution 
of  which  won  a  unanimous  re-call  from  all  parts  of  tbe  house. 
We  never  heard  the  Divd  sing  more  exquisitely.  Ail>Q|ii  Wfs 
likewise  in  spleudid  voice,  and  sang  with  all  that  mjraoulo^s 
charm  that  touches  every  heart  that  comes  within  its  sway- 
The  Bouquetiere  de  Venise  followed,  in  which  Fauny  Elsd^r 
introduced  the  cachucha,  and  won  a  pew  triumph,  an4  tfce 
performances  concluded  with  an  extract  from  La  Bein$  des 
Fees,  for  Dumilatre.  The  last  act  of  Puritans  wes  aunpunped, 
but  the  selections  from  Semiramide  were  aubstituted  iu  coq- 
seqHence  of  the  sudden  indisposition  of  Signpr  Mario, 

HER   MAJESTY'S  THEATRE,  ^ 

On  Saturday,  Roierto  il  Diavolo  was  j;iven  for  the  thud 
time.  Madlle.  Jenny  Lind's  performance  justified  all  we  had 
advanced  in  favour  of  the  two  first  representations.  The  band 
and  orchestra  were  greatly  improved — Balfe  had  moulded 
them  into  something  like  the  proper  shape— and  the  principal 
singers  were  also  much  better.  Staudigl  was  very  grand  hi 
Bertram,  and  Gardoni  charmingly  natural  and  una&cted  in 
Raimbert.  In  regard  to  Fraschini,  we  suspect  that  it  is 
nothing  more  than  his  Neapolitan  slu^shness  of  temperament 
that  prevents  him  from  doing  justice  to  Robert,  a  part  for 
which  nature  has  singularly  gifted  him.  He  has  a  noble 
voice,  can  sing  with  infinite  spirit,  and  act  as  well  as  most 
Italian  singers  (better  than  many)— what  theii,  but  sheer 
apathy  and  indolence  prevents  him  from  placipg  these  enviable 
qualities  in  request  when  be  has  so  good  an  occasion  to  win 
honour  and  fame  by  their  demoiistrajtion  7   Madame  Castellau 

Digitized  by  V^OOQ  It: 


THE  MUSICAL  WORLD 


319 


was  in  better  voice,  and  sang  the  airs  of  Isabelle  mucli  better 
than  before.  Her  "Robert**  was  highly  expressive  and 
graceful,  if  not  as  intensely  passionate  as  the  theme  and  its 
musical  illustration  would  suggest.  Mademoiselle  Jenny  Lind 
was  honoured  with  the  same  enthusiastic  applause,  the  same 
double-encore  to  her  ballad,  **Quand  je  quittais  la  Normandie," 
the  same  recalls,  and  the  same  **  ovations."  One  thing,  how- 
ever, we  could  not' but  remark.  This  was  the  evident  source 
of  all  she  effects  being  in  studi/y  not  spontaneity.  Perhaps, 
after  all,  this  is  what  brings  a  perfection  otherwise  unattain- 
able in  art.  Still  we  could  not  sometimes  but  think  of  poor 
Malibran,  and  her  daring  improvisations,  as  astonishing  as 
they  were  beautiful.  Malibran  did  not  ask  De  Beriot  to 
write  cadenzas  for  her,  as  M,  Fiorentino  insinuates  of  Jenny 
Lind  in  respect  to  Meyerbeer ;  no,  indeed,  her  fancy  was 
teeming  with  them,  ever  new  ;  they  flowed  from  her  soul  as 
water  from  the  hidden  springs  ;  they  sprang  from  her  heart 
as  wild  flowers  from  the  fertile  soil,  fairer  in  their  untutored 
waywardness  than  all  that  cultivation  could  produce  of  fair. 
At  the  same  time,  let  us  avow  that  Mademoiselle  Jenny  Lind 
is  a  more  flnished  artist  than  ever  was  Malibran.  But  is  she 
such  a  genius  ?  When  we  have  seen  her  in  some  more  of  her 
parts  we  shall  be  better  able  to  say.  The  ballet  of  Saturday 
evening  was  Une  Soirie  du  CamavaU  in  which  Marie  Taglioni 
danced  the  Pas  de  la  Rostkre,  Cerito  and  St.  L6on  the  Matfla^ 
and  Rosati  and  Perrot  the  Pas  de  deux,  composed  by  the 
latter.     The  house  was  crammed. 

A  mere  record  of  the  proceedings  of  Tuesday  evening  must 
suffice.  The  performances  consisted  of  LElisir  d' Amove, 
with  Castellan,  Gardoni,  Lablache,  and  F.  Lablache  ;  a  diver- 
tisstment,  in  which  Cerito,  St.  L^on,  Mdlles.  Cassan,  James, 
and  Honors,  danced  the  Pas  de  Cinq  from  the  ballet  of 
RosidOf  Marie  Taglioni,  (her  last  appearance  but  two !)  her 
Pas  de  la  Rosthre,  and  Cerito  and  St.  Leon,  the  Manola ; 
the  last  act  of  /  Biie  Foscariy  in  which  we  heard  Coletti  in 
the  Doge,  with  the  greater  pleasure,  since,  from  the  announce- 
ment, we  had  not  anticipated  that  treat  again;  and  the  ballet 
of  Thea^  with  Rosati,  Marie  Taglioni,  (her  last  appearance  but 
two ! !)  and  Paul  Taglioni.  Enchanting  little  Marie  danced 
divinely  ;  and  we  have  singled  her  out  for  special  mention, 
since — as  we  have  twiccL  inserted  in  parenthesis,  as  if  the  fiact 
were  of  no  consequence,  although  it  is  really  of  a  conse- 
quence most  melancholy — since,  we  mournfully  repeat,  it 
was  her  last  appearance  but  two.  As  soon  as  Carlotta  has  flown 
to  England,  Marie  must  fly  away ! — sad  though  it  be  to  con- 
template, we  must  accept  the  fact.  Two  moons  cannot  shine 
in  one  heaven,  and  where  the  moon  Carlotta  beams,  the  moon 
Marie  can  beam  not — and  vice  versa ^  b6  it  clearly  understood. 
The  house  was  not  so  well  attended  as  usual.  The  "  Lind" 
mania  would  seem  to  have  bitten  all  London,  and  all  the 
other  artists,  vocal  and  choregraphic,  either  go  for  nothing,  or 
move  as  satellites  about  the  great  refulgent  planet  of  the  sky. 

Thursday  was  such  a  night  as  we  shall  remember  to  the 
very  last  hour  of  our  existence.  The  report  that  Amina  was 
Jenny  Lind's  best  part  had  travelled  over  from  Germany  to 
England,  and  the  curiosity  excited  was  even  greater  than  on 
the  night  of  her  debiit.  It  was  a  rare  sight — the  mob  that 
thronged  the  doors  from  four  o'clock  till  seven,  the  hour  of 
opening.  It  was  a  still  rarer  to  see  the  rush  for  entry,  when 
the  trembling  portals,  creaking  on  their  hinges,  announced 
the  long  anticipated  moment  when  the  dense  immovable  mass, 
should  become  a  living  stream  in  motion,  flowing  into  the 
Opera-hall,  as  it  were  into  the  sea  of  its  desires.  Not  wishing 
to  risk  onr  neck,  onr  legs,  or  our  arms,  we  waited  till  the 
doors  bad  swallowed  the  largest  portion  of  the  crowd,  and. 


gorged  with  repletion,  rejected  all  else  that  forced  itself  a 
passage  in.  Hundreds  after  hundreds  were  vomited  forth, 
and  went  their  way — some  to  feed  the  appetite  of  the  Royal 
Italian  Opera,  as  the  crumbs  from  the  rich  man's  table  fed 
the  hungry  Lazarus— others  to  their  silent  homes,  where, 
over  the  fire-side,  with  perchance  a  cigar  and  a  tankard,  they 
chewed  the  cud  of  their  disappointment,  and  promised  them- 
selves to  be  in  better  time  on  Saturday.  The  prices  paid  for 
boxes  and  stalls  were  sinful,  when  we  consider  the  starving 
condition  of  one-third  of  the  empire.  As  much  as  mne 
guineas  was  paid  for  a  single  pit-stall  by  several  persons. 
Money  was  rejected  at  the  doors  in  handfuls,  like  so  much  dift. 

At  length,  having  gazed  and  wondered  our  full  at  the  mad 
crowd,  and  hearing  the  first  bars  of  the  overture — which  fell 
upon  the  ear  like  the  tones  of  '*  the  loud  bassoon"  in  Cole- 
ridge's ^»ciVw<  jl/ar»/ier— we  directed  our  steps,  with  suflicient 
indifference,  to  our  corner  in  No.  O — to  the  extreme  left  of 
the  extreme  box,  on  the  highest  point  of  the  proscenium 
row,  which  had  been  kindly  preserved  for  us  by  our  excellent 
friend  N — ,  one  of  the  most  valuable  and  indefatigable  officers 
in  Mr.  Lumley's  establishment.  If  the  house  on  the  night  of 
Jenny  Lind's  debAt  was  crammed,  it  was  on  this  occasion 
packed  so  close  together,  that  it  reminded  the  initiated  in  such 
matters  of  the  letter-press  in  a  page  of  type,  when  it  has  been 
placed  in  chase,  hammered  and  wedged  in  immoveable 
tightness.  So  closely  crowded  was  the  audience,  that  scarce 
a  man  could  breathe  without  giving  his  neighbour  oflenoe. 
It  was  the  same  all  over  the  house  j  in  gallery,  bo^es,  or  pit 
you  could  not  have  found  a  place  to  insert  a  pin  without 
running  it  into  the  flesh  of  some  unfortunate  individual. 

The  criticism  we  shall  have  to  offer  on  the  performance  is 
much  less  comprehensive  than  we  could  desire,  but  the  disad- 
vantageous position  we  were  in  must  be  our  excuse.  Jenny 
Lind's  reception,  as  might  have  been  prophesied,  was  tre- 
mendous. She  looked  the  orphan  peasant-girl  to  the  life,  and 
the  neat  plainness  of  her  attire  was  in  keeping  with  the  naif 
simplicity  of  her  expression.  It  was  evident  at  a  glance  that 
the  fair  Swede  had  conceived  the  character  of  Amina  in  the 
same  light  as  poor  Malibran,  but  the  fact  of  her  never  having 
seen  that  great  dramatic  singer  absolves  her  entirely  from  the 
charge  of  plagiary.  There,  however,  was  the  innocent 
country-maiden  —  her  face  beaming  with  love  for  all  na- 
ture, and  ignorance  of  all  but  the  depth  of  her  own  heart. 
Jenny  Lind  had  but  to  come  upon  the  boards  in  Amina's 
dress,  and  you  saw  at  once  that  she  understood  the  character. 
You  saw  at  once  that  her  conception  of  it  was  poetic  and  you 
felt  assured  of  her  triumph,  even  in  the  very  footsteps  of 
Meilibran.  Such  is  the  prestige  of  genius ! — ^for  that  Jenny 
Lind  is  a  genius  no  one  can  deny  who  has  seen*,her  in  Amina. 
Her  first  recitative,  "  Care  compagne,"  was  delivered  with  an 
air  of  conscious  happiness  that  befitted  the  modest  maiden, 
whose  dearest  hopes  were  on  the  point  of  confirmation.  The 
Amina,  on  the  eve  of  marriage  with  her  fondly  beloved 
EI  vino,  was  in  every  phrase,  in  every  note.  The  feeling  was 
still  more  thoroughly  pourtrayed  *in  the  air,  "  Come  per  me 
sereno,"  which  Mademoiselle  Lind  introduced  with  a  singu- 
larly happy  cadenza  on  thejast  words  of  the  recitative,  **  e 
questo  amplesso."  The  air  itself  was  ornamented  with 
shakes  and  cadences  profusely  though  judiciously ;  but  not  a 
turn  or  a  grace  was  out  of  character  with  the  theme.  The 
last  cadence  was  quaint  and  original,  just  snch  a  one  as  we 
could  imagine  Meyerbeer  would  make  at  the  termination  of  a 
florid  £olo  on  the  flute.  The  cabaletta  *'  Sovrail  ser  la  roar 
mi  posa,"  was  beautified  in  a  similar  manner,  but  the  character 
pf  the  ornaments  was  modified  to  ^^it.  the^M^M^I^^r- 


320 


THE  MUSICAL  WORLD. 


ness  of  the  words.  The  duet  with  Elvino,  •'  Dal  di  che  i 
nostri  cori,"  with  its  elegant  caftafeWa,  "  Ah!,  vorrei  trovar 
parole,"  was  most  expressively  suDg,  albeit  it  was  transposed 
a  whole  tone  to  suit  the  tenor.  The  cadenzas  at  the  reprise 
of  the  minor  subject,  and  at  the  conclusion,  were  admirable  for 
their  elegance  and  originality.  Equally  beautiful  was  her 
cadence  at  the  end  of  the  pretty  chorus,  **  A  fosco  cielo,"  in 
which  the  Somnambulist  is  described,  and  throughout  the 
whole  of  which  the  voice  of  the  fair  Swede  sounded  as  clear 
and  distinct  above  the  rest  as  that  of  the  nightingale  above 
the  rustling  of  the  forest-leaves,  when  they  are  agitated  by 
the  evening  breezes.  We  are  indebted  to  Mademoiselle  Lind 
for  the  restoration  of  a  very  pleasing  duet  which  occurs  at 
the  end  of  tlie  first  scene.  The  theme  is  a  conversation 
between  the  two  lovers.  Elvino  is  jealous  of  the  attentions 
which  Count  Rodolpho  has  been  paying  to  Amina,  and  is 
going  to  part  with  his  mistress  without  the  tender  embrace, 
which,  on  the  eve  of  their  nuptials,  would  have  been  nothing 
more  than  natural.  Amina  chides  him — an  explanation  ensues 
— Elvino,  ashamed  of  his  jealousy,  sues  for  pardon — Amina 
grants  it — and  they  part  lovers  and  friends  as  before.  This 
duet  is  highly  important  to  the  action  of  the  drama  and 
materially  aids  in  the  devlopement  of  the  two  opposite 
characters  of  the  hero  and  heroine,  the  or,e  all  jealousy  and 
irritability,  the  other  all  confiding  simplicity  and  faith.  The 
music  is  pretty  and  without  any  pretence  to  energy  or  passion 
illustrates  the  sentiment  in  a  charmingly  natural  way.  It 
was  sung  with  great  purity  and  truthfulness  by  Mdlle.  Lind 
and  Gardoni.  Among  other  passages  worthy  noting  we 
.may  cite  the  tender  hesitating  manner  in  which  Mdlle.  Lind 
whispered  the  words  **  Saresti  tu  geloso," — the  graceful  way 
in  which  she  ornamented  the  phrase  that  occurs  upon  the 
words,  •*  Son,  mio  bene,  del  zefiro  amante," — and  the  charm 
ing  half-repressed  emotion  which  characterised  her  utterance 
of  the  concluding  words  of  the  scene,  **  Pur  nel  sonno  il  mio 
cor  ti  vedra."  Through  the  whole  of  this  first  act  (the 
opera  being  disposed  into  three,  as  has  lately  been  the 
custo.i;*)— the  applause  was  incessant  and  noisy,  and  at  the 
end  of  the  scene  wc  have  just  described  Mdlle.  Lind  was 
re-called  upon  the  stage  with  one  voice,  and  was  led  on  by 
Signor  Gardoni.  The  prophecy  of  an  immense  triumph  was 
already  spoken. 

If  the  first  act  was  the  prophecy  of  a  triumph,  the  next, 
and  all  that  followed,  was  its  fulfilment.  Our  readers  are 
aware  that  the  first  exhibition  of  Amina*8  somnambulism, 
when  she  unconsciously  enters  the  chamber  of  the  Count, 
occurs  in  this  part  of  the  opera.  The  appearance  of  Mdlle. 
Lind,  as  she  entered  at  the  window,  and  moved  noiseless  across 
the  stage,  white  as  a  ghost,  was  the  signal  for  a  general  "  hush" 
all  over  the  house.  The  audience  sat  still  with  mute  expecta- 
tion, and  a  feather  might  have  been  heard  to  drop.  There  sat 
every  living  soul,  "  quiet  as  a  stone."  Nor  was  expectation  one 
atom  disappointed.  Reader — if  you  were  not  present  to  hear, 
or  rather  to  feel,  the  half-suppressed  murmur  with  which  the 
sweet  sleep-walker  uttered  the  words,  •*  Elvino!— Elvino  !*' 
and  the  query,  **  Non  rispondi  ?"  when  she  finds  there  is  no 
answer  to  her  appeal — if  you  were  not  there  to  hear  this,  you 
lost  a  moment  of  pure  delight  that  words  refuse  to  give  a 
name  to !  And  then,  again,  how  prettily  she  whispered, 
*^  Geloso  saresti  ancor  dellostraniero?*'  and  how  deliciously 
she  played  with  the  phrase,  elaborating  it  with  an  ornament 
the  notes  of  which  came  from  her  silver  throat  like  pearls. 
And  when  her  soft  bosom  heaved  as  a  dove's,  and  she 
tenderly  ejaculated,  holding  out  her  hand,  "  Un  bacio 
imprimi  in  essa,  pegno  di  pace,"  it  was  as  the  voice  of  an 


angel  speakine  from  above  ;  and  as .  she  ceased,  her .  eyes, 
unconscious  of  their  ofiSce,  were  filled  with  a  deep  expression 
that  no  tongue  could  speak— thought's  melody  being  too 
sweet  for  utterance  !  Her  appeal  to  her  mother,  **  O  madre 
mia,  m'aita,  non  mi  sostiene  il  pie,"  and  her  vow  of  eternal 
fidelity  to  her  husband  were  equally  impressive  and  beautiful ; 
and  when  at  length  she  staggers  to  the  bed,  murmuring  the 
name  of  Elvino,  the  silver  notes  of  her  voice  seemed  melted 
gradually  into  a  sound  so  small  and  still,  that  between  it  and 
silence  there  was  room  for  nothing — 

"A  music  «o  delicate,  soft,  and  intense. 
It  felt  like  an  odour  within  the  sense  1" 

But  the  great  point  of  this  act  was  yet  to  come.  From  the 
moment  of  awaking,  and  finding  herself  in  a  strange  bed-room, 
till  the  instant  when  she  clings  to  her  lover  with  the  desperation 
of  one  who  grasps  all  she  holds  dear  upon  earth,  and  is  on  the 
point  of  losing  it  for  ever,  her  acting  and  singing  were  trans- 
cendant.  The  abandon  with  which  she  falls  senseless  upon 
the  ground,  when  her  efibrts  to  retain  her  lover  have  proved 
fruitless,  and  he  tears  himself  away,  made  one  of  the  most 
natural  and  beautiful  pictures  that  could  possibly  be  conceived. 
The  whole  scene  was  admirable,  and  we  were  never  more 
sensibly  impressed  by  any  dramatic  effort  in  our  remembrance. 
At  the  fall  of  the  curtain  Mdlle.  Lind  was  again  recalled, 
amidst  the  most  clamorous  and  incessant  applause. 

The  third  act  involved  a  display  of  wonderful  vocalisation 
for  which  the  first  two  gave  comparatively  rare  occasions. 
There  were  so  many  points  to  eulogise,  that  we  scarcely  know 
where  to  begin.  In  one  of  the  recitatives,  while  in  a  state  of 
somnambulism,  where  the  words  *'  Quanto  infelice  io  souo 
felice  ei  sia"  occur,  she  dwelt  upon  C  in  alt  with  exquisite 
purity  and  precision,  for  a  considerable  length  of  time,  swell- 
ing and  diminishing  the  intensity  of  sound  with  the  utmost 
ease.  On  the  words,  ''Ti  bacio  ancor,"  (addressed  toElvino's 
flowers,  which  she  takes  from  her  bosom)  she  introduced 
another  quaint  and  beautiful  cadenza ;  but  the  most  exquisite 
point  in  her  whole  performance  was  the  caniahiler  in  the 
minor,  "Ah  non  credea  mirarti,"  her  expression  of  which 
was  absolutely  divine,  while  her  vocalisation  was  irreproach- 
ably pure.  The  whole  thing  can  be  likened  to  nothing 
more  appropriately  than  a  long-drawn  sigh. 

The  delicate  poesy  of  the  ornaments  with  which  she,  so  to 
speak,  gilded  Uie  melody — the  long-sustained  shake  that 
scarcely  exceeded  the  loudness  of  a  breath,  and  was  yet  sp 
equal  and  so  clear — and  the  chaste  and  exquisitely  chiselled 
cadences,  as  smooth  and  as  polished  as  the  sinuous  outlines 
of  the  Greek  ideal  beauty  (if  such  matters  may  be  forced  into 
comparison)  were  alike  things  to  charm  and  to  surprise.  The 
management  of  the  .breath  in  this  cantabile  was  miraculous—- 
something  that  no  conceivable  method  could  impart — some- 
thing that  must  perforce  derive  from  rare  physical  organization. 
The  final  rondo,  "  Ah  Giunge,"  was  a  prodigy  of  florid  exe- 
cution, in  which  extraordinary  flights  of  fancy  were  regulated 
by  the  nicest  taste,  and  fashioned  into  symmetry  by  the  ripest 
and  severest  judgment.  The  originality  of  some  of  the 
cadences  amounted  to  the  singular,  and  involved  some  daring 
invasions  of  harmonic  boundaries,  in  the  shape  of  passing 
notes  and  apogiaturas — but  the  whole  thing  was  so  marvel- 
lously exciting,  that  the  attention  hung  upon  her  every  accent* 
as  a  culprit  upon  the  words  of  a  judge  who  is  about  to 
'administer  sentence  of  acquittal  or  condemnation  ;  the  imagi- 
nation sailed  upon  the  waves  of  her  sweet  singing,  and  was 
hurried  on  to  where  she  listed,  until  it  was  fairly  lost  in  the 
ocean  of  infinite  melody.  The  audience  were  spell-bound  while 
the  rondo  lasted  ,but  the  terminating  cadence— one  of  unpro|^ 


THE  MUSICAL  WORLD. 


321 


cedented  energy  and  boldness,  attacking  the  highest  notes 
in  the  register  with  a  daring  impetoosity  that  was  nothing 
short  of  astounding — fairly  lifted  them  from  their  seats,  and 
the  house  rose  to  a  man  to  cheer  her.  The  applause  was 
deafening,  and  the  waving  of  hats  and  handkerchiefs  resembled 
a  storm- tormented  sea.  Of  course  Mdlle.  Lind  was  compelled 
to  repeat  the  air,  and  in  repeating  it,  she  embellished  it 
with  newer  wonders.  After  the  fall  of  the  curtain  she  was 
recalled  three  tim^s,  and  was  handed  on,  each  time,  by 
Gardoni — but  the  uproar  still  continuing  unabated,  the 
happy  songstress,  her  heart,  no  doubt,  bursting  with  the 
fulness  of  its  gratitude,  ran  on  the  stage  by  herself,  with 
the  innocence  and  playfulness  of  a  little  kitten,  kissed  both 
her  hands  to  the  crowd,  threw  a  glance  at  them  that  said 
with  eloquent  intelligibility,  *'  I  love  you  all,  and  should  like 
to  be  always  with  you,"  (*  but— oh  !  poesy-killing  but ! — 
1  am  hungry  and  must  go  home  to  supper')  and  then  ran  off 
again  with  the  ingenuous  simplicity  of  a  child.  The  flattered 
audience,  each  member  of  which  considered  himself  the 
favored  one,  transported  to  the  seventh  heaven,  roared  and 
shouted  its  delight.  Never  did  such  a  scene  occur  before  in 
grey-eyed  England ! 

We  shall  have  again  to  recur  to  the  Sonnambula,  for  we 
have  got  a  world  of  things  to  say  of  Jenny  Lind's  acting^ 
which,  as  yet,  we  have  but  hinted  at.  Till  next  week,  then, 
one  word  must  suffice  for  the  admirable  manner  in  which 
Gardoni  did  his  devoir  in  Elvino,  winning  a  loud  encore  in  the 
"  Ah  perche  posso,"  by  the  side  of  the  Lind  herself;  for  the 
sensible  and  intelligent  Rodolpho  of  F.  Lablache ;  and  for  the 
irreproachable  accuracy  and  spirited  energy  of  the  band  and 
chorus,  under  their  excellent  conductor,  Balfe.  To  Piatti, 
whose  beautiful  tone  and  fine  playing  on  the  violoncello  were 
heard  to  advantage  in  several  points  of  importance,  we  con- 
secrate a  sentence  by  itself. 

The  opera  was  followed  by  ^divertissement  in  which  Cerito, 
Rosati,  Marie  Taglioni,  (her  last  appearance  but  one! !  I)  St. 
L€on,  and  others,  assisted,  and  by  a  tableau  from  the  baliet 
of  Coralia.     To-night  the  Sonnambula  will  be. repeated. 


CONCERTS. 

M.  Alsxandir  Bouchib.— Tliis  gentleman  who  at  one  time 
enjoyed  great  repute  as  a  violinist,  gave  a  concert  on  Friday,  the 
7lb  instant,  in  Willis's  large  room.  He  gave  a  specimen  of  his 
style  in  four  pieces,  in  all  of  which  he  was  assisted  by  a  quartet 
band  under  the  able  direction  of  M.  Nadaud.  These  pieces  were 
a  Maestoso  from  one  of  Viotti's  concertos,  varied  by  sundry  improvi- 
sations bv  the  performer  ;  a  theme  of  Mozart,  with  variations  by 
Rode,  eke  enriched  with  improvisations ;  two  fragments  from  a 
qimrtet  of  M.  Boucher's,  intituled  Beve  cTEndymion,  and  The 
Waters  of  ToeplUz,  in  one  of  which  the  voice  of  birds  was 
imitated,  in  the  other  the  voice  of  waters — as  Wordsworth  has  it — 

**  A  nigtatinnle  and  two  to  three  thmahes, 
With  a  noite  of  wind  that  nubet. 
And  a  noiae  of  water  that  godiea  "— 

and  lastly  the  fragment  of  a  quintet,  equally  the  offspring  of  M. 
Boocher's  invention,  the  theme  of  which  was  tibolero  in  the  Spanish 
style.  ^  All  these  pieces  were  executed  with  an  animation  that  was 
prodigious,  a  style  that  was  original,  and  an  execution  that  was 
capricious — and  all  were  received  with  uproarious  applause  from 
the  whole  room.  The  next  feature  was  of  a  more  mooern  and  less 
eeeentric  kind.  This  was  a  duet  of  Thalboig,  on  airs  in  Norma, 
^rfomied  upon  two  pianofortes  by  Mdlle.  Conlon  and  M.  Benedict. 
Wo  have  before  had  occasion  to  speak  warmly  of  the  talents  of 
Mdlle  Conlon.  Though  a  very  young  pianist,  there  is  already  a 
charm  and  an  cnei^  m  her  style,  a  neatness  and  brilliancy  in  her 
execution,  that  give  promise  of  the  highest  excellence.  These 
qnatitiea  were  abundantly  dbplayed  by  the  intelligent  young  artist 


in  the  execution  of  her  share  of  Thalberg's  duct,  the  difficult 
passages  in  which  she  delivered  with  a  precision  and  force  that 
surprised  and  delighted  every  body.  We  must  spe«'k  with  equal 
praise  of  the  graceful  and  easy  manner  in  which  she  delivered  the 
more  expressive  phrases,  and  indeed  the  rare  intelligence  that 
marked  her  entire  performance.  Mdlle.  Coulon  was  applauded 
continually  with  the  most  unrestrained  enthusiasm,  a  distinction 
she  well  merited,  and  it  was  doubtless  gratifying  to  her  young 
ambition  to  share  it  with  her  accomplished  companion,  M.  Benedict, 
who  played  in  his  usual  masterly  and  effective  style.  Later  in  the 
concert  Mdlle  Coulon  joined  her  experienced  and  clever  friend  M. 
Sainton,  in  a  duet,  by  Osborne  and  De  Beriot,  on  subjects  from 
Guiilaume  Tell.  The  performance  was  altogether  excellent,  and 
the  dashing  brilliancy  of  the  young  lady's  execution,  kept  her 
experienced  and  admirable  coadjutor  on  bis  mettle  throughout. 
The  duet  iras  applauded  liberally.  Another  point  to  note  in  this 
concert  was  the  flute  performance  of  M.Cesare  Ciadi,  of  which  wo 
shill  have  more  to  say.  Not  being  down  in  the  programme,  this 
wonderful  exhibition  of  mechanical  perfection  agreeably  surprised 
and  no  less  delighted  the  audience.  M.  Rousselbt*s  sensible 
and  musician-like  style,  in  a  solo  on  the  violoncello,  must  not  bo 
left  unrecorded.  The  vocalities  were  on  the  whole  excellent.  First 
of  all  let  us  mention  two  German  songs,  *'  D»e  Thranc,"  and  *'  Die 
Grenadiere,**  essayed  by  Herr  Brandt,  and  both  the  compositions 
of  Herr  Luders,  a  young  musician  of  refined  and  admirable  talent, 
who  has  for  some  time  resided  in  London,  and  comes  before  tho 
public  much  more  rarely  than  his  merits  deserve.  Both  these  songs 
are  charmingly  written  and  lull  of  character.  The  first  ••  Dio 
Thranc,^  in  B  flat  minor,  is  very  melodious  and  expressive,  the 
second,  "  Dio  Grenadiere,**  in  Eflat,  bold  and  martial  in  style.  The 
accompaniments  to  both  are  musician-like,  polished,  and  fall  of 
character.  We  should  like  to  hear  these  songs  a^ain,  especially  as 
they  were  not  done  full  justice  to  by  Herr  Brandt,  who  was  not  in 
his  best  voice  on  this  occasion.  With  a  word  for  Signor  M arras' 
graceful  reading  of  the  '*  Adel?.ida, "  Miss  Duval's  spirited  delivery 
of  Rossi's  fine  old  air  ••  Ah  rendlmi  quel  cor,"  and  the  beautiful 
contralto  voice  and  artist-like  talent  exhibited  by  Mrs.  A.  Toulmin  iu 
an  arietta  by  Brambilla,  and  a  romance  bv  Clapisson,  our  notice 
must  conclude.  Madame  Pasta  Anglols,  and  Mad.  Costa  Tamplini 
were  among  the  vocalists.  The  conductors  were  M.  Benedict  and 
M.  Luders,  both  of  whom  accomplished  their  duties  to  perfections. 
The  concert  was  unusually  amusing,  and  a  great  number  of  ccle* 
brities  formed  part  of  the  very  crowded  audience. 

HoNOABiAN  Instrumental  Vocalists.  On  Saturday  last  we 
attended  the  first  concert  given  at  the  Theatre  Royal  Uaymarket, 
by  Messrs.  Weiss,  Zorer,  Schwarz,  and  Grunswag,  importations 
from  the  Hungarian  dominions,  who  have  undoubtedly  discovered 
a  very  novel  mode  of  illustrating  the  power  of  the  human  voice. 
Two  of  these  gentlemen  sing  duets,  and  the  other  two  play  an 
accompaniment  with  their  mouths,  imitating  everv  instrument  in 
the  orchestra.  The  effect  is  more  new  than  delightful ;  nevertheless, 
the  execution  and  imitation  is  so  far  beyond  what  the  mind  can 
give  credit  to,  that  it  excites  no  small  degree  of  pleasurable 
emotions.  The  Hungarian  vocalists  are  certainly  too  greatest 
curiosity  in  London  at  this  moment.  They  will  appear  every 
evening  next  week  during  the  dramatic  performances. 


MISCELLANEOUS. 

M.  RoDOLPH  WiLMBRS. — VVe  havc  a  memoir  of  this  pianist, 
who  is  now  the  great  executive  wonder  of  the  day,  which  is 
translated  from  one  of  the  feuiUetons  of  the  Constitutionncl, 
written  by  M.  Piorentino.  W^e  shall  print  it  in  our  next 
number.  Meanwhile  we  may  inform  our  readers,  that  M. 
Wilmers  gives  a  matinee  d^invitation  on  Monday,  at  two 
o'clock,  to  the  principal  members  of  the  profession  and  the 
press.  We  yesterday  had  the  pleasure  of  hearing  M.  Wil- 
mers play  several  pieces  at  the  establishment  of  Messrs. 
Broad  wood,  on  a  splendid  new  piano-forte  from  the  manufac- 
tory of  those  eminent  makers,  and  can  testify  to  the  almost 
unprecedented  wonders  of  his  execution. 

Digitized  by  \^OOy  It: 


35J2 


THE   MUSICAL  WORLD. 


M.  MoscHELES,  the  celebrated  composer  and  pianisti  has 
arrived  in  London  for  a  short  period. 

Madame  Hennellb — This  popular  and  intelligent  vocalist, 
has  arrived  in  London  for  the  season.  W6  trust  to  have  the 
pleasure  of  hearing  her  very  soon  at  some  of  our  concerts. 

Gerhard  Tatlor»  a  harpist  of  considerable  note,  has  ar- 
rived, and  will  shortly  give  his  first  public  performance. 

Sig.  CiABATTA,  the  excellent  barytone  and  popular  concert 
singer,  has  also  arrived. 

Mr.  Perrt,  the  Leader  of  the  Sacred  Harmonic  Society, 
has  just  completed  the  composition  of  a  new  Oratorio  entitled 
•*  Hezekiah*'  which  will  be  given  at  the  Hanover-rooms,  on 
the  28th  of  June. 

ADVERTISEMENTS. 


Warren's    20   Guinea   Cottage   Piano-Fortes 


GRATIS!    GRATIS!    GRATIS! 


ARE  NOW  SELUNG  AT  THE 

Mannfiactoryy  71^  I«eadenhall  Street 

{Removedfrom  1  and  2,  Liverpool  Street,  Bishopegate  Street,) 
Thete  Initnunents  are  well  manufactured  of  the  beat  seasoned  wood,  FINS 
FULL  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  firi van  with  each  instra. 
ment.  ESTABLISHED  TWENTY-ONB  YEARS.  The  onlj  house  in  London 
whare  a  rood  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only).  ^ALL  PROFIT  AND  QUICK  RETURNS  1 
JOHN  IxrARREN,  71,  LeadenhaU  St.,  opposite  Ald^ato  Pomp* 

M.   JULES   SCHULHOFF, 

(from  PRAGUE,) 
Has  the  honour  to  announce  that  his 

OOSOBBV 

will  take  place  at  the  HANOVER  SQUARE  ROOMS, 
On  FRIDAY  EVENING^  SSth  MAY, 

*m*  Further  particulars  will  be  duly  announced.  Tickets  may  be  procured  at 
WESSEL  Si  CO.'S,  929,  REGENT  STKEET,  corner  of  Hanover  Street. 

BR.    STOLBERG'S   VOICE   LOZENGE 

Is  acknowledged  as  the  best  specific  after  three  years'  trial,  for  improving 
the  voice  and  removing  all  affSections  of  the  throat,  strongly  recommended  to 
clergymen,  sii\ger8,  actors,  public  speakers,  and  all  persons  suliject  to  relaied 
throats. 

The  Proprietors  have  just  recdved  the  following  Testimonial,  amongst 
many  others,  from  Madame  Anna  Bishop: — 

"  Dbab  Sir,— I  am  happy  to  say  that  all  I  have  heard  respecting  the 
efficacy  of  Dr.  STOLB£RO^B  celebrated  Lozenge  is  perfectly  true,  as  yester- 
day, feeling  myself  very  fatigued  (singing  nightly  at  the  Theatre),  I  took 
several  of  the  Lozenges,  and  my  voice  was  very  clear,  and  niy  }hroat  quite 
free  from  relaxation.    I  am.  Dear  Sir,  Yours  truly,  ANNA  BISHOP." 

Barclay  and  Sons,  Farringdon-street ;  Sutton  and  Co.,  Bow  Churchyard ; 
W.  Edwards  and  Newbery  and  Sons,  St.  Paul's  Chuichyard ;  Sanger,  and 
Dietrichsen  and  Hannay,  Oxford -street ;  and  retail  by  all  respectable 
Chymists  in  the  Kingdonu 


OAK  BARK  TANNED  LEATHER  HARNESS. 

jps. ;  Chariot  Harness,  lined,  18  gs. 
K,  not  one  hide  in  SO  IS  now  tanned 


Brougham  Harness,  lined,  7  gs.,  unlined  5  gs. ;  Chariot  Harness,  lined,  18  gs. 
lince  the  introduction  of  chemiaus  in  tanning,  not  one  hide  in  SO  is  now  tanned 
with  baric ;  the  chymical  process,  by  sulphuric  and  other  acidsi,  impoverishes  the 


hide,  oak  bark  alone  converts  it  into  solid  leather. 

D.  HOBIABTT,  34,  Berwick  Street,  Soho, 

invites  gentlemen  to  inspect  the  process  of  currying  on  his  own  premiset' 
whereby  akme  ttey  can  dq>end  on  bark  tanned.   Old  hamesi  taken  in  exchange 


Every  Person  who  shall  subscribe  for 

THE    DISPATCH 

During  the  Month  of  June  next, 

WILL  BE  PRESENTED  WITH  A  FINELY  EKGRAYED 

PORTRAIT  OF   ELIZA  GOOK. 

The  likeness  of  this  Poetic  Genius  is  most  striking,  and  the  Engraving 
is  by  Adlard,  in  the  first  style  of  the  art 

An  Edition  of  the  Dispatch  is  published  at  Five  o'clock  ever^  Saturday 
ttiorning,  for  transmission  by  the  First  Trains  and  Morning  Mails,  so  that 
persons  residing  in  towns  250  miles  from  London  may  recdve_  it  the  same 
evening. 

This  Edition  contains  the  London  Markets  of  the  week,  including  those 
held  on  Friday;  also  the  spirited  Letters  of  Publicola,  Caustic,  and 
Censor! us ;  and  frequently  original  Poems  by  Eliza  Cook. 

Persons  desirous  of  being  supplied  with  the  Weekly  Dispatch,  may 

|ive  their  orders  and  pay  their  subscriptions  to  any  News  Agent ;  or  to 

Mr.  Richard  Wood,    at  the  Dispatch  Office,  139,  Fleet-street, 

London,  who,  by  a  remittance  of  2s.,  or  Postage  Stamps  to  that  amount, 

will  supply  the  uispatch  throughout  June  next. 

The  Terms  for  the  Dispatch  aro,  per  Quarter       •    •    78.    Od. 

Per  Year,  in  Advance      .  .  •  •    £1     68.    Od. 

Ditto  on  Credit,  payable  by  reference  in  London    £1  lOs.    Od. 


'QSbt  i!k\xmC%  (Botaztt  Moota%y  f^anober  Jb^uare. 
Mr.  FREDERICK  CHAITERTON, 

Harpist  to  Her  Bii^esty,  the  Queen  of  the  Flrench,  and  H.  R.  H.  the  Duchess  of 

Gloucester,  has  the  honor  to  announce  that  his 

BBOBBXae   GO»e&BV 

will  take  place  on  TUESDAY,  May  the  35th. 
Vocal— Madlle  Jenny  Lutser,  Mesdames  Rainforth,  A.  Williams,  M.  Williamsy 
Sabella  Novello,  W.  H.  Segnin,  Basssno,  and  F.  Lablacbe.    Signors   Marras» 
BrizKi,  and  F.  Lablache.     Messrs.  Henry  Phillips,  F.  N.  Crouch,  Calkin,  Seguin, 

S.  J.  Sporle,   and  John  Parry.    Instrumental— Mits  Kate  Loder,  Miss  Day, 
r.  Carte,  and  Mr.  Frederick  Chatterton,  who  will  introduce  three  of  his  Pupils. 
Conductor— Mr.  Kialmark.    Tickets,  7s. ;  Reserved  Seats,  10s.  6d. 


THE  PATENT  HARMONIUM. 


This  beautiful  Instrument  possesses  the  softness  of  the  voice  with  the  variety  of 
tone  of  every  wind  Instrument,  as  also  the  power  of  a  large  Organ.  It  is  equaUy 
suitable  for  Sacred  Music,  or  the  Dance,  and  adapted  Ibr  the  Drawing  Room. 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lofk  ana 
Son,  sole  agento,  where  the  PATENT  HARMONIUM  can  be  heard  from  10  UU  4, 
daily;  and  where  can  be  inspected 

lUFF  Jt  SON'S 
Elegant  Assortment  of  PIANOFORTES, 

Made  by  experienced  workmoi.  and  thoroughly  seasoned  wood,  all  of  which  ia 
prepared  on  the  premises.    They  are  warranted  to  stand  well  m  Tune,  and  are 
prepared  for  extreme  climates :  prices  one-third  less  than  usually  charged. 
Instruments  taken  in  exchange,  and  a  lit>eral  allowance  to  dealers. 

LUFF  mad  SON^  lOd,  6r«at  HiuiBeU  Street,  Bloomatrair* 

N.B.— The  terms  of  Mr.  JULIAN  ADAMS,  the  eelebrated 
performer  upon  the  Patent  Harmoninmy  for  siTlnv  Instraction 
M&d  Performlns  »tConcertii,  can  be  had  of  Oeo.  LUFF  *  SON.^^ 


THE  MUSICAL  AVORLD. 


323 


HER    MAJESTY'S    THEATRE. 


n*  Nobmtf,  MMeMtaN  to  tb* 
OMttkaewigbeA  OKAND 


^.-^  ud  tlN  Public,  tie  rapeetflinriBlbtimd, 

^ _^ Jn^L  piyt^W'y 

On  TSnitSBAY  NEXT,  tlay  20,  184t, 

on  ifUdi  ocoMkm 

MADEMOlStSLLE   JENNY  LIND 

vrin  appeAT 
IM    OUB    OF    Bfim    FAVOURtTB    CHAitACTBRS. 

TV>tefoIlo«redli7?ftrtoiisSiittftilnmenUiatheBAX>IiBT  DBPAftTMBNT; 

oombiniiif  the  talenU  of  lldlle.  Cbbito,  H<fl]e  Carolina  Sosati,  HdUe.  Pbtit 

SrtPHAsr.   MdHet.  Camak,  Honobb,  J^^mMj   Jclibn,  LAMOtrBBtrx,  ,and 

^'^'t  IjeeiLft  Qbahw.    M.  Pbrbot,  t&d  M.  9r.  Lbow. 

keU.  to  be  made  at  tbeBox-Offlce  at 
the  Opera  to  commence  at  Half-paat 


AfftltCBtlont  for  Boxti,  Pit  StaUa  and  TfekeU,  to  be  made  at  theBox-Offlce  at 
the  lMitrt.^Doori  open  at  Seten  o'clock )  the  Ope 


TO  THE  MUSICAIi  FBOFESSIOK. 

▲  TOUW  kiiff  hBflWi^Ma^ivlilmtoioiii  aMoalcal  1 
'  nil  aerricei  may  ieonre  him  m  p 


the  above  som  and 

haa  •  thoroogh  practical  knowl 
Iwwaet  in  ciTing:  inatrnctiona  on 
dgeoribe 


akiMsVlidgeor^ 

Apracatipntobe 
tinT^Lane^  London. 


a  mar  ieonre  him  m  poitioo  of  the  bnalBeaa.  He 
rledce  of  the  Fianolbrte^  and  haa  been  «igaiced  in 
»n  thk  iiHtnimMit,  qMBaka  yrenck  Aaently,  and  haii 

Jannuure* 

'  to  Mr.  Barnaul,  HaiicilWoiU  OOee^  60,  SL  Mtt. 


Mr.  JOmr  FABBTB  iJ^rtAL  CONCERT 

wiU  take  place 
On  FBIHAT  ^BMIKO,  May  Bl, 

At  the  HANOVBR  SQUARE  ROOICS. 
lAMYwiUjlMrtifO 


«&JM.BP?«.". 


Mr. 

Smith,     ^  ^      ^ 
Artlstea,  bolA  TOcil 
Bcfltdlct  and  N«prl. 
Scnta,  10a.  M  eac' 
BtrMtiBediDrdfi 


>  sew  acenea.  bo«h  vrittcn  by  Mr.  Albert 
and  "THSEIVAJL  HOUSES.'*    Eminent 


iUd  mtramental,  are   engaged.    Gondncton— Meatn. 

Xo  ooniafi&oe  at  eitht  o'ctock.   Tickets,  Ti.;  Reaerred 

Scaita,  10a.  M  each,  and  proapectnaes  to  be  nad  of  Mr.  John  PttTT,  17*  TaYiatodc 
"       '  -^  ''irdfliinMWyandtheMnaieaeUeraandLlbfariea. 

WILSOFS     SCOTnSH     ENTERTAINMENTS, 

AT  THE  MUSIC  HALL,  STORK  STREET. 
Oil   kONDAT   BVBNXNQ,    MAT    17,   aft   B   Q»Ctotk, 

MR.   WH-SON 

irin  tta^Tht  tpilingSiftii^  oomta  in  rejoicing— Saw  ye  tty  wee  thing?— Walji 

B»T  bloottc.  onr  bonnleit  laaa-Tibbie.  I  hae  seen  the  day— 

ry— Danoft  lignt,  ftr  my  heart  it  Ilea  nndor  y^  feet,  loye--John 

HaiLto  the  Chief— M'Leod  of  Danvegan  — Jenny'a  bawbee— Jack 


till»-.l 
Waif— Tom 
Deapajring 
Oramlie.- 


i  Laird  o'Cockpen. 


M.   ROPHINO  LAOY'S 
HANDELIAM   operatic  CONCERTS^ 

At  the  HANOVER  SQUARE  ROOMS^ 
On  the  BTeninca  of  May  17,  B6,  31,  and  Jane  8, 
Will  coaHlt  ^mStdy  of  Vocnt  and  Inatmmental  Piecea  (gems),  selected  fWmi 
tifttf  Italian  Operas,  which  have  slept  in  obllTion  100  years,  and  are 

_. n  to  the  present  generation. 

■s  Ddcy.  Miss  Bff.  B.  Hawea,  Mr.  Maavert,  and  Mr.  H.  FhiOips. 
Lectorer  and  Music  Director —M.  Rophino  Laey.  Leaders— Mr.  T.  Cooke  and 
Mr.Dando.  Piaaoforte-Mr.  J.  L.  Hatton.  YiolOBceUo— Mr.  Lindley.  Contra 
Baaao— Mr.  Howell. 

Por  proapectnaes.  fce.  apply  to  Mr.  Green,  toynl  aanphine  nmker,  S8,  Soho- 
aqoare  s  and  the  prudpid  Mnsicsellers. 


FAIR      COMPL.£XION. 
IMer  the  Pairma^  qf  the  NdMHty  and  Gentry. 


ORIENTAL    BOTANICAL    PREPARATION, 

Por  iCBWilafc  aimOit  instantaneonslyentaneoaB  eruptions,  freddea,pimplea,  spots, 
and  admr  dlsoOlomtiOns  of  the  skin.  After  one  application  of  the  Botanic  Extract, 


a  wonderfVd  change  will  be  perceived,  and  in  the 
■'"  Will  aanune  a  beantiftil  transparent  roeeate 


which  most  be  used  twice  a  da^ 

eooneafalBwda^thecomplL , 

hae  appearance,  ne^eztiact  to  apply  is  of  the  aioat  agreeable  nature^  and  the 
fiiat  application  will  prove  its  wonderftd  efficacy.  Prepared  only,  and  sold  whole- 
Mda  and  Tttal^  by  me  sole  proprietor, 

QBOBdB  B.  J.  boCXBVBM,  B,  Ald^ata,  Xrfttdonj 

^Londoas  inbottleaaft9a.9d.aad4s.6d. 
cacki  aiao^liy  Saagi^;  IM^  Oatfurd-sMti  Reatti^  SL  PaaPs  Chvrch  Jard; 


I  Barclay  aaddaa8,E«nriBgdoa-flti«aWLondoa(  inbottleaaft9i 

^^*2%^^9g£*  l*^^*wil-it»et»  ^''^S&^L?*^'*  d  Co     ' 

€3il^&  iE£?Sd^lt.%SI<7<^^  Proat,  999,  SbRudt  aadcf  aUotSMr 

Chamiati  and  PerfomoiB  in  the  kingdom* 


ROYAL. 


ITALIAN 


OPERA, 


COVENT  ^^SV^^:^         GARDEN. 

On  THUitSBAY  KEXT,  May  20, 

A  GRAND  EXTRA  NIGHT. 
Hie  operatic  Department  will  embrace  all  the  talent  of  the  Theatre, 
including 
Orisl  — Peralaal— Alboni>-:Mario— SalTl  — Borere— Bonconl 
Maiini— Tagllaflco,  and  Tamlrartail, 
The  Opera  of 

LUCREZIA    BORGIA, 

and  an  act  of  another  celebrated  Opera  will  be  fferformed. 
PaI^ktElsslbb  wUl  appear  In  anew  BALXiLET  which  wiU  be  supported  by 
BuMiLATBB,  Badebna,  Db  Mblissb,  M.  PSflPA,  M.  Cbocb,  Mabille,  &c. 
The  doors  will  be  opened  at  half-past  Seyen,  and  the  performance  to  com- 
ihence  at  Eight  o'clock.— Tickets,  Stalla,  and  Boxea  to  be  obtained  at  Cramer, 
Beale  and  Wa,  901,  Recent  Street;  and  at  the  Box  Office,  Bow  Street. 


JULES    SCHULHOFF'S 

PIANOFORTE  WORKS, 

PUBLISHED  BT 

WESSEL   ft  CO« 

229,  REGENT  STREET,  Corner  op  Hanover  Street 

Ho.  

.  "  Pragna,*'  Allegro  br.  dedicated  to  Chopin,  in  C 


I 


*  Xia  Zaphir,"  Romance 


..  Op.l. 
in  Ab.  Op.  9. 
I.  "  La  Hajade,*'  Mdodie     . .  in  B  mijor.  Op.  9. 

(Announced  to  be  played  at  Mr.  Wallace's  Concert.) 

4.  "  Bla«U,"  Maroia  funfebre in  G  minor.  Op.  9. 

I.  "  Andanta  et  Etada  da  Ooncart,"  in  Aflat.  Op.  8. 

i.  "Toplits-Polka'>  in  A  flat  Op.  4. 

t. '<  OarlabaA-Polfca,"      in  P  aharp  minor.  Op.  4. 

$.  «  Laa  Mandallo,"  Masurkas lit  set.  Op.  5. 

I.  idem.  Idem        2nd  set.  Op.  5. 

1«.  «<  Vlatorta,"  Valse briilanta      inAflat,  Op.  «. 

Idem    '  aa  Piano-Duet      Op.  6. 

li.     Prtmler  Scherxo. in>  minor.  Op.  7. 

li     Second     ditto         inDJ^.  Op.7. 

ll  "ConBdence,"* 1st  Impromptu  in  O  flat.  Op.  8. 


14.  *'  Ohanaon  a  boiray' 


9nd 


ditto     in  B  flat.  Op.  8. 
11  *' Barearolle,"  ..  Srd     .ditto  in  A,  Op.  8. 

le.  "  Polonla,**  Maxorka.      No.  S,  in  A  flat.  Op.  9. 

IT.  *'  Polonta,*'  Maxurka,  No.  4,  in  A  minor.  Op.  9. 

1$.  OMsrlea  avr  daa  Aira    Naftlonaax  «•  jm  E.  flat.  Op.  lo. 

(Performed  by  the  Composer  at  ^or  Puxxi's  Concert.) 
19.  Noctnma  oik  Bomanee,       in  Aflat,  Op.  11. 

90.  *<  La  Tonmol,"  Grande  Etude  . .  in  C  minor,  Op.  19. 

91.  Doosa  Btndaa,  Book  1  •)     .....  .^     f  ^P'  ^*- 

99.  Ditto         ditto,     Book9J^^^^.  j  ..        0P.». 

91.  Ditto         ditto,      Books)  C  "P- "• 

94.  4me.  Impromptu,  *'  La  BareauBa,"  in  A  flat,  Op.  14. 

95.  4me.  Impromptu,  *'  La  BablUarda,  in  C.        Op- 14. 

^  "Acitafto  "        •  in  A  aiinor,  Op.  15. 

97.  "  Orartura  dn  Jaima  Hnrl,"  de  MektO,  \  j^  p 

(morseaux  de  Omcert)  ^         '        ' 

The  Gdebrity  which  theCompositioBs  of  M.  8CHULHOPP  eidoy  in  Prtnce  and 
Gennany ,  both  as  regards  originality  and  degance,  entities  them  to  the  particular 
notice  of  all  Pianists. 

WESSEL  &  CO.,    229.    REGENT    STREET, 
(Oirncr  of  Hanover  Street). 

MUSICAL  LIBKAKT 

Of  the  laie  LADY  MARK   M.   8YKBS; 

MUSICAL  INSTRUMENTS,  &c. 

Maaara  POTTIOK  Si  8X1SPSOM,  (Snccaaaora  to  Mr.  FlatChef ,) 

Hassrs.  «^«**X5j;g'^,neen  oi  Music  a^d  Literary  Property, 

Win  Sdl  by  Auction, 

At  tbalr  aREAT  BOOM,  IBl,  PIOOADXLLY, 

On  Saturday,  May  99nd,  at  One  o'clock  precisely  j 

Thevaluable  CoUection  of  MUSIC,  consisting  of  Standard  Works,  Voad  and 

ftaS^rtttb^N^tfii^  BrliMnii;«doUkM,Vloltoi  bTC*l«tt<IJtoto. 


3*t 


THE  MUSICAL  WORLD. 


THOMAS    BAKER'S 

MODEBN   PIANOFORTE   TUTOR. 

Has  the  honor  to  announce,  that  he  haa  lust  published  the  above  work,  which 
he  flatters  himself  will  be  found  the  desideratum  so  long -sought  after  by  the 
profession.  Notwitlistandlns  the  improveroents  that  nave  taken  place  in 
rianoforte  Playinff,  within  tne  last  ten  years,  no  deviation  has  been  made  in 
the  system  of  teaouing  from  Tutors ot  the  Old  School;  in  consequence,  many 
gifted  with  brilliant  talents  have  been  unable  to  execute  the  music  of  the 
present  day.    For  this  reason,  the 

MODERN    PIANOFORTE  TUTOR 

Has  been  introduced,  and  mpt  with  the  greatest  success  from  the  elite  .of  the 
profession,  who  have  universally  adopted  it  The  work  is  divided  into  two 
parts :  the  first  being  a  complete  Tutor  in  itself,  containing  the 

RUDIMENTS  OF  MUSIC, 
3SiVi\t%  for  t|)e  J^otmatton  of  i^t  l^anb,  Jbcate, 

FIMGSR    SXSRCISS8,    fte. 

Interspersed  with  Moroeauz  fti>m  the  works  of 

BeethOTen,  Womarti  Spolar,  "Weber,  Meyerbeer,  RoCh- Albert, 

ROBsliii,  Bellini,  Donisetti,  *c — ^Priee  8e. 

The  second  part  consists  of  a  more  advariced  course  of  Stiidy,  proceeding  to 
the  most  refined  style  of  Modem  Playing  ; 

Illustrated  with  numeroas  Examples  8b  Exerciseiy 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Piatiistes  of  the 
MopBRN  School  :  with  Selections  from  the  Banoforte  Compositions  of 
Herz,  DOHI.ER,  TuALBERO,  &C. ;  ih  fact,  everything  necessary  to  constitute 
a  first-rate  Tianist    Price  8s.,  or  158.  the  entire  work. 

Pablished  by  BflL  JWLLtEN  &  Co., 

AT  THE  ROYAL  MUSICAL  CONSERVATORY, 
214.  REGENT  STREET,  and  45,  KING  STREET, 

Where  all  tbt  Compositions  of  the  above  Author  may  be  had. 


JULLIEN'S  ALBUM  for  1847. 

II.  JutLiEN  has  the  honor  to  annooncie  thsit  the  Mxth  edition  of  his 

MUSICAL     AHHUAL    FOR    1847 

Is  now  Published,  and  wiH  be  found  by  far  thei  best,  work  of  the  kiod  that 

has  ever  appeared ;  conuining  no  less  than 
Thlrisr  Pieeas  of  Vocal  and  Fourtooa  of  IssstnuooBtel  Muale, 

The  greater  part  of  which  have  never  before  been  published,  the  copyrights 
having  been  purchased  expressly  for  this  work,  at  an  immense  cost,  with  tha 
view  of  rendering  it  immeasureably  superior  to  any  of  its  predecessors. 

The  portion  which  has  already  appeared  o«npnse  those  pieces  only  whose 
decided  success  has  induced  M.  Jullicn,  at  the  request  of  numerous 
influential  patrons,  to  include  them  in  this  Selection. 

.  The  Illustrations,  in  addition  to  the  elaborately  executed  Cover^,  Title,  and 
Dedication  pages,  include  two  magnificent  Views  of  the  interior  ofCovent 
Garden  Theatre.  The  one  Uken  during  the  brilliant  scene  exhibited  in  that 
splendid  arena  of  the  occasion  of  M.  JULLIEN'S  GRAND  BAL  MASQUE; 
the  other  a  VIE  WOP  THE  THBATaE  TAKEN  DURING  THE  CON- 
CERTS, the  grouping  of  the  Figures  in  both  Views  exhibiting  the  audience 
in  s^  manner  at  oiice  life-like  and  elegant,-  To  those  who  have  visited  the 
The^re  on  either  oeeasion,  the  Album  will  form  a  delightful  Soc;vBNiR,and 
to  thcfee  who  have  not  had  the  opportunity,  it  will  convey  an  accurate  idea  of 
the  gorgeous  scene. . 

A  sAendidly-coloured  Portrait  of  the  celebrated  Danseuse,  Madlle. 
Flora  VABBRi,  in  the  admired  Pa<<,  La  CastigHanL  An  original  subject, 
"  The  Fortune  Teller,"  lUustratlngBaker's  beautiful  ballad  of  that  name. 

The  whirie  of  this  departaaeiM of  the  ALBUM  haa  been  under  the  active 
superintendence  of  J.  BBANDAliD,  Eaa,  whose  pencil  otily  has  been 
emploved  in  its  production. 

Nothing  more  needbessdd  in. favour  of  this  Work,  and  hi  proof  of  iu 
vast  euperiority  over  all  others,  than  to  call  attention  to  the  names  of  the 
Contributors,  where  will  be  found  the  principal  talent  in  Europe. 

It  will  also  be  perceived  that  in  addition  to  the  latest  compositions  of  the 
best  English  Composers,  the  ALBUM  contains  some  of  vthe  newest  and 
most  popular  productions  of  Italy,  Germany,  France,  Spain,  &c.,  a  careful 
selection  of  which  has  been  made  from  those  works  that  are  now  attracting 
the  attention  of  the  Continental  diletaatL    Prke  188.  and  £1  Is. 

ROYAL   CONSERVATORY  OF    MUSIC, 

214,  BS0SI(T*StR£ST,  and  45,  KlKG-Sr&EifiT. 


No.  5,  St.  JAMES'S  STREET,  LONDON. 


sir  A.  Brydres  Henniker,  Bart. 
B.  Bond  OkbbeU,  Esq.,  M.P. 


Chairman,  lieutenant  Colonel  Lord 

Arthur  Lennox. 
DBPUTY-CHAiaitA'if,  T.  C.  Oraacerj 

Bs<i.,M.P..    ,.      . 
John  Aahbumer,  Esq.,  M.D. 
T.  M.  B.  Batard,  Hsq.    -■        -   •  ^ 
Philip  P.  Blyth,  Esq, 


DmeUee, 


Henry  Powaall,  Biq. 
CUade  Bdward  Scott^  Itoq. 


Henry  Broadwood,  Esq.,  H.P. 
Sir  James  Gamichael,  Bart. . 
Cbarles  Farebrocher,  Esq.,  ." 
William  Tulloh  FTMer,  Esq. 
John  Gardiner,  Esq. 
Aalnon  Asher  Gofalsmid,  Esq. 
Henry  William  Pownall,  Eaq. 


Assurances  on  the'lives  of  persons  in  erery  station  of  life  and  every  part  of  th* 
World,  granted  o«  a  plan  which  combines  the  utmost  amount  of  beneAt  to  the 
families  of  the  assured  at  death,  with  erery  attainable  advantac*  dmrim^  H/e, 
which  the  system  of  Life  Assurance  is  capable  of  affording. 

Persons  wishina  to  borrow  money  to  enable  them  to  complete  the  pnrdiaaeof 
property,  or  desinnr  to  pay  off  existing^  cbari^es  thereon,  can,  by  assortBT  with 
this  Company,  obtam  the  advance  of  the  full  amount  of  the  Policy,  repayable  by 
instalments,  extended  over  a  period  of  years,  on  the  advantag^eous  terms  explained 
in  the  Prospectus. 

In  case  the  assured  dies  daring^  the  limited  number  of  years  agreed  upoo^  he 
win  not  leave  his  prepeity  encambered  with  a  debt;  but,  on  tlie  contrary,  hia 
representatives  will  be  entitled  to  receive  the  amooat  securHl  by  tha  Policy,  alter 
deducting  the  sums  then  remaining  unpaid.  Or,  he  noay  at  any  thne,  anOcipate 
the  payment  of  the  sums  still  remaining  unpaid  on  fkvoimble  terms,  and  oonti- 
sue  the  Policy,  if  he  pleases,  as  an  ordiMry  life  Policy. 

ANNurriBS  and  Endowmbnts  on  liberal  tenns. 

The  usual  commiaalon  to  Solicitors  and  Agents. 

H.  D.  DA¥BirroBT,  Seenimp, 


9D6  ^ogal 


Hettets  yattni 


THE  NEW  DIATONIC  FLTTTEs 

This  Instrumesit  can  be  procured  only  of  the  Patentee,  Manofiictory,  8,  Bdl 
Taid,  Oraoechurch  Street. 

All  who  have  adopted  this  Plata  pronounce  it  soperior  to  any  other  in  connccl* 
ness  of  TuNB,  and  power  and  brilliancy  of  Tone.  It  ia  so  constrocted  aa  to 
•  -^'-'^  — '^' -  the  I 


retain  thb  old  mbthod  or  finobri no,  which 
ately  to  perceive  its  advantages. 

Justpnblished,by_CRAMER.  BIALE,  ft  Co.,  »l,  .,_, ^^« 

THBORY    or   TRB    PATBNT   DIATOMIO    FIi^VB. 
I  By  A.  SrccAWA,  B.A.,  Inventor  and  Patentee. 


THE  NEW  PATENT  DIATONIC  FLUTE. 
Kr.  WILLIAM  FORDBi 

Author  of  <*  L'  Anlma  dell*  Opera,'*  (Flute  and  Pianoforte),  Ferty^lgbt  THoa 
(3  Flutes  and  Pianoforte),  &c.  &c. 

Beet  to  inlimn  his  Pupils  and  riute  Players  in  general,  that  after  a  careful 
inv«2igation  of  8I0CAWA'8  PATBOT  DIATOMIC  IlitlTB,  he  has 
adopted  that  Instrument  with  the  conviction  of  the  Inventor's  claim  to  the  pro- 
ductioB  of  Pbrfbct  Tunb  in  every  Key,  with  improved  volume,  beauty,  and  , 
equality  of  Tonb. 

A  peculiar  sdvantage  of  this  Instrument  is,  that  it  retains  the  FuroBBUia  of 
the  usnsl  Eight -lte>ed  Fhite. 

Mr.  FoRDB  gives  INSTRUCTIONS  from  deven  till  thrae  o*doek  daily,  tf 
Mr.  Slocama's  Patcat  Flute  Manufsctory,  Bell  Yard.  Gracechurch  Street  {  and 
in  the  evening  at  his  own  residence,  N0.6S,  Warwick  Street,  Ecclestoa  i^qnare, 
Plmlico.  He  eontiBues  also  to  teach  Harmony  aud  Composition. 


F  L  U  TE. 
Mr.  FBEDBRICK  HILL 


Gracecbarch  81.;  uhI  at  Ub  own  mideace,  a,  ScboUMd  Ptaoc^  FoUMi^aad. 

Mr.  BENEDICTS  ANNUAL  OONCERt! 

Mr.  BENEDICT  bega  respectlhlly  to  aaneunce  that  hia  Annual  MORWINO 
CONCERT  wiU  take  place  on  MONDAY*  Jane  14,  ia  the  GREAT  C0NCKRT- 
noOM  of  HER  MAJESTY'S  THEATRE,  under  Boysl  and  moat  diif»ng«lshed 
patronage.  The  nsmes  of  all  the  eminent -Artistes,  who  are  engaged  to  appear 
on  this  occssion,  will  be  announced  on  Monday  neat. 

Immediate  application  for  Boxes  and  the  few  remaining  Stalls  is  reapactnuly 
solicited  at  allthe  MusicseUers,  principal  libraries,  and  of  Mr.  Benedict,  9,  Man- 

Chester  Square. ^^____^^__^____^__.«_.«- 

Frinted  and  Publishe«l,  for  the  Proprietors,  at  the  "Nassau  Steam  PrefS." 

Sr  "William  SreircaR  Jornsoh,  €0,  St.  Martin's  Laiie,  in  the  parish  ot  St. 
aitin's  in  the  Fields,  in  the  County  of  Middlesex:  where  all communioatiOM 
for  the  Editor  are  to  be  addressed  post  paid.  To  he  had  of  O.  Pnrkess,  Dean 
Stnet,  Soho :  Strange,  Paternoster  Row }  l¥lMheait,]>iibiiiis  and  aU  BookieMan. 
--Satuiday,  May  19, 1847. 


'Digitized  by  V^ri'OO 


y[e 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Terms  of  Snbseriptloii,  per  Aimiim,  16s.  Stamped ;  ISs.  Unstamped  |  to  be  forwarded  by  Moner  Ordsr  or  PostSfO  WUmpm 
to  the  PnbUalier^lKr.  S.  Jolmson,  "  Nassau  Steam  Press/'  60,  St.  Martin's  I^ane,  01iarlB«  CrosSi 
^d^Annnal  Sabseribers  only  (whose  names  are  roflstered  at  the  OAee)  are  enUtled  to  an  Adsftisslem  to  the  Oone«rt,  sad 

a  Pleoe  of  Mnslo^  (reynlar  Music  sise)  Monthly. 


No.  21.— Vol.  XXir. 


SATURDAY,  MAY  22,  1847. 


(PRICE   TUREEPBNCB 
1  STAMPED,  FOUBPENCB 


TO  OUR  READERS. 
Annual  Subseribers  whose  names  are  entered  In  the  Book 
at  our'  OSieei  and  whose  Subscriptions  are  paid  In  adTanoe 
to  Christaeas  next,  are  AIiONB  entitled  to  an  Admlsston  to 
the  fOrtheomlny  Annual  Ooncert^  whieh  will  be  Ki-ren  m  June 
or  July  neni. 

Our  Subseribert  will  he  presented  with  No.  22,  am  IMFBOHPTn, 
eompoHd  exprtuly  for  ike  "MueictU  World,"  by  CHABLES 
LUDEBS. 

CARLOTTA   CRISI. 

Wealthy  aa  London  has  been  for  this  two  months  past  in 
the  treasures  of  choregraphic  art  the  latest  arrival  has  doubled 
.the  store;  Caflotta  reached  England  on  Sunday,  by  the 
Eteaiuer  from  Boulogne.  Her  coming  was  heralded  by  fine 
weather.  The  sun,  who  had  hid  himself  for  a  month  behind 
a  cloud,  emerged  from  his  obscurity  and  went  forth  to  meet 
Carlotta  on  the.  beach.  Since  her  arrival  he  has  never  ceased  to 
shine.  VHio  can  blame  him  for  loving  to  rest  hb  beams  upon 
the  fairest  of  his  children  ? 

To-night,  the  eyes  of  the  faithful  will  once  more  gaze  npon 
the  form  of  Esmeralda,  whichy  for  tsM>  yews  past,  has  mocked 
titem  in  visions.  /  To-night»  Carlotta  will  once  more  shine 
ibher  own  hemisphere — the  brightest  star  of  all. 

With  Jenny  Lind  in  opera  and  Carlotta  in  baUet  Mr. 
Lumley  may  safely  rest  upon  his  oars  ;  the  boat,  moved  by  its 
own  impetus,  will  float  him  on  to  fortune. 

MAOAMC  BkLPE. 
This  accomplished  artist  and  amiable  lady  has  announced 
a  grand  Soiree  Mutieale,  under  the  immediate  patronage  of 
H.  R.  H.  the  Duchess  of  Kent.  The  performance  will  take 
place  in  the  Music  HalU  Store  Street,  and  the  members  of 
the  Amateur  Society  will  give  their  assistance.  The  pro- 
gramme promises  to  be  one  of  very-  great  jnterest.  The 
music  will  be  entirely  selected  from  Balfe*s  operas  of  Falstaff 
and  VEtoile  de  Seville.  The  former  opera,  though  it  has  not 
been  played  since  the  first  season  of  its  production  at  Her 
Majesty's  Theatre,  is  one  of  the  best  of  all  the  operas  of  the 
composer,  and  its  revival  has  long  been  ardently  desired  by 
the  habilu^  of  the  establishment.  The  latter  was  produced 
at  the  Aeademie  Roy  die  in  Paris,  for  which  it  was  expressly 
written.  The  curiosity  to  hear  it  in'  England  is  naturally 
very  great,  and,  from  the  opinions  we  have  gathered  from 
the  best  continental  judges,  it  is  every  way  worthy  the  repu- 
tation of  its  popular  composer.  The  selections  from  these 
operas  will  be  executed  by  Madame  Castellan,  Madame  Balfe, 
Sigiior  Gardoni,  Signor  Coletti,  Her  Staudigl,  Sig.  Lablache, 
and  others.  These  eminent  artists,  backed  by  the  excellent 
and  numerous  orchestra  of  the  Amateur 'Sodety,  will  ensure 
'  a  performance  of  the  most  sterling  order.  Among  otlier 
^  flUractions  will  be  a  new  manuscript  ballad,  composed  by 


Mr.  Balfe,  and  sung  by  Mrs.  Balfe.  Mr.  Balfe  will  conduct 
the  concert.  The  aoirie  will  be  held  on  Wednesday,  June 
9th.  We  have  not  the  slightest  doubt  that  Madame  Balfe 
will  find  that  encouragement  due  to  her  talent  and  amiability , 
and  that  the  room  wiU  be  crowded  to  suffocation. 


SIGNOR   AND    MADAME   RONCONI. 

Thers  has  been  some  little  unpleasantness  in  connection 
with  the  opera  of  JMaria  di  Rohan,  which  has  sown  a  tem* 
porary  disunion  among  the  excellent  troupe  of  the  Royal 
Italian  Opera.  It  was  evident  that  neither  the  public,  nor 
the  press,  were  satisfied  with  Madame  Ronconi's  performance 
of  the  part  of  the  heroine — a  part  which  belonged  to  Grisi,  and 
which  for  the  well-going  of  the  opera  should  have  been  played 
by  Grisi.  To  please  Signor  Ronconi,  however,  the  direction 
awarded  it  to  his  lady.  The  latter,  quite  alive  to  .the  un- 
favourable impression  she  had  produced,  wrote  the  following 
letter  to  the  principal  journals,  two  days  subsequent  to  the 
first  representation  of  Maria  di  Rohan  ;—  . 

"  10,  Cmmiitk  Ub^  A.  John'i  Weed. 

MoNsiiua,-^Det  personnes  ou  malveillMitet  ou  mal  informeet,  ont 
pretendu  que  j'ai  exig<  de  la  direction  le  t61e  de  Uarih  de  Rohan,  pouc 
mes  debuts— ce  rMe  m*a  et^  graciMlsemcnt  offer!  par  Madame  Grisi,  k 
Paris,  et  je  ne  l*ai  accept^  que  dans  la  ferpue  conviction  qu'eile  ne  voudrait 
pas  s'en  cliaiger,  Mais  aussitot  que  j'ai  appris  lea  deairt  dea  abonn^s, 
je  me  tuift  empreas^e  de  me  rtndre  en  persoone  ches  la  celebre  artiste,  et 
je.l'ai  suppU^  de  grace  d€  jouer  le  r61e.  J'esp^re  qu'eUe  voudra  blen  ae 
rendre  k  ma  pri^  et  aux  voeuz  da  public,  afln  que  j'aie  la  aatlMMtion 
d'etre  la  picmiire  a  I'admirer  et  I'applaudir,  agrees,  ftc.,  Ac. 

GlOYANMINA  ROMCONI." 

The  Morning  Chronicle  accompanies  the  pi^blication  of  this 
letter  with  the  following  tribute  to  the  **  head  and  heart"  of 
the  writer. 

".This  is  a  letter  which  reflecU  eqaal  credit  on  the  head  and  the  heart 
of  the  writer,  who.  If  she  cannot  acquire  the  suffrages  of  a  public  as  an 
artiite^  must,  at  least,  command  their  sympathies  as  a  woman.  It  also 
shows  how  great  is  the  truly  artistic  feeling,  excluding  all  aelfiah  con- 
siderations existing  at  the  Royal  Italian  Opera." 

It  appears,  however,  that  the  writer  reckoned  without  his 
host.  Madame  Grisi  consented  to  play  the  part,  and,  of 
course,  required  (not  having  performed  it  for  fbur  years)  a 
reasonable  time  to  refresh  herself  in  the  study  of  it.  But, 
this  would  not  do  for  Madame  Ronconi,  who,  as  it  turns  out, 
indued  Signor  Ronconi  to  insist  upon  the  second  pierformanoe 
of  Maria  di  Rohan  taking  place  last  Tuesday  ;  to  which  the 
management  objecting,  on  the  plea,  that  Madame  Grisi  could 
pot  J  possibly  be  ready,  the  Signor  adopted  the  very  ub- 
ooatteous  proceeding  of  inserting  an  advertisement  in  The 
Ttmes,  to  the  effect,  that  he  was  ready  to  play  the  part  on 
that  day,  and  had  written  '*  to  hit  director,  oignor  Peraiani/' 
to  that  purpoit. 

The  engagement  with  the  Roneonis  was  made  by  Signer 
Peraiani,  add  the  advertisem^^^^ed,  Uiat  S%norRon- 


326 


THE  MUSICAL  WORLD. 


oom  only  acknowledges  that  flentldikien  as  hii  directof, 
>7ber«l>y^  Ii^  wilfully^  find  fooluihly  overlooks  the  abiolixte 
constitudon  of  the  ittanag'emeiit  or  the  Royal  Italian  Opera, 
and  offers  an  unprovoked  slight  to  the  other  worthy  in- 
dividuals who  foro)  part  of  the  quorum,  and,  especially,  to  the 
amiahle  and  inteUigent  director  in  chief,  Mr.  Beale,  whose 
authority  has  heen  recognised  as  undivided  by  the  general 
QOBient  of  the  shareholders  of  the  speculation.  This  is  the 
more  ungralofel,  nnoe  it  must  have  been  well  understood,  by 
Signor  Ronconi,  that  Madame  Ronconi,  who  is  at  best  a 
second-rate  artist  and  has  no  reputation  whatever,  was  only 
engaged  on  the  liberal  terms  that  are  accorded  her  in  deference 
to  his  (Signor  Ronconi's)  feelings,  and  in  respect  to  his 
undeniable  abilities.  But  we  much  question,  if  matters  are 
to  take  this  turn,  whether  even  the  Signor*s  services,  valuable 
as  they  may  be  regarded*  are  worth  having  at  such  a  sacrifice. 
The  opera  of  Maria  di  Rohan  wto  brought  out  at  a  large 
expense,  the  mise  en  scene  costing  not  a  penny  less  than  eight 
hundred  guineas.  Madame  Ronconi's  three  superb  dresses, 
upon  which  she  insisted--  resolving,  it  would  seem,  to  look 
Welly  if  she  could  not  sing  well — were  supplied,  at  a  consider- 
able outlay,  on  the  part  of  the  establishment,  which,  considering 
the  effect  diey  produced,  was  little  better  than  thrown  away. 
It  would  be  raUier  hard  upon  the  Royal  Italian  Opera  share- 
holders to  saddle  them  with  such  enormous  disbursements  for 
an  opera  that,  performed  as  it  was  in  one  particular,  would 
have  kept  money  out  of  the  house — or,  on  the  other  hand,  for 
an  opera  that  should  only  be  given  one  night.  The  gentle- 
manly and  liberal  behaviour  of  the  directors  of  the  establish- 
ment towards  the  artists  employed  has  been  unanimously 
lauded— and  it  is  ill  done  on  the  parts  of  two  of  the  most 
largely  remunerated  to  repay  that  behaviour  in  so  unhandsome 
a  manner.  In  conclusion,  we  promise  to  make  all  the  facts, 
connected  with  this  matter  known  to  the  public  as  they  have 
occurred  or  as  they  may  occur.  We  are  always  ready  to  be 
the  artist's  champion,  but  we  are  equally  forward  to  own  that 
the  manager  is  occMionally,  as  in  this  remarkable  instance,  in 
gf««t  want  of  m  advocate. 

JENNY  UND  AND  MR.   BUNN. 

In  recounting  the  impressions  produced  by  the  Swedish 
Nightingale  on  our  English  audiences,  we  have  overlooked  the 
question  pending  between  her  and  the  worthy  lessee  of  Drury 
Lane  Theatre.  An  inquiring  letter  from  a  subscriber  has, 
however,  recalled  the  subject  to  our  attention.  Since  the  last 
letters  were  printed  in  connection  with  this  complex  affair 
the  following  was  sent  to  Mademoiselle  Jenny  Lind,  while 
•he  was  still  at  Vienna. 

"  London,  March  16, 1847. 

MADtHoistLLS,— I  bave  received,  through  the  hands  of  Mr.  LuAiley's 
solicitor,  a  copy  of  a  letter  with  your  signature,  dated  Vienna,  the  28th 
ult.  J  and  before  I  reply  to  the  offer  you  have  therein  made,  I  must  take 
leave  to  correct  some  of  the  assertions  it  contains.  You  know  perfectly 
well  that,  as  respecu  '  The  Camp  of  Silesia,*  had  you  not  broken  your 
contract,  M.  Meyerbeer  undertook  to  lend  me  its  music,  and  to  come  to 
England  and  conduct  it;  and  as  respects  the  other  opera  you  agreed  to 
play  ('  La  Sonnambula')  its  translation  and  all  its  music  have  been  for 
years  in  this  theatre.  You  were  induced,  ia  the  first  instance,  to  violate 
your  engagement  through  the  misrepresentations  made  to  you  by  parties 
in  Mr.  Lumley's  interest,  well  known  to  me,  affecting  my  own  character 
and  that  of  my  own  theatre ;  and  your  resolution  was  confirmed  by  the 
enormous  offers,  in  excess  oi  mine»  subsequently  made  you.  I  owe  it, 
therefore,  to  my  own  honour  to  malie  such  stipulations  with  you  in  any 
proposed  arrangement  arising  out  of  yvur  want  of  faith  as  will  esonente 
me  to  my  public  from  appearing  to  have  broken  mine,.  You  offer  me 
S,0001.  to  annul  your  contract  with  me ;  but,  acting  on  the  soundest 
legal  advice,  I  shall  lay  my  damages  at  a  far  larger  sum  if  compelled  to 
proceed  against  you.  As,  however,  my  object  it  to  maintain  the  integrity 
of  lliif  ettabUshment  by  the  eDgagemenU  I  enter  into,  and  not  with  fines 


offered  by  those  who  break  Hmto,  I  will  consent  to  take  the  2,000^  you 
offer  as  a  ^^rtial  oompensation,  and  trust  for  any  Anrther  indemnity  to 
the  resUH  of  y^r  ef  ngfli^  three  HAms  in  this  tiientre  (Mora  you  sing 
elsewhere  in  England)  in  any  language  you  prefer.  This  is  a  tine  qud  nen 
with  me  {  as  I  am  determined,  as  far  as  I  have  the  power,  to  falsify  the 
assertions  of  those  who  have  ventured  to  malign  me. — I  have  the  honour 
tobe,&c.  A.Buim.'* 

Mr.  Bnnn  consented  then  to  take  the  £,2000.  But  consenting 
to  take  it  and  getting  it  are  two  very  different  mattexs*  The 
suhjoined  advertisenienti  indeed,  would  seem  to  insinuate  that 
they  were  absolute  contraries. 

"  Thbatrb  Rotal  Drurt  Lane.— -Madcmoisbllb  Jbrnt  Ltnd.— 
The  Lessee  begs  to  state  that  the  engagement  entered  into  with  this 
artiste  having  been  violated  by  her,  and  she  having  been  announced,  on 
her  arrival  in  this  country,  to  sing  at  another  theatre,  he  has  no  alter- 
native bnt  to  carry  out  the  assurance,  conveyed  to  the  pnblic  through 
his  prospectus  at  the  commencement  of  the  season,  viz.,  that  of  imme- 
diately instituting  legal  proceedings  against  her." 

The  ahove  was  inserted,  hy  Mr.  Bunn,  in  all  the  morning 
papers,  and  was  f(dlowed  hy  the  paragraph  below,  which 
appeared  in  The  Times  a  day  or  two  afterwards. 

"  Mr.  Bunn  akd  Jbnnt  Lino.— An  action  has  been  commenced,  by 
Mr.  Bunn,  fn  the  Court  of  Queen's  Bench,  against  Jenny  Lind,  for  an 
alleged  breach  of  contract;  and,  on  Friday  last,  an  appeannee  to  the 
writ  of  summons,  issued  a  few  days  previously,  was  entered  by  a  solicitor 
on  the  part  of  the  defendant.  The  next  proceeding  will  be  the  decla- 
ration, in  which  the  plaintiff  will  estimate  his  damages.  Sir  F.  Kelly  and 
Mr.  Cockbum,  Q.  C,  have  been  retained  for  Mr.  Bunn.  The  cause 
cannot  be  tried  until  the  sitting  after  Trinity  Term,  commencing  the 
middle  of  July." 

And  here>  for  the  present,  the  matter  stands.  As  we  began 
by  taking  an  interest  in  this  legal  dispute,  we  think  it  our  duty 
to  ourr^ers  to  publish  whatever  may  transpire,  in  ordier  tiiat 
they  may  be  so  thoroughly  initiated  with  the  proceedings  as 
to  enable  them  to  form  their  own  judgment.  It  is  a  knotty 
point  and  Mademoiselle  Lind's  immense  success  may  possiUy 
have  some  influence  on  its  ultimate  decision. 


INEMOIR   OP   fNADEMOISELLE  ALBONI. 

(A-oM  the  Momlnff  C^tonUte.) 

Marietta  Alboni  was  bom  at  Cesenat  in  1826 ;  she  is, 
therefore,  barely  two-and-twentv.  Contrary  to  the  wishes 
of  her  parents,  she  was  at  an  early  age  sent  to  the  Academy 
of  Bologna,  where  her  musical  education  was  conducted  under 
the  immediate  superintendence  of  Rossini,  for  whose  com- 
positions the  lady  evinced  an  early  and  passionate  predilection. 
"  11  Gran  Maestro,"  during  the  first  month  of  her  education, 
upon  being  questioned  as  to  the  lyric  destiny  of  his  piqpil, 
replied,  *'  At  present  her  voice  is  like  that  of  an  itinerant 
ballad  singer,  but  the  town  will  be  at  her  feet  before  she  is  a 
year  older."  And,  in  fact,  scarcely  a  year  had  elapsed  when 
she  received  the  honorary  medal,  accompanied  with  an 
order  for  appearance.  She  accordingly  appeared  for  the  first 
time  at  the  Opera,  in  Bologna,  in  Donizktti's  Lucrewa 
Borgia^  being  then  scarcely  sixteen.  The  result  of  this  dkha 
was  an  immediate  engagement  for  the  Scala,  at  Milan  ;  and 
the  manager  of  that  theatre  renewed  her  engagement  for  four 
successive  seasons,  after  her  admirable  creation  of  Leonora^  in 
Donizetti's  Favorita.  From  Milan,  Alboni  proceeded  to 
Vienna,  where  she  won  fresh  laurels,  being  the  prima  donna 
there  for  three  consecutive  seasons.  Mdlle.  Alboni's  career 
from  that  period  has  heen  one  of  steady  uninterrupted  success, 
when  she  shone  forth  at  the  Royal  Italian  Opera  like  some 
dazzling  meteor,  second  to  none  amid  the  galaxy  of  over- 
whelming talent,  the  veritable  and  perfect  exponents  of  the 
lyric  drama,  who  now  grace  the  boards.  No  preliminary 
puffery,  no  ill-judged  laudation,  no  fulsome  adulation  preceded 
the  advent  of  Mdlle.  Alboni.    But  the  audience  on  kwr  tot 

Digitized  by  \^OOy  ItT 


THE  MUSICAL  WORLD. 


.a27 


appearance  in  Arsace  were  astonndedat  the  wondroufl  sweet- 
ness and  capacity  of  her  organ,  and  our  audiences,  be  it  said, 
now  possess  a  taste  and  appreciation  in  musical  matters  not 
quite  so  contemptible  as  some  of  the  continental  dilettanti 
formerly  ascribed  to  us*  To  La  Alboni  are  we  indebted  for 
that  beautifiil  aria  *'  In  ai  barbara"  in  jSranVamMfc*— hitherto 
suppressed  for  want  of  a  contralto  witb  sufficient  compass 
capable  of  giving  full  effect  to  the  brilliant  conception  of  the 
composer.  Marietta  Alboni  is  to  Rossini,  what  Jenny  Lind 
is  to  Meyerbeer.  She  has  reached  that  pinnacle  of  celebrity 
her  great  master  predicted  she  would  attain;  he  witnessed 
the  budding  of  tiuit  renown  it  was  his  pride  to  foster  and 
enhance.  Rossini  himself  signed  her  two  first  engagements. 
**  I  am/'  said  he  to  her  in  1840,  "the  subscribing  witness  to 
your  union  with  renown,  and  success  and  happiness  attend 
the  union."  A  characteristic  trait  of  the  high-minded 
independence  of  Mdlle.  Alboni  deserves  to  be  recorded.  Soon 
after  her  arrival  at  Berlin,  she  was  asked  if  she  had  waited  on 

M. .     •«  No,"  said  the  lady,  '*  what  is  this  M. ?" 

''Oh!  added  her  querist,  '*heis  the  most  influential  jour- 
nalisU  in  Prussia."  <*  WeU,"  exclaimed  Alboni,  **  and  what 
Is  that  to  me  ?"  "  Why,"  rejoined  her  friend,  "  if  you  do 
not  before-hand  insure  his  favourable  report  you  are  ruined !" 
'*  Well,"  rejoined  the  artiste,  "  let  it  be  as  Heaven  directs, 
but  I  wish  it  to  be  understood  that,  in  my  breast,  the  woman 
feigns  paramount  to  the  artiste;  and  though  &ilure  were 
the  result,  I  would  never  degrade  myself  by  purchasing 
success  at  so  humiliating  a  price."  This,  too,  was  at  a  time 
when  her  reputation  was  not  firmly  established.  The  anecdote 
ma  related  in  the  fashionable  salons  of  Berlin,  and,  to  the 
honour  of  the  society  in  that  metropolis  be  it  said,  the  noble 
sentiment  of  the  young  artiste  was  properly  appreciated ,  for 
King  William  invited  die  spirited  cantatriee  to  sing  at  his 
Court,  where  she  received  the  well-deserved  plaudits  of  an 
enraptured  and  admiring  auditory,  and  from  royalty  more 
•ubstantial  proofs  of  the  estimation  in  which  her  talents  and 
integrity  were  held.  Mdlle.  Alboni's  last  engagement  prior 
to  her  arrival  in  London,  was  at  Venice,  where  she  created 
quite  a/srore  as  Rosina  in  the  Barber  of  Seville ^  CenerentoLif 
Tancredi,  UliaUana^^c.  Her  next  part  will  be  Orsini^  in 
iMcrema  Bcrgia^  at  the  Royal  Italian  Opera ;  and  she  will 
appear  in  succession  in  Tancredi^  Pietro  in  Linda  di 
Chamouni^  Pippo  in  La  Oazza  Ladra,  Malcolm  in  La  Donna 
del  LagOf  ^c,  A  new  opera  for  the  display  of  her  varied 
powers  will  be  expressly  composed  for  her,  for  the  season 
1848,  by  an  eminent  composer.  The  extraordinary  compass 
of  her  oigan,  combining  as  it  does  the  complete  register  of  a 
eontralto  and  of  a  mezzo  soprano,  will  afford  every  op- 
portunity to  the  composer  to  develop  her  vocal  and  histrionic 
genius  more  decidedly  even  than  in  her  existing  repertoire* 
Although  Mdlle.  Alboni  possesses  considerably  embonpoint^ 
her  stage  deportment  is  graceful  and  appropriate ;  her  features 
are  handsome,  and  in  the  expression  of  her  face  she  can 
pourtray  every  varied  emotion.  The  unrivalled  charm  of  her 
voice,  Mid  her  wonderful  ease  in  singing,  are  now  known  to 
the  whole  of  the  muncal  public,  and  the  rapture  excited  by 
her  performances  is  unbounded. 


VIEUXTEMPf   NEW  CONCERTO. 

{From  La  Gazette  Muiicale.) 
"The  arrivBl  of  Vieuitempt  in  Paris,  the  virtuoto  who  sinfrs  on  bis 
vioUo  as  Rubini  does  with  his  voice,  was  one  of  the  events  of  the  season. 
The  concert  he  gave  on  the  5th  of  April,  in  the  SaJle  Hen,  attracted  the 
iUie  of  the  artistes  of  Paris,  who  all,  without  exception,  applauded  the 
above  beautifiil  composition,  as  well  as  the  admirable  execution  of  the 
treat  artiste.  Vieztemps'sfiistconcerto^  a  migesticoompositiony  brilliantly 


instmmented,  faU  of  orchestral  effects,  abounding  in  ideas,  all  of  which 
are  made  accessory  to  the  general  design,  has  been  for  these  six  years 
admired  by  every  connoitsear ;  but  as  this  remarkable  work  had  been 
preceded  and  foUowed  by  a  number  of  trivial  fantasias,  a  report  got 
abroad  that  the  author  had  been  assisted  by  others  in  the  composition 
of  this  flne  concerto.    Now,  however,  Vieuxtempa  Yetums  to  us  armed 
with  a  rich  and  beautiful  composition,  resembUng  that  whk^  we  fint 
heard,  in  style,  energy,  and  completeness,  which  has  placed  his  reputa- 
tion as  an  original  composer  for  the  vk>lio  on  a  firmer  basis.    The  tutti 
of  this  new  concerto— or  rather,  let  us  say,  of  this  noble  symphony,  in 
which  the  violin,  the  king  of  instruments,  is  grandly  predominant^ 
commences  with  a  poetical  phrase,  given  by  the  flutes,  the  oboes,  and 
the  darionets,  afterwards  repeated  by  the  stringed  instrumenis.    The 
horns  and  trumpets  announce  the  theme  of  the  solo,  which  the  principal 
instrument  speedily  attacks;   then  follows  a  striking  and  melodioue 
eamiaMU  for  the  cUrionets;  and  above  all  the  hubbub  of  the  orchestra, 
the  violin  is  heard  crying  like  Virgil*s  Neptune,  "Quos  egol"   At  the 
sound  of  this  powerAii  voice  the  harmonious  tumult  subsides,  and  sub- 
sequently follows,  assista,  flatters,  and  caresses  the  voice  of  the  violin  as 
it  revels  in  etherial  acoenta  and  in  melodial  sounds,  which  succeed  each 
other  dlatonicaUy  with  inconceivable  rapidity.    In  these  ascending  and 
descending  chromatic  passages,  not  a  single  note  is  found  missing  by  the 
most  exiM^enced  violinist.    The  principal  subject  of  the  first  solo,  on 
the  fourth  string,  is  full  of  grandeur  and  grace ;  it  is  ddineated  oo  the 
sustained  notes  of  the  violins  and  the  pisricato  of  the  basses;  then  comes 
a  tremolo  for  the  principal  violins,  in  a  dtopttioii  brought  out  with  new 
effecta,  above  all  with  that  recitative  that  walks  so  poetically  hand-ln- 
hand  with  this  tremolo  of  the  orchestra.    The  orchestra  replies  by  a 
succession  of  chords,  and  the  principal  part  is  heard  above  all  in  the 
grand  sutject  of  the  first  solo.    The  principal  passage  of  the  second  sQk> 
is  varied  with  charmingly  natural  modnhitions,  and  is  gofgeously  instru- 
mented.   The  recitative  returns  in  the  primitive  key,  and  with  the  same 
Ifwnoto  on  the  high  notes  of  the  orchestral  vioUm.    To  this  recitative  a 
k»ng  cadence  foUows,  which  connecta  itaelf  by  a  grand  passage,  bowed 
with  the  lower  part  of  the  areket,  and  executed  in  the  smooth  and  tran- 
quil manner  that  characterises  the  style  of  Vieuxtemps.  and  by  which  hia 
rhythmical  prscision,  and  hU  legitimate  desire  to  truthfully  interpret 
every  note  of  the  most  difficult  passages,  is  shown  to  admiration.    On  a 
chaimcteristic  roll  of  the  kettle-drums,  rich  orchestral  effecta  intervene 
before  the  reprise  of  the  principal  mofivo.     A  sliding  leap  from  the 
highest  octave  of  the  fifth  position  on  a  D  sharp  of  the  third  string,  if 
we  recollect  aright,  an  easy  and  insignificant  effect,  repeated  twice,  quite 
astonishes  the  ignorant  amateur.    This  fall  from  the  top  to  the  bottom 
of  the  instrument,  recalls  to  us  the  sonnet  of  Oronte,  in  the  HtemlAr)^, 
so  much  pimised  by  Philinte,  although  we  have  no  Intention  of  applying 
the  reparte  of  Alcetie  to  Vieuxtemps.     The  adagU  of  this  beautiful 
concerto  is  a  tranquU  and  beautiful  elegy,  in  C  major,  grave  and  natural 
in  style,  the  melody  simple,  the  harmony  clear,  and  the  instrumentation 
dever.  though  not  complicated.     These  just  praises  authorise  us  in 
finding  the  encore  awarded  this  movement,  somewhat  exaggerated.  The 
honour  was  better  merited  by  the  last  movement  of  the  concerto.    This 
finalB  unites  the  richness  of  acoompanimenta  to  the  originality  of  mekxly, 
and  the  Paganini-like  boldness  of  the  first  part.   The  subject  it  a  charm- 
ing aiMmM,  in  A  minor.    We  know  not  which  to  admire  most— the 
elegance  of  the  theme  and  the  variety  and  beauty  of  the  accessory  ideas, 
or  the  vivacity  and  fiie  with  which  the  player  interpreta  it.    Staccato 
passages,  crisp  and  pearly— double  octaves,  powerful,  and  perfectly  into- 
nated—abound in  this  piece  of  vigorous  execution.    In  a  cotlat  fiery  and 
dramatic,  the  principal  subject  returns  with  double  octaves,  of  which  we 
have  just  spoken,  and  sustained  by  the  bassoon,  which  the  composer 
has  employed  most  happily ;  then  follows  a  passage  for  the  flutes,  in  the 
form  of  the  Rant  de$vacha,  responded  to  by  the  darionettes;  and  then 
a  brilliant  shake  on  the  dominant,  under  which  is  heard  a  beautiful 
melody  by  the  darionettes  and  flutes ;  and  then  again  a  thousand  melodies 
and  ingenious  and  bold  harmonies,  that  transport  and  enrapture  the 
auditor,  and  make  him  again  wish  to  hear  this  beautiful  instrumental 
composition,  and  the  artist  who  wrote  it,  and  could  alone  so  beautifolly 
interpret  it."  ^     ^  ^  , 

fThe  above,  need  we  say,  Is  firom  the  pen  of  Henri  Blanchard.— D Jt.j 

BOUCHER  AND   BEETHOVEN. 

{From  the  French  of  CatttU-BhwoJ) 
Bonchcr,  the  violinist,  setting  out  on  a  musical  tour,  took  cart  to  be 
provided  with  plenty  of  letters  of  introduction ;  among  them,  no  less 
than  twenty  were  addressed  to  Beethoven.  On  Boucher's  arrival  in 
Vienna  he  was  anxious  to  pay  homage  to  the  "  greatest  musidan  of  the 
day."  Boucher  traversed  the  faubourgs  of  Vienna,  endeavouring  to  find 
his  abode,  and  after  great  difficulty  succeeded,  and  could  say  "rhotroeato 
quetta  porta  benidettor  but  he  could  hardly  bcUefe  bis  eyes  when  he 
Digitized  by  \^OOy  ItT 


396 


THE  MUSICAL  WORLD. 


■^ 


viewed  the  humble  abode  of  the  "  prince  of  miisicians."  A  domestic,  in 
answer  to  hit  inquiries,  informed  him  that  Beethofen  was  absent  from 
home,  and  that  it  was  uncertain  when  he  would  return.  Boucher  had 
therefore  no  altematlYO  than  to  leave  his  card,  accompanied  by  one  of  his 
letters  of  introduction,  and  return  to  his  hotel,  quite  disappointed  in  not 
meeting  with  the  object  of  his  yisit.  The  next  day  he  was  in  no  better 
luck ;  to  the  same  inquiries  he  had  the  same  replies ;  so  he  left  another 
of  hit  letters  of  introduction,  and  another  card.  In  this  manner,  fourteiin 
days  dapsed,  Boucher  each  day,  at  different  hoars,  leaving  a  letter  and  a 
card,  but  without  any  satisfactory  result  therefrom.  As  the  time  of 
Boucher's  departure  from  Vienna  drew  near,  he  was  determined  on  a 
vup  de  grace^  viz.,  to  deliver  the  whole  of  his  remaining  letters  at  once. 
Beethoven  really  was  absent  when  his  domestic  received  letter  number 
siiteen.  This  letter  number  sixteen,  nevertheless,  said  no  more  than  the 
fifteen  previously  delivered,  but  Goethe  had  written  it,  Goethe  had  signed 
it.  The  whole  world  knew  the  devoted  friendship  of  these  two  men  of 
genius.  Beethoven,  when  he  received  this  last  letter,  stamped  his  foot, 
and  struck  his  forehead  with  vexation ;  rushed  out  of  the  house,  and  ran 
into  the  various  hotels,  demanding  Boucher,  without  success.  At  last  he 
staid  to  rest  himself  at  Salieri's.  No  sooner  was  he  seated,  than  he  said  to 
him,  'Find  for  me  the  violinist  I  have  been  seeking ;  bring  him  to  me  to- 
morrow ;  I  will  remain  at  home  all  day,  for  I  absolutely  must  see  him.'  Next 
day  Boucher  received  a  visit  from  Salieri,  overwhelmed  with  joy,  he 
hastened,  with  bis  companion,  to  call  on  Beethoven ;  this  time  be  felt 
sure  of  not  being  denied  to  him.  Beethoven  received  the  French  violin- 
ist with  great  a&bility,  and  wished  him  to  hear  his  latest  compositions. 
The  Great  Mmter  was  on  the  extreme  verge  of  deafness ;  he  played  on  a 
piano  that  his  friend  Clementi  had  purposely  made  for  him  in  London; 
it  was  built  on  the  principle  of  accoustics,  and  a  sort  of  dark  room 
of  a  size  sufficient  to  hold  the  performer  and  his  auditor,  contained  the  in- 
atrument.  It  was  in  this  "  harmonious  box,"  in  this  "  mysterious  nook," 
that  Boucher  was  admitted  several  times,  tSte-^-tAe  with  the  sublime 
Improvisateur.  One  day,  armed  with  a  large  pair  of  scissars,  which.be 
found  on  the  table,  the  violinist  demanded  permission  to  cut  off  a  lock 
of  the  master's  hair ;  this  hud  hardly  been  granted,  ere  the  precious  relic 
was  in  the  hands  of  the  spoiler;  not  content  with  this,  the  ambitious 
Boucher  brought  forwaid  a  sheet  of  music  paper,  with  which  he  had 
provided  bimself,-«a  wise  precaution,  as  nothing  was  more  rare  in  Beet- 
hoven's house,  for  more  than  one  of  his  inspirations,  sometimes  even  an 
entire  composition,  was  written  by  the  Great  Master  on  a  sheet  ol 
common  white  paper,  on  which  he  had  drawn  some  very  irregular  lines. 
— *Beethoven  noted  down  for  Boucher,  a  pnHi  duo  for  two  violins,  a  dn4  ^ 
composed  solely  in  one  phrue  of  seven  bars  followed  by  these' 
lines.  '*  Eerit  le  29me,  April,  1832,  quand  Motuiewr  Bimcher,  grmtd 
violon,  me  faitait  Vhotmeur  de  ms  /aire  une  vinU:*  Louis  van  Beethoven. 
(written  this  r9th  April,  1822,  when  M.  Boucher,  a  great  violinist, 
did  Aie  the  honor  to  pay  me  a  visit.)  The  illustriotts  mosicisn 
spoke  French  excellently;  the  words  ** faitait,"  "/aire,"  written 
down  on  the  paper,  presented  a  disagreeable  combination  to  his 
delicate  ear ;  although  afflicted  with  deafness,  the  word  "faitait,"  cor- 
rected several  times,  proved  that  Beethoven  wished  his  language  to  be 
perished,  and  rendered  more  harmonious.  Many  of  onr  poets  are  not  so 
scrupulous. 

TBB     ArFiaiVIBB, 

iProm  tit  German  of  Got^c. 

Comtimued  from  page  SIS. 
PART    II.— ^CHAPTER    XV. 

If  in  a  happy,  peaceful  condition  of  living  together,  relations, 
friends,  inmatos  of  tho  same  house,  converse  about  what  is  happen- 
ing, or  about  to  happen,  more  than  is  necessary  or  reasonable  ;  if 
they  repeatedly  communicate  to  each  other  their  projects,  under* 
takings,  and  occupations,  and.  without  actually  taking  mutual 
counsel,  yet  always  treat  the  whole  of  life,  as  it  were,  in  a  consult- 
ing manner ;  we  find,  on  the  other  hand,  at  important  moments, 
just  when  it  would  seem  that  man  stood  most  in  need  of  the 
support  and  assistance  of  another,  that  the  individuals  retire  into 
themselves,  stpve.  to  act  each  on  his  own  account,  each  in  his  own 
fesbion  ;  and  that  while  the  single  means  are  mutually  concealed, 
it  is  only  the  issue,  the  er.d,  the  object  attained,  which  again 
becomes  a  common  property. 

Alter  so  many  wondrous  and  unhappy  events,  a  certain  quiet 
seriousness  had  thus  come  over  the  two  friends,  which  expressed 
itself  in  an  amiable  forbearance.  Quite  privately,  Chariotte  had 
sent  tiie  child  to  the  chapel.  There  it  rested,  as  the  nrit  sacrifice 
of  a  foreboding  fate. 


Charlotte,  as  far  as  vas  possible,  returned  back  into  practical 
life,  and  here  first  she  found  Ottilia,  w*ho  stood  in  need  of  her 
assistance.  She  chiefly  busied  herself  with  her,  without,  however, 
letting  it  be  observed.  She  knew  how  much  the  heavenly  gtrl 
loved  Edward ;  she  had,  by  degrees,  gradually  investigated  the 
scene  which  had  preceded  the  misfortune,  and  bad  learned  every 
circumstance,  partly  from  Ottilia  herself— partly  through  letters 
from  the  Major. 

Ottilia,  on  her  side,  greatly  lightened  Charlotte's  imme(Uate 
existence.  She  was  frank,  even  talkative,  but  never  spoke  of  the 
present,  or  of  that  which  had  just  past.  She  had  always  remarked 
— always  observed,  she  knew  much  :  and  all  this  was  now  made 
manifest.  She  amused  and  diverted  Charlotte,  who  still  nourished 
the  secret  hope  of  seeing  so  estimable  a  pair  united. 

But  with  Ottilia  it  was  otherwise.  She  had  revealed  to  her 
friend  the  secret  of  her  course  of  life  ;  she  was  released  from  her 
former  restraint— from  her  servitude.  By  her  repentance,  by  her 
resolution,  &he  also  ielt  herself  freed  from  the  weight  of  her  fault— 
her  misfortune.  She  no  lons^cr  needed  any  power  over  herself; 
in  the  depth  of  her  heart  she  had  forgiven  herself  only  on  the 
condition  of  perfect  self-denial,  and  this  condition  was  inviolable 
for  the  whole  future. 

Thus  some'  time  had  passed,  and  Charlotte  Ielt  how  th0  bouse 
and  park,  the  lake,  the  groups  of  trees  and  rocks,  revived  daily  in 
them  both  nothing  but  melancholy  sensations.  It  was  perfectly 
clear  the  place  must  be  changed,  but  how  this  was  to  be  done,  was 
not  so  easy  to  decide.  .  .       , 

Should  the  two  ladies  remain  together  ?  Edward's  former  desire 
seemed  to  order  it — his  explanation  and  threats  to  render  it  neoes- 
sary  ;  but  it  could  not  be  mistaken,  that  both  the  ladies,  with  all 
their  good  will,  with  all  their  reason,  with  all  their  efforts,  were  in 
a  painful  position  when  with  each  other.  Their  conversation  was 
of  a  shunning  kind.  Often  they  wished  only  to  half-undersUnd 
something  ;  but  often  an  expression  was  misinterpreted,  if  not  by 
the  understanding,  at  least,  by  the  feelings.  They  feared  to 
wound  each  other,  and  this  very  fear  was  the  first  both  to  give  and 
receive  wounds. 

If  they  conld  change  the  place  and  separate,  at  least,  for  a  time, 
then  came  again  the  old  question,  where  was  Ottilia  to  go  ?  The 
great  rich  family  had  made  vain  attempts  to  obtain  for  their  hopefipl 
da.ughter  and  heiress  a  companion  who  should  amuse  her  and 
stimulate  her  by  emulation.  On  the  last  visit  of  the  Baroness, 
and  recently  by  letter,  had  Charlotte  been  exhorted  to  send  Ottilia 
thither ;  and  now  she  again  brought  the  sutgect  under  discussion. 
But  Ottilia  expressly  refused  to  go  where  she  would  find,  that 
which  is  usually  called,  the  *'  great  world." 

**My  dear  aunt,"  she  said,  *<  that  I  may  not  appear  narrow  and 
self-willed,  let  me  speak  out  that  which,  in  another  case,  it  would 
be  my  duty  to  dissemble — to  conceal.  Persons  singularly  unfortu- 
nate are,  even  if  guiltless,  marked  in  a  fearful  manner.  Their 
presence  excites  a  sort  of  horror  in  all  who  see  them— who  perceive 
them.  Every  one  wishes  to  observe  in  them  the  monstrous|  afflie- 
tion  to  which  they  are  subjected.  Every  one  is  curious,^  and,  at 
the  same  time,  uneasy.  Thus,  a  house,  a  town,  in  which  some 
monstrous  deed  has  t^eo  place,  remains  fearful  to  every  one  who 
enters  it.  There  the  light  of  day  shines  less  brightly,  and  the  stais 
seem  to  lose  their  lustre.** 

"  How  great,  and  yet,  perhaps,  excusable,  is  the  indiscretion, 
the  silly  importunity,  the  awkward  good-nature  of  people  towards 
such  unfortunate  persons.  Pardon  me  for  speaking  so,  but  I 
suffered  incredibly  for  that  poor  girl,  when  Luciana  brought  her 
forward  out  of  the  private  apartments  of  tho  house,  treated  her  with 
kindness,  and,  wito  the  best  intention,  wished  to  compel  her  to 
play  and  dance.  When  the  poor  girl,  ffrowing  more  and  more 
uneasy,  at  last  fled  and  fainted,  1  caught  her  in  my  arms ;  the 
company  were  alarmed  and  excited,  and  every  one  was  now,  for 
the  first  time,  really  curious  about  the  unhappy  one.  I  did  not 
then  think,  that  a  similar  fate  awaited  me ;  but  my  sympathy,  so 
true  and  lively,  still  exists.  Now  I  can  turn  my  compassion  upon 
myself,  and  take  care  not  to  occasion  similar  scenes." 

«•  But,  my  dear  child,"  said  Charlotte,  "you  will  never  be  able 
to  withdraw  yourself  from  the  sight  of  mankind.     We  have  no 
convents,  in  which  a  refuge  for  such  feelings  might  bo  found." 
**  Solitude  creates  no  refuge,  dear  aunt,"  returned  Ottilia.    *•  T^e 

Digitized  by  \^0(jy  IC 


THE  MUSICAL  WORLD. 


329 


most  precious  refuge  is  to  ba  found  where  we  caq  be  actiTe. .  No 
atODement,  no  denial,  is  capable  of  withdrawing  us  from  a  Tindictive 
destroy,  if  it  is  determined  to  persecute  us.  It  is  only  if  in  an  idle 
condition,  1  am  obliged  to  stand  as  a  spectacle  to  the  world,  that  it 
becomes  repulsire  to  me  and  torments  mo.  But  if  I  am  found 
bappy  in  my  toil,  unwearied  in  my  duty,  then  I  can  endure  the 
gaze  of  every  one,  as  I  need  not  fear  that  of  God.** 

"  I  am  very  much  mistaken,"  said  Charlotte,  ''if  your  iuclina* 
ttons  do  not  take  you  back  to  the  school." 

<*  Yes,"  answered  Ottilia,  '*  I  do  not  deny  it ;  I  consider  it  a 
fortunate  distinction  to  train  others  in  the  ordinary  path,  if  we  have 
been  trained  in  the  roost  singular  manner.  And  do  we  not  seo  in 
history  that  men,  who,  on  account  of  great  moral  calamities,  retired 
into  the  deserts,  were  by  no  means  concealed  and  enveloped  as 
they  hoped  to  be  ?  They  wero  called  back  to  tRe  world,  to  lead 
wanderers  Into  the  right  way ;  and  who  could  do  it  bettor  than 
those  already  initiated  into  the  labyrinths  of  life?  They  havff 
been  called  to  assist  the  unhappy,  and  who  can  do  it  better  than 
they  whom  no  earthly  evil  can  again  befal  ?" 

''Yon  choose  a  singular  destmatlon."  returned  Charlotte.  **  I 
will  not  oppose  you.  Let  it  be,  if  only— as  I  hope-*for  a  short 
time." 

'*  How  roach  I  thank  you***  said  Ottilia,  **  for  allowing  me  this 
trial— this  experiment.  If  I  do  not  flatter  myself  too  much,  1 
shall  succeed  in  it.  In  that  place,  I  will  remember  how  many 
trials  I  endured  there,  and  bow  small,  how  utterly  trivial,  they 
were,  compared  to  those  which  I  was  afterwards  forced  to  ex- 
perience. How  cheerfully  shall  I  observe  the  embarrassments  of 
the  Toong  saplings,  smile  upon  their  childbh  sorrows,  and,  with 
fpentle  hand,  conduct  them  out  of  all  their  little  difficulties !  The 
happy  tat  not  fitted  to  preside  over  the  happy.  It  lies  in  humaii 
nature  to  require  more  from  one's  self  anci  others,  the  more  one 
has  received.  Only  the  unhappy,  who  have  recovered  themselves, 
know  how  to  foster  for  theroselves  and  others,  the  Iceling  that  even 
a  moderate  good  should  be  eiyoyed  with  delight.** 

«  Let  me,"  said  Charlotte,  at  last,  after  some  hesitation,  '*  make 
one  more  objection,  which  seems  most  important  of  all.  The 
question  is  not  about  you,  but  about  a  third  party.  The  disposition 
of  the  good,  intelligent  assistant  is  well  known  to  you ;  in  the  path 
by.  which  you  go.  you  will  become  every  day  more  valuable  and 
indispensable.  Since  even  now,  in  accordance  with  his  feelings, 
be  does  not  like  to  livo  withput  you,  so  in  future,  when  once 
accustomed  to  your  co-operation,  he  will,  without  vou,  be  no  longer 
able  to  manage  his  business.  You  will,  at  first,  help  him  in  it,  to 
render  it  distasteful  afterwards." 

"  Fate  has  not  dealt  gently  with  me,"  said  Ottilia,  ''and  those 
who  love  me  have  not  perhaps  anything  much  better  to  expect. 
Good  and  intelligent  as  our  friend  is,  I  hope  thst  the  feeling  of  a 
pure  relation  towards  me  will  be  developed  in  him.  He  will  seo 
ui  roe  a  consecrated  person,  who  perhaps  can  only  outweigh  a 
monstrous  eril  for  herself  and  others,  by  devoting  herself  to  that 
Holy  Being,  which  invisibly  snrrouuding  us,  can  alone  protect  us 
agunst  monstrous,  intruding  powers." 

Charlotte  made  all  that  the  dear  giil  had  so  feelingly  uttered  a 
subject  for  great  consideratbn.  She  had  in  different  wa^s,  but 
most  gently  sounded  Ottilia  as  to  whether  an  union  with  Edward 
might  not  be  possible,  but  the  slightest  mention,  the  least  hope,  the 
snallest  suspicion  seemed  most  deeply  to  move  her ;  nay,  once, 
when  she  could  not  avoid  it,  she  expressed  herself  quite  plainly  on 
the  subject. 

"If,"  replied  Charlotte,  " vour. resolution  to  renounce  Edward 
IS  so  fixed  and  unchangeable,  beware  of  the  danger  of  seeing  him 
again.  When  absent  from  tho  beloved  object  we  seem,  the  more 
lively  our  affections,  to  have  the  more  mastery  over  ourselves,  by 
turning  inwards  the  whole  force  of  the  passion  which  was  directed 
outwards ;  but  how  soon,  how  swiftly  are  we  snatched  from  this 
error  when  that  with  which  we  thought  we  could  dispense,  at  once 
stands  agsin  before  our  eyes  as  indispensable  ?  Do,  now,  what 
you  consider  most  suitable  to  your  circumstances ;  examine  your- 
self—nay, rather  change  your  present  resolution,  but  do  it  fiom 
Yourself— from  jrour  own  free,  willing  heart.  Do  not  let  yourself 
be  drawn  by  accident  or  by  surprise  into  yonr  former  position  ;  for 
then,  for  the  first  time,  there  will  be  a  discord  in  the  feelings,  which 
is  insupportable.    As  I  have  said,  before  you  take  this  step,  before 


you  quit  me,  aud  begin  a  new  life,  which  leads  you— who  knows 
whither— reflect  once  more,  whether  you  can  really  renounce 
Edward  for  the  entire  future.  If  you  are  determined  upon  this 
point,  we  will  make  m  compact,  that  yon  shall  have  no  oommunioa 
with  htm,  not  even  so  much  as  a  conversation,  if  he  seeks  y oil,  or 
forces  himself  upon  you."  Ottilia  did  not  reflect  a  moment ;  she 
gave  Charlotte  tne  promise  she  had  already  given  to  herself. 

But  now  before  Chariotte*s  mind  constantly  floated  that  threat  of 
Edward's,  that  he  would  renounce  Ottilia,  only  so  long  as  she  was 
not  separated  from  Charlotte.  Circumstances  had,  indeed,  so  mqch 
changed  since  that  time,  so  much  had  occurred,  that  a  word  wrong 
from  him,  at  the  moment,  might  be  considered  void  with  respect  to 
succeeding  events.  Nevertheless,  she  did  not  wish  to  venture  or 
ufidcrtake  anything  that  could  wound  him  in  the  slightest  degroOf 
and  therefore  Mittler  was  to  sound  Edward's  views  upon  this  point. 

Since  the  death  of  Charlotte's  child,  Mittler  had  often,  though 
only  for  an  instant  vbited  her.  This  'calamity,  which  made  the 
re-union  of  the  married  couple  seem  improbable  in  the  highest 
degree,  had  a  powerftil  effect  upon  him  ;  but  always,  according  to 
his  natural  disposition,  hoping  and  striving,  he  now  rejoiced  in  secret 
at  Ottilia's  resolution.  He  trusted  to  the  softening  influence  of 
passing  time,  thought  still  to  bring  together  the  married  pair,  and 
regarded  these  passionate  emotions  as  mere  trials  of  conjugal  love 
and  fidelity. 

Charlotte  had  from  the  very  beginning  informed  the  Major  in 
writing  of  Ottilia's  first  declaration,  had  most  earnestly  entreated 
him  to  prevail  upon  Edward,  that  no  further  steps  should  be  taken  ; 
that  all  should  keep  quiet,  and  wait  to  see  whether  the  feelings  of 
the  dear  girl  would  change.  She  had  also  communicated  what 
was  most  necessary  of  the  late  events  and  views,  and  now  Mittler 
was  entrusted  with  the  difficult  problem,  of  preparing  a  change  in 
Edward's  mind.  Mittler,  however,  well  knowing  that  one  sooner 
puU  up  with  that  which  has  already  happened;  thaa  cousenU  to 
that  which  has  not  yet  taken  place,  persuaded  Charlotte  that  it  was 
best  to  send  Ottilia  at  once  to  school. 

On  this  account,,  as  soon  as  he  had  departed,  preparations  were 
made  for  the  journey.  Ottilia  packed  up  her  things,  but  Charlotte 
plainly  saw  that  she  meant  to  take  with  her,  neither  the  beautiful 
chest  nor  anything  out  of  it.  She  remained  silent,  and  let  the 
silent  girl  do  as  she  pleased.  The  day  of  departure  arrived  ; 
Charlotte's  oanriage  was  oa  the  fint  day,  to  take  Ottilia  to  a  weU- 
known  lodging  for  the  night,  and  on  th^  second,  to  take  her  to  the 
school.  Nanny  was  to  accompany  her,  and  remain  as  her  servant. 
This  impetuous  girl  had.  after  the  child's  death,  immediately 
attached  herself  to  Ottilia,  and  now,  clung  lo  her  as  before,  from 
nature  and  inclination.  Nay,  she  appeared  fa^  her  enterUininr 
loquacity,  to  make  up  for  her.  former  omissions,  and  to  wish 
thoroughly  to  devote  nerself  to  her  beloved  mistress.  She  was 
quite  beside  herself  at  the  happiness  of  travelling  with  l:er,— of 
seeing  new  regions,  as  she  had  never  been  beyond  the  place  of  her 
birth,  and  she  ran  from  the  castle  into  the  village  to  announce,  her 
felicity  to  her  parenU  and  relatkros,  and  to  take  leave  of  them. 
Unfortunately,  in  the  course  of  these  visiu,  she  entered  the.  rooms 
of  persons  sick  with  the  measles,  and  at  once  felt  the  consequences 
of  infection.  The  journey  was  not  to  be  put  off;  Ottilia  herself 
was  urgent  about  it ;  she  had  alreadv  travelled  on  the  road,  she 
knew  the  people  of  the  inn  whore  sue  was  to  stop,  the  coachman 
of  the  castle  took  her,  and  there  was  nothing  to  be  feared. 

Charlotte  made  no  opposition.  She  also  in  thought  alreadr 
hastened  from  the  spot,  and  only  wished  to  arrange  for  Edward, 
the  rooms  in  the  castle  which  Ottilia  had  inhabited,  just  as  they 
had  been  before  the  arrival  of  the  captain.  The  hope  of  receiving 
a  past  felicity  alwavs  flashes  up  once  more  in  man,  and  Charlotte 
was  justified  in  forming  such  hopes,  nay,  was  compelled  to 
entertain  them. 

(To  be  continued,)  _^  ^^    ^^^^ 

V  To  |«r«vent  misunderstanding,  It  may  ht  stated  that  the  copyright  of  this 
translation  helongi  aolely  to  the  tnuiilalor. 

STARTLING   INFORMATION. 

{From  Puneh's  London  CorreepondenL) 
.  ••  1  have  a  great  literary  secret  to  impart  to  you,  which  I  picked  up  at 
the  door  of  one  the  Clubs,  from  a  porter  who  enjoys  my  confidence.    My 
news  is  neither  more  nor  less  than  this— which  I  hasten  to  divulge ;   for 
I  am  determined  that  your  paper  shall  be  the  first,  either  in  or  out  of 


Digitized  by^^OOy  ItT 


J'oLi  -'J'i-"J',~r-tiH-rn»,i 


330 


THE  MUSICAL  WOULD. 


London,  to  comrauDicate  the  ttartling  intelligence.  Well,  then,  the  fact 
ie,  that  Macaulay  has  quarelled  with  the  Edinburgh  Review,  and  has 
joined  Lloyd*s  JAU^  which  is  sbortlf  to  appear  under  his  avowed  editor- 
ship. He  oonimences  the  next  number  with  one  of  his  brilliant  essays 
on  tUpping;  and  the  EdiMbvTgh  Review  will,  it  is  expected,  merge  in 
the  Obterver,  to  which  it  will  form  a  quarterly  supplement.  Tiie  OMrpt 
of  the  Edinburgh  being  thus  dispersed,  will  leave  many  of  its  writers 
ttte,  and  it  is  expected  they  will  go  over  in  a  body  to  the  Miuical  World, 
which  will  be  enlarged  to  six  times  its  present  size,  and  will  be  pub. 
lished  every  half-hour.  By  the  bye,  Hallam  does  not  write  a  burlesque 
for  the  Olympic,  nor  is  the  lessee  in  treaty  with  Dr.  Kaye  Shuttleworth; 
though  if  these  two  eminent  men  could  be  induced  to  combine  their 
strength,  an  immense  treat  might  be  expected." 

SONNET. 
No.  XXXV. 

I  often  ask  this  question  when  alone ; 

Whether  the  love  I  feel  for  thee  is  wrong. 

Then  comes  an  answer  hke  a  Seraph-song, 
So  soft  and  so  consoling  is  its  tone, 
TelUns  me  thou  art  destin'd  for  my  own, 

That  though  around  me  piany  troubles  throng:, 

I  must  resist  them  with  endurance  strong. 
And  then,  at  last,  they  all  shall  be  o'erthrown. 
Oh,  think  not  that  our  love  can  come  to  nought. 

And  that  the  purest  feeling  man  can  cherish,— 

A  love  that  shows  its  origin  from  Heav'a 
Sueh  wondrous  changes  in  my  heart  has  wrouglit. 

Only  to  fade  away  and  ^adly  perish. 

Think  not  a  blessing  for  a  curse  was  given. 

N.D, 

aUEEN'8   BENCH. 

RussBLL  V.  Smith. — Sergeant  Talford.  The  plaintiff  it  the 
well-known  performer  of  musical  entertainments  of  his  own  com- 
position ;  the  defendant  has  been  in  the  habit  of  imitating  them. 
The  action  was  brought  to  try  the  plaintiff's  right.  The  composition 
was,  "  The  Ship  on  Fire  i*  the  piece  was  sM  to  Cramer  and  Co. 
The  defendant,  Smith,  haid  become  a  servile  imitator ;  he  sang  the 
same  music  and  same  words  as  Mr.  Russell,  who  had  brought  this 
action  to  vindicate  his  right  to  the  exclusive  performance  of  his 
own  work.  Mr.  Bealb  (examined).  *<  The  Ship  on  Fire"  is  a  song 
of  a  draraatie  chsracter.  (Cross-examined).  1  haTo  heard  it  sung 
by  Russell ;  he  accompanied  himself.  There  is  a  piano  and  forte 
in  most  songs ;  '<  Airs  Well**  is  not  a  dramatic  song,  it's  a  duet. 
**  The  Ship  on  Fire"  is  as  original  as  any  sonp^  we  have ,  it  maj 
resemble  Rooke's  AmiUe  in  one  part ;  I  call  it  a  dramatic  song. 
Mr.  West  (examined).  I  have  heard  Mr.  Smith  perform  *<  The 
Ship  on  Fire ;  it  was  the  same  as  Russell's,  note  tor  note.  Mr. 
Russell's  piece,  as  a  part  of  the  diatonic  major-scale  ;  the  same  as 
Rooke's  AmiUe,  but  the  harmony  in  Mr.  Russell's  song  is  original 
and  the  time  and  key  are  different  in  the  two  pieces.  The  diatonic 
major-scale  belongs  to  me  or  any  one.  Sir  Hbmey  Bishop.  '*  The 
Ship  on  Fire"  is  an  original  song ;  it  is  as  original  as  songs  are  in 
modem  days  ;  Haydn  was  not  always  original  but  the  songs  that 
he  brought  out  are  still  called  his  ;  few  composers  can  be  called 
original ;  Beethoven  and  Cheml^ni  were  original ;  there  are 
passages  in  Beethoven  similar  to  previous  composers  ;  this  occurs 
in  the  works  6f  all  the  great  composers.  "  The  Heavens  are 
Telling"  resembles  '<  The  Lass  of  Richmond  Bj\\.^Verdict,  Forty 
ShiUinge  Damages. 

AN   ANALYSIS  OP  THE   HUMAN  VOICE. 

Cimptted  by  Frbdbrick  Wbbstbr,  Profe$tar  of  Elocution  to  the  Roffoi 
Academy  of  Muno. 
The  art  of  speaking  well,  has,  in  most  civilized  countries,  been 
a  cherished  mark  of  distinction,  between  the  elevated  and  the 
humble  conditions  of  life,  and  has  been  immediately  connected 
with  some  of  the  greater  labours  of  ambition  and  taste.  It  may, 
therefore,  appear  extraordinary,  that  the  world  with  all  its  works  of 
philosophy  should  have  been  satisfied  with  an  instinctive  exercise 
of  the  art,  and  with  occasional  examples  of  its  supposed  perfection  : 
without^  an  endeavour  to  found  an  analytic  system  of  instruction 
productive  of  more  multiplied  instances  of  success.  Due  reflection, 
noweyer,  will  contince  us,  that  even  this  extended  purpose  of  the 


art  of  speaking,  has  been  one  of  the  caueee  of  neglect.  The 
renowned  of  the  senate,  the  pulpit,  the  bar,  and  the  stage,  applauded 
into  self-confidence  by  the  multitude  that  surrounds  them,  cannot 
acknowledge  the  necessity  of  improvement :  for  the  rews^ds  that 
await  the  art  of  gratifying  the  general  ear  are  in  no  less  a  degree 
encouraging  to  the  fsults  of  the  voice  than  the  approving  judgment 
of  the  million  is  subveruve  of  the  rigid  disdpline  of  the  mind. 

Physiologists  have  described  and  classed  the  organic  position  by 
which  the  alphabetic  elements  are  produced.  On  other  points  their 
attempts  have  not  been  so  satisfactory.  In  investigating  the  subject 
of  intonation,  they  have  not  designated,  by  some  known  or  invented 
scale,  the  modes  and  degrees  of  such  movements.  They  have 
rather  given  th^r  attention  to  such  questions  as  these  :*-^Whether 
the  oigans  of  the  voice  partake  of  the  nature  of  a  wind  or  stringed 
instrument  ?  how  the  falsetto  is  made?  and  whether  acnteneas  and 
gravity  are  formed  by  variations  in  the  dimensions  of  the  glottu,  or 
in  the  tension  of  its  chords*  They  have  carefuUv  inspected  the 
cartilages  and  muscles  of  the  larvnz,  to  discovor  therebr  the  im- 
mediate  cause  of  intonation,  wldist  they  were  ignorant  or  the  veiy 
modes  and  degrees  of  that  intonation.  In  short  they  have  tried  to 
see  sound  and  touch  it  with  the  dissecting  kniie*-and  all  thia 
without  reaching  any  positive  conclusion,  or  describing  more  of 
the  audible  effect  of  the  anatomical  structure,  than  was  Enown  two 
thousand  years  ago. 

The  Greek  and  Roman  rhetoricians  and  writers  on  music  re- 
corded their  knowledge  of  the  functions  'of  the  voice.  They  dis- 
tinguished its  difierent  Qualities,  by  such  terms  as  hard,  smooth, 
sharp,  clear,  hoarse,  full,  slender,  flowing,  flexible,  shrill,  and 
austere ;  they  knew  the  time  of  the  voice,  and  had  a  view  to  its 
quantities  in  pronunciation.  They  gave  to  stress,  under  its  form 
of  accent  and  emphasis,  appropriate  places  in  speech.  They  dja» 
covered  two  modes  of  ascent  and  descent  in  pitch ;  one,  by  a 
contiuuous  rising  or  falling  slide,  which  they  called  concreta  sound  t 
the  other  by  a  discontinuous  movement,  which  they  called  diterata 
sound,  they  also  ascertained  that  the  concrete  was  employed  in 
speech  and  the  discrete  on  musical  instruments.  Though  from 
carrving  the  analysis  no  further,  they  erroneously  supposed,  as  we 
shall  learn  hereafter,  that  the  concrete  was  solelg  appropriated  to 
speech,  the  discrete  soiely  to  instruments.  The  uses  ofpiteh  or  the 
tones  of  the  voice  as  they  are  called  were  conducted  altogether  by 
imitation,  and  the  means  of  improvement  were  not  reduced  to  any 
precise  or  available  directions  of  art. 

The  few  and  indeterminate  designations  of  the  modes  in  readiogt 
compared  with  the  number  and  accuracy  of  the  terms  in  musae, 
imply  the  different  degrees  of  success  with  which  each  has  been 
cultivated.  The  inquirers  into  the  nature  of  speech  liave  g^ven 
up  their  judgments  to  authority,  and  their  pens  to  cj^uotation.  The 
musician  has  devoted  his  ear  to  observation  and  his  labour  to  the 
trial  of  its  truth.  The  words  quick,  slow,  long,  short,  loud,  soft, 
rise,  fell,  and  turn,  include  nearly  all  the  analytic  terms  of  the  art. 
How  far  they  fall  short  of  an  enumeration  of  all  the  functions  of 
the  voice,  and  how  fairly  the  present  condition  of  our  knowledge 
is  here  represented,  shall  be  determined  by  an  age  to  come,  when 
the  ear  will  have  made  deliberate  examination. 

A  conviction  of  the  imperfect  state  of  our  knowledge  in  some  of 
the  branches  of  the  art  of  speaking  first  suggested  the  design  of 
the  ensuing  investigation,  whilst  a  hope  to  influence  others  te  assist 
in  the  completion  of  a  desirable  measurement  and  method  of  the 
voice  produces  the  present  work. 

I  cannot  withhold  from  this  place  a  remark,  on  the  impoitanoe  of 
fixed  principles  in  the  arts ;  not  only  because  these  principles  are 
the  true  sources  of  the  intellectual  enjoyment,  which  the  arts 
afford,  but  because  they  are  tlfe  most  effective  means  for  their 
improvement ;  and,  although  the  entire  want  of  such  principles  for 
the  government  of  intonation,  has  unnecessarily  led  to  the  belief 
that  they  cannot  be  instituted,  it  will  be  shown,  in  the  following 
essay,  that  they  are  not  only  as  essential,  but,  likewise,  as  attainable 
in  elocution,  as  in  any  other  art  which  emplovs  the  judgment  and 
interests  the  imagination.  Music,  with  its  infinitude  of  details, 
would  still  have  been  a  mystery,  if  the  doctrine  of  its  intervalB 
and  time,  and  the  mode  of  their  construction  could^  have  been 
caught,  only  from  the  multiplied  combinations  and  rapid  execution 
of  the  orchestra.  The  accuracy  of  mathematical  calculation, 
joined  with  the  sober  patience  of  the  ear,  oyer  the  slow  practice  of 


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THE  MUSICAL  WORLD. 


331 


iU  elements,  has  not  had  more  success  in  disclosing  the  system  of 
tbb  beautiful  and  luminous  science  than  a  similar  watchfulness  over 
the  deliberate  moTements  of  speech  will  afford  for  the  facilities  of 
obsorTation  and  the  conscious  use  of  its  acquisition.  If  there  is 
any  sco|)c  in  the  works  of  nature,  or  an^  foredoomed  efficiency  of 
means  to  complete  the  circle  of  her  designs,  we  shall  find,  on  the 
development  of  the  scheme  of  speech,  those  unalterable  rules, 
within  the  pale  of  which,  the  voice  should  be  variously  exercised, 
in  dder  to  give  light  to  the  understanding  and  pleasure  to  the  ear. 
(To  he  continued.) 

HER   MAiESTY'S  THEATRE. 

On  Saturday  and  Tuesday  La  Sonnamhula  was  played  for 
the  second  and  third  times.  On  Thursday,  an  extra  night, 
Roberto  il  Diavolo  was  given.  The  fta/le/'performances  have 
consisled  of  the  same  entertainments  we  have  already  so 
frequently  noticed,  viz: — Tableaux  from  Coralia,  or7%ea,  and 
several  incidental  dances,  with  Cerito,  Rosati,  Marie  Taglioni, 
Penroti  St.  Leon,  &c.  Lucile  Grahn  has  been  seriously  ill 
but  has  now,  we  believe,  quite  recovered.  Cento,  has  also 
been  slightly  indisposed,  bo  as  to  prevent  her  dancing  on 
Tuesday  and  Thursday. 

The  houses  have  been  overflowing  and  the  enthusiasm  of 
Mdlle.  Lind  has  not  one  item  abated.  Her  next  character 
will,  we  understand,  be  in  the  Filie  du  Regiment  of  Donizetti, 
which  is  now  in  active  rehearsal.  Mr.  Lumley  is  certainly  a 
/ucky  man,  but  no  one  can  grudge  him  what  he  has  obtained 
by  indomitable  energy  and  perseverance.  He  won  Jenny 
Lind  well — may  he  wear  her  long.  We  wish  him  no  better, 
nor  worse. 

On  Satxnrday  Marie  Taglioni  danced  for  the  last  time.  She 
was  received  with  that  applause  which  was  due  to  her  great 
merits  and  unassuming  character.  Perhaps  no  dancer  ever 
won  reputation  and  friends  so  quickly  as  Marie  Taglioni. 
She  made  her  first  public  deb^,  at  Her  Majesty's  Theatre,  on 
the  opening  night  of  the  season.  Her  charming  talent  was, 
at  once,  appreciated,  and  he^  personal  beauty  and  agreeable 
manner  achieved  what  her  artistic  promise  began.  She  is 
already  an  established  favourite  here,  and  her  annual  appear- 
ance amongst  us  will  be  looked  for  with  anxiety.  Mr. 
Lumley  could  not  possibly  have  made  a  more  happy  addition 
to  his  choregraphic  troupe.  We  believe  Marie  Taglioni  is 
scarcely  sixteen  ;  if  so  her  talent  is  the  more  remarkable  and 
the  greatest  things  may  be  anticipated  of  her  future  career. 
She  has  gone,  with  her  father,  M.  Paul  Taglioni,  to  Berlin, 
where  the  latter  resumes  his  duties,  as  baUet-master,  at  the 
Opera. 

To-night  Carlotta  Chisi  makes  her  first  appearance,  this 
season,  in  Esmeralda.  This  will  be  aflte  for  the  lovers  of 
the  baitet.  The  popular  and  admirable  danseuse  is  engaged 
for  two  months. 

ROYAL  ITALIAN   OPERA. 

The  production  of  Lucrezia  Borgia  on  Saturday  night  was, 
as  yet,  the  greatest  triumph  of  the  new  operatic  establish- 
ment. Whether  we  take  into  consideration  the  ensemble  of 
the  band  and  the  chorus,  or  the  principals  severally,  we  shall 
find  nothing  to  award  but  the  very  highest  praise.  It  was 
one  of  the  most  complete  operatic  perforipancea  ever  pre- 
sented to  a  British  audience.  Nearly  the  whole  strength  of 
the  company  was  made  available,  and  the  smallest  parts  were 
entrusted  to  artists,  who,  hitherto,  had  been  accustomed  to 
appear  in  nothing  subordinate.  This  speaks  loudly  in  favour 
of  the  management,  but  still  more  loudly  for  the  leading 
members  of  the  vocal  corps,  who,  throwing  aside  all  feelings 
of  rivalry,  had  no  ulterior  consideration  beyond  that  of  illus- 


trating a  great  work  of  a  master  in  the  most  complete  manner. 
To  Signor  Marini,  especially,  the  chiefest  thanks  is  due,  for  ' 
not  only  undertakmg  an  inferior  part,  but  for  resigning  to 
another  artist,  without  a  murmur,  a  principal  character  in  the 
opera,  in  which  he  had  won  himself  a  great  continental  repu- 
tation. This  is  truly  pulling  together  in  the  same  harness, 
and  while  works  are  thus  produced,  as  Lucrezia  Borgia  was 
produced  on  Saturday  night,  the  management  can  have  no 
fear  of  realizing  its  most  sanguine  hopes  of  success.  On 
some  few  occasions  we  have  found  reason  to  stint  our  praise 
of  the  Royal  Italian  Opera;  on  the  present  occasion,  we 
cannot  be  too  loud,  or  laudatory  in  its  commendation.  Let 
the  reader  peruse  the  cast  of  characters,  and  judge  for  himself^ 
whether  we  are  attempting  to  hyperbolise. 


Don  Alfonso,        (Vuke  qf  Ferrara)  z 

Lucrezis  Borgia,   (Duchest  of  FerraraJ      • 
Gennaro,  (Son  of  the  DucheuJ 

Mtffio  Oraini,    *  (Friend  to  Qennaro) 
Afttolfo  0""^  agent  of  the  Duchms) 

Ascanto  Petrudo    .  »  •  • 

Don  Apostolo  Gazella         .  .  • 

Rustighello  (an  agent  of  the  DuheJ    . 

Joppo  Liverotto     .... 
Oloferno  ViteUozzo  (an  agent  of  the  Duchess) 


SioNoa  TAMsoaiMi, 
Madams  Grisi, 
SiGMOB  Mario, 
Madbmoibblui  Alboni, 

SlONOE  PlBTBO  LbY, 

Signor  PoLONmia 
SiGNOE  Marini, 
Signor  La  via, 
Signor  Tulli, 

SlONOE  TaGLIAFIOO. 


Our  readers  and  the  public  are  sufficiently  acquainted  witli 
Donizetti's  opera  to  preclude  us  from  entering  into  the  merits 
of  the  music,  or  the  drama.  The  opera  is  considered  one  of 
the  master's  best  serious  works,  and  with  this  estimate  we  feel 
inclined  to  agree.  The  drama  is  taken  from  Victor  Hugo's 
celebrated  tragedy,  Lucrezia  Borgia^  and  though  not  happily 
adapted  in  the  operatic  version,  it  still  retains  much  of  the 
fearful  interest,  and  several  of  the  striking  situations  of  the 
splendid  original.  The  first  indication  of  the  superior  manner 
in  which  the  opera  was  got  up  on  Saturday  evening,  was 
instanced  in  the  performance  of  the  chorus  in  the  first  scene, 
"  Bando  a  si  triste,"  which  was  so  magnificently  given  as  to 
elicit  a  tremendous  encore.  It  was  sung  to  perfection,  which 
can  hardly  be  a  matter  of  doubt,  when  we  mention  Alboni, 
Marini,  Tagliafico,  Mario,  and  Polonini  among  the  singers. 
Marini* s  magnificent  bass  voice  came  out  grandly  in  the  forte, 
and  towered  above  all  the  rest*  The  scene  between  Astolfo, 
the  agent  of  the  Duchess,  and  Rustigello,  the  agent  of  the 
Duke,  when  the  latter  has  the  former  seized  by  a  band  ot 
soldiers,  was  also  admirs^bly  managed,  and  given  with  com- 
pleteness ;  the  singing  of  Pietro  Ley  and  Lavia  being  worthy 
of  very  great  praise.  The  chorus,  **  Al  suo  nome,"  was 
rendered  with  fine  effect.  What  we  have  noted  here  of  the 
chorus  in  the  above  morceauXy  may  be  applied  to  their  entire 
share  of  the  performance.  They  were  uniformly  excellent 
throughout  the  whole  opera.  Of  Alboni,  we  have  already 
spoken  so  much  in  terms  of  praise,  as  idmost  to  have  ex- 
pended Qur  vocabulary  of  eulogy.  She  was  at  least  as  great  in 
Orsini  as  in  any  of  her  previous  efforts.  The  audience  seemed 
to  think  the  artist  was  far  greater,  for  on  no  former  occasioa 
did  she  excite  so  much  enthusiasm.  In  the  romanza,  *'  Nella 
fatal  di  Rimini,"  she  was  encored,  and  subsequently  recalled. 
Such  an  encore,  and  such  a  recall,  we  have  rarely  witnessed 
indeed.  In  the  bacchanalian  ballad,  **  II  segreto  per  esser,** 
a  still  greater  triumph  awaited  her.  She  was  encored  twice, 
and  recalled  afterwards.  Her  acting  in  this  scenes  was* 
admirable.  Her  whole  performance  created  a  veritable Tvror^. 
Maden^oiselle  Alboni  was  in  splendid  voices— when  is  she  not  ? 
— and  sang  most  exquisitely — when  does  she  npt  ?  Mario, 
when  he  commenced,  exhibited  symptoms  of  his  late  illness. 
We  were  aware  of  his  still  labouring  under  the  eifects 
of  his  attack  of  influenza,  but,  sooner. than  disapnoint  the 

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3812 


THE  MUSICAL  WORLD. 


subscribers  and  the  public,  he  waived  all  thoughts  of  self, 
and  would  not  postpone  the  opera  a  single  night.  In  the 
last  act,  however,  he  seemed  to  have  discarded  all  his  illness, 
and  sang  and  acted  as  finely  as  ever.  The  beautiful  aria, 
"  Come  e  soave,"  was  deliciously  given,  and  rapturously 
encored.  We  hardly  ever  remember  Mario  to  have  sung  with 
more  sweetness  and  more  expression.  In  the  last  scene  his 
acting  was  really  great,  and  his  death  managed  with  the 
highest  possible  art.  Tamburini^  as  the  Duke,  had  but  one 
scene  in  which  his  powers  were  called  forth,  but  in  that  one 
scene  the  artist  was  surpassingly  fine.  His  cold-bloodedness 
and  lago-like  aspect  as  he  watched  the  Duchess's  countenance 
when  Gennaro  was  brought  in  to  be  put  to  death,  was  masterly 
In  the  extreme ;  and  the  serpent-like  smile  he  put  on  when 
he  demanded  of  Lucrezia,  "  Noto  vi  e  desso  ?"  was  worthy 
of  the  greatest  tragedian.  Many  more  delicate  points  were 
given  in  this  scene  with  the  deepest  skill  and  insight  into 
character^  which  unfortunately  were  lost  on  the  majority  of 
the  audience,  who  were  in  utter  ignorance  of  the  words  the 
great  artist  uttered.  If  audiences  at  our  Italian  Operas  could 
understand  the  language  which  forms  the  vehicle  to  the  music, 
they  would  not  always  bestow  their  loudest  acclamations  upon 
the  strongest  singers,  but  would  sometimes  feel  that  passion 
has  other  grand  vents  besides  force  and  vociferation.  In  this 
Bcei^e  of  Tamburini's  we  ourselves  felt  the  full  power  of  the 
gredt  actor,  and  were  assured  his  consummate  art  was  never 
more  truthfully,  or  intensely  exhibited.  It  was  such  a  piece 
of  acting,  so  unexaggerated,  so  deep  and  full  of  meaning,  as 
Macready  would  have  loved  to  look  upon.  Nothing  could  be 
finer  than  the  assumed  calmness  of  the  artist,  whUe  he  was 
probing  his  faithless  spouse  to  the  quick,  till  she  inquires  of 
him,  '*  who  makes  him  so  determined  against  Gennaro  ?*'  when 
turning  upon  her,  he  utters,  in  a  tone  of  frenzy,  **  You !"  and 
then  follows  an  explosion  of  passion,  intensely  real  and  grand. 
The  whole  of  this  scene,  between  Grisi  and  Tamburini  was  a 
great  dramatic  feast.  Ou^  friend,  a  brother  of  the  daily  press,  in 
his  notice  qh  Tamburinl's  performance  of  the  Duke,  is  some-' 
thing  stinting  in  his  praise,  because,  as  he  says,  he  had  seen 
L'ablache,  who  was  the  original  of  the  part.  We  beg  to 
assure  our  honest  and  thoroughly  impartial  cotemporary  that 
he  labours  under  an  error.  We  dislike  all  comparisons,  and 
between  two  such  artists  as  Tamburini  and  Lablache  it  would 
appear  particularly  invidious ;  but,  we  cannot  refrain  from 
setting  the  critic  to  rights,  regarding  the  original  performance 
of  the  Duke  Alfonso,  in  Lucrezia  Borgia.  When  the  opera 
was  produced  at  Her  Majesty's  Theatre,  Tamburini  was  the 
original  Duke.  After  his  secession,  Lablache  undertook  the 
character,  but,  being  a  basso,  was  compelled  to  transpose  the 
music.  It  was  Tamburini,  and  not  Lablache,  who  identified 
himself  with  Duke  Alfonso.  The  impression  Grisi  left  upon 
our  minds  in  her  performance  of  Lucrezia  Borgia,  on  Saturday 
night,  it  will  take  a  long  time  to  efface.  We  never  witnessed, 
on  the  boards  of  any  stage,  a  grander  representation  of  the 
tragic  passions.  It  would  take  more  room  than  we  could  well 
spare  to  enumerate  half  the  excellencies  of  her  singing  and 
acting.  Signs  there  were,  occasionally,  in  her  singing,  that 
Grisi,  as  well  as  Mario,  was  labouring  under  the  effects  of 
influenza ;  but,  who  would  condescend  to  name  the  spots  in 
the  sun,  when  describing  that  glorious  lummary  ?  As  lofty  and 
haughty  as  her  Semiramide,  or  Norma ;  as  thrilling  as  her 
Donna  Anna;  as  pathetic  as  her  Anna  Bolena;  Grisi's 
Lucrezia  rises  far  above  them  all  in  sustained  intensity  and 
vigour.  Her  first  song,  "Come  6  hello,"  was  hardly  given  with 
the  finish  and  precision  we  have  heard  it  on  other  occasions. 
The  effects  of  her  illness  were  perceivable ;  but,  throughout 


the  scene,  with  Gennaro,  she  was  all  herself  again,  and  sang 
with  unusual  efiect.  In  this  scene  her  acting  was  exquisitely 
truthful  and  beautiful.  In  the  next  scene,  with  the  revellers, 
when  they  all  taunt  her  with  her  crimes,  she  came  out  with 
such  power  and  fire  as  to  electrify  the  house.  The  curtain 
fell  amidst  a  storm  of  applause.  The  scene  with  the  Duke 
was  so  magnificent,  involving-  so  many  different  shades  of 
feeling  and  passion,  depicted  so  truthfully,  as  to  leave  it  a 
difficult  task  to  look  for  anything  in  modem  tragic  acting 
to  surpass  it,  or  even  to  parallel  with  it.  Her  rage,  when  she 
demands  the  Duke  to  punish  the  traitor,  who  has  dared  to 
defame  her  name,  the  vengeful  joy  she  exhibits  when  told  her 
calumniator  is  in  the  Duke's  hands,  her  horror  at  beholding 
in  her  calumniator,  Gennaro,  her  own  son ;  her  agonised  en- 
deavour to  save  his  life,  without  betraying  who  he  is ;  her 
pathetic  pleadings  to  the  Duke,  and  her  despair  when  forced 
to  decide  whether  Gennaro  shall  die  by  poison,  or  by  the 
sword,  were  all  evidences  of  the  very  loftiest  art.  The 
subsequent  scene  with  Gennaro,  where  she  entreats  him  to 
take  die  antidote,  after  he  has  drunk  the  poison,  was  tre- 
mendously grand.  Her  last  scene  with  Gennaro,  where  his 
death  occurs,  was  grander  than  all.  We  have  no  terms 
capable  of  conveying  the  absolute  sublimity  of  her. per- 
formance here.  Siddons  herself,  as  she  wailed  over  the  death 
of  Arthur,  was  never  more  affecting,  or  more  real.  The  aria, 
"  Era  desso  il  figlio  mio,"  unfortunately  the  weakest  morceau 
in  the  opera,  was  given  like  the  notes  of  the  dying  swan,  ieind 
her  last  words,  as  she  falls  on  the  body  of  her  son,  were 
uttered  as  if  they  came  from  a  heart  on  the  verge  of  breaking. 
After  such  a  performance  what  are  re-calls,  bravos,  plaudits, 
enthusiasm,  nxid  furore?  Compliments,  certainly, as  indicating 
the  feeling  of  the  audience,  but  absolutely  noUiing  commen- 
surate with  the  merits  of  the  artist.  In  such  a  case  is  not  the 
silenced  tongue,  and  the  mute  hands,  evidencing  the  throbbing 
heart,  fitter  eulogy,  than  ro^irs  and  thunder,  and  useless 
summonings  ?  So  felt  we — when  the  curtain  fell,  our  lips 
were  sealed  :  when  Grisi  came  on  our  hands  were  not  uplifted. 
After  the  opera,  the  divertissement^  La  Bouquetiire  de 
Fenise,  was  performed,  in  which  Mademoiselle  Fanny  Elssler 
introduced  the  Cachucha  for  the  second  time,  and  gained  im- 
mense applause.  The  opera  of  Lvcrezia  Borgia  was  repeated  on 
Tuesday,  with  increased  efifect ;  after  which,  a  new  ballet  was 
produced,  entitled.  La  Salamandrine.  We  propose  reviewing 
this  ballet,  next  week,  at  some  length,  and  introducing  in  oar 
notice  an  original  poem  founded  on  the  Salamandrine,  written 
by  a  celebrated  author,  and  shall  therefore  reserve  our 
remarks  till  our  next  number.  On  Thursday,  an  extra-night, 
the  Lucrezia  was  performed  for  the  third  time,  with  the  last 
act  of  Italiana  and  La  Salamandrine,  This  evening,  the 
Barhiere  is  played  with  an  unexpected  cast  of  characters; 
and  Don  Giovanni  is  announced  for  next  Thursday.       D.  H. 

ORIGINAL  CORRESPONDENCE 

{To  the  Editor  qf  "  Ths  Mutieal  ffbrW.") 

Sib,— In  ansNver  to  the  letter  of  Phil-Hymnos,  in  your  Itit,  I  send 
you  the  order  of  service  for  next  Sunday  evening.  The  writer  cannot 
surely  be  aware  that  the  object  of  the  Society  is  to  have  the  miiaic  of  the 
church  sung  properly  in  the  church  by  persons  who  have  been  educated 
in  the  science.  The  profession  have  been  bmught  up  in  the  church,  and 
ought,  in  my  opinion,  to  be  found  employment  and  properly  remuneimted. 
The  anthems  were  written  for  the  use  of  the  church,  and  not  for  the 
concert-room.  The  service  that  we  sing  on  Sundsy  evenings  is  written 
by  the  organist  of  Rochester  Cathedral,  and  is  a  very  clever  composition ; 
and  we  have  many  that  could  and  would  write  for  the  church,  if  there 
was  even  a  chance  of  their  writings  being  heard.  Trinity  Church  has  no 
means  of  supporting  a  choir  but  by  annual  subscriptions  and  voluntary 
contributions,  while  the  Mother  Church,  I  have  been  informed,  has  an 


Digitized  by  V^^^^^^t: 


THE  MUSICAL  WORLD 


333 


income  of  £l,50o  t  year  to  repair  the  outaide  of  it,  arising  from  the 
Hmin^  Inn  estate.  Mr.  Surman  has  been  applied  to  by  the  clergyman 
ind  churchwardens  of  the  church  to  undertake  the  superintendence  of 
the  choir,  and  the  means  that  are  made  use  of  to  support  it  are  in 
accordance  with  their  directions.  I  am  happy  to  say  that  the  congrega- 
tion is  increasing,  and  applications  are  being  made  from  other  churches 
to  provide  them  with  educated  choristers.  If  any  of  the  dergy  were  to 
go  there  in  the  evening,  they  would  hear  the  same  music  sung  as  at 
St.  Paurs,  Westminster  Abbey,  and  the  Chapel  Royal,  where  best  sung, 
I  mutt  leave  them  to  judge  for  themselves.-- Yours,  truly. 

A  Chorister  of  Trinity  Church. 


MR.  HOLM,  THE  PHRENOLOGIST, 

DtAR  Mr.  EDfTOR.^-Knowing  the  earnest  interest  that  so  many  of 
your  subscribers  attach  to  the  important  science  of  Phrenology,  I 
cannot  resist  to  bey  of  you  a  corner  for  a  few  lines,  to  direct  their 
attention  to  a  most  exquisite  portrait  of  the  worthy  philosopher  and 
phrenologist.  Holm,  Esq.  (the  friend  of  the  great  Spurzheim),  which  is 
at  the  present  Royal  exhibition— to  use  a  familiar  phrase,  it  speaks  from 
the  canvass.  It  is  decidedly  the  best  and  most  intellectual  likeness  I 
ever  saw,  and  painted  with  that  masterly  perfection  and  decision  that  at 
once  proclaims  the  first-rate  artist.  Mr.  Hervien  enjoys  the  greatest 
reputation  on  the  Continent,  and  is  the  best  pupil  of  Girodet.  I  saw 
his  illustrations  of  a  popular  work,  and  sketches  of  American  manners, 
which  are  worthy  of  the  highest  praise,  giving  proofi  of  the  most 
lazuriant  artistic  imagination  and  the  highest  finish. 


(To  the  Editor  of  •'  The  Mutkal  World,"} 
Sir, — ^Int^etfMfMe  number  of  your  excellent  work  of  the  2nd  of  May, 
1846.  there  appeared  an  advertisement,  stating,  that  a  gold  medal  would 
be  awarded,  in  the  following  July,  for  the  best  Anthem ;  it  went  on  to 
state  the  conditions  to  be  observed  and  where  it  might  bo  sent  to.  As 
one, of  the  candidates  I  should  feel  much  obliged  if  you  could  inform  me 
whether  any  attfard  has  yet  been  made,  I  know  that  none  was  made  in 
July  as  the  advertisement  stated  it  would  be.  I  have  no  doubt  but  that 
among  your  numerous  subscribers  there  are  some,  who,  like  myself,  sent 
in  their  MS.  so  that  if  you  cannot  inform  me  perhaps  some  of  them  can. 
1  remain,  sir,  your  obedient  servant,  A.  B. 

Wnlmimter,  Aprii  30,  1847. 

DRAMATIC  INTELLIGENCE. 

Hatmarkbt.— On  Monday  evening,  the  new  comed^r*. 
Temper;  -was  produced  at  this  house,  with  the  most  comptete 
success.  The  comedy  kept  attention  alive,  if  it  did  not  create 
surprise  or  emotion.  I  he  plot  of  Temper  is  trivial  to  a 
degree,  and  old  as  Mount  Athos.  A  young  lady  is  a  rich 
heiress,  wayward  and  passionate.  She  is  beloved  by  a  young 
gentleman,  who  is  not  rich,  but  is  equally  wayward  and 
passionate  as  the  young  lady.  A  quarrel  ensues,  because  the 
lover  is  not  exact  in  his  appointment  to  sign  the  marriage 
settlements ;  a  breach  follows^  and  then  a  reconciliation.  The 
comedy  of  Temper  is  neatly  written  and  natural.  The  cha- 
racters of  the  play  axe  sufficiently  contrasted,  and  drawn  with 
some  force.  Mr.  Webster,  who  played  his  part  extremely  well, 
had  to  support  a  calculating  fortune-hunter,  a  character 
amusing  enough,  but  which  may  be  found  in  nine  novels  out 
of  ten.  Mr.  Farren,  in  an  old  bachelor,  who  is  entirely  good- 
natured  and  has  lost  his  memory,  was  excellent  and  appeared 
to  greater  advantage  than  we  have  seen  him  for  a  long  time 
in  a  new  part.  Mrs.  Glover  had  a  part  well  suitied  to  her.  This 
great  artist  played  a  bustling,  perpetually-talking  widow, 
with  all  her  usual  power,  and  excited  immense  laughter 
whenever  she  appeared.  The  sketches  of  two  country  de- 
moisselles  admirably  supported  by  Miss  P.  Horton  and  Mrs 
Humby,  were,  perhaps,  the  most  meritorious  efforts  of  the 
author  of  'Jemper,  Miss  Forteacue,  as  the  wayward  heiress, 
performed  with  grace  and  spirit.  She  was  deserving  of  much 
pndae  in  her  reconciliation  scene  in  the  last  act  with  her  lover. 
The  manager  has  gone  to  very  great  expense  in  producing 
the  comedy.  The  dresses  and  scenery  were  as  fine  and  ap- 
propriate as  they  possibly  could  be.     Temper  will  take  its 


place  beside  those  works  produced  at  the.  Haymarket  Theatre, 
which,  by  a  long  run,  will  reimburse  the  manager  for  a  heavy 
outlay.  The  Hungarian  Instrumental  Vocalists  have  appeared 
every  evening,  during  the  week,  and  continue  to  prove  very 
attractive  at  second  price.  Their  performances  are  novel  and 
highly  amusing. 

Princess's.. —  Mrs.  Butler  closed  her  engsgement  last 
evening  with  the  performance  of  Juliet,  in  "Romeo  and 
Juliet."  Macready  and  Mrs.  Warner  are  engaged,  and  appear 
on  Monday,  in  "  Hamlet.*'  A  choregraphic  troup,  called  the 
Hungarian  dancers, .  made  their  appearance  on  Thursday 
evening,  and  performed  several  national  pas,  which  were 
received  with  much  applause, 

French  Plays. —  Un  Coup  de  Lansquenet  is  neither  a 
very  new,  nor  a  very  brilliant  idea.  A  man  who  pays  his 
court  to  a  married  woman,  and  hesitates  at  marrying  a  young 
and  beautiful  girl  with  a  large  fortune,  he  himself  being  over- 
head and  ears  in  debt— such  is  the  subject  matter.  The 
moral  is  doubtful,  and  the  wit,  to  say  the  least  of  it,  stale  and 
second-hand.  The  usual  jokes  at  the  blindness  of  husbands, 
more  particularly  diplomatic  ones,  the  beauty  of  being  dunned 
by  creditors,  the  excitement  of  spending  other  people's  money, 
with  an  uncle  in  the  back-ground  to  make  all  right  at  the 
finish ;  such  are  the  materials  worked  up  into  two  acts  by  M. 
L6on  Laya.  There  is  but  one  good  character,  that  of 
Desrousseaux,  played  by  Monsieur  Regnier;  he  is  a  man 
who  would  give  anything  to  come  out  strong,  but  it  won't  do; 
in  vain  he  attempts  the  roui ;  he  cannot  be  anything  but  a 
simple,  easy,  bashful,  country  gentleman.  M.  Regnier  was, 
as  usual,  excellent :  he  is  so  full  of  mercury,  that  he  keeps 
himself  and  every  one  else  continually  on  the  move.  His 
part  is  the  least  item  in  his  acting— his  bye  play  is  sufficient 
to  carry  the  house  by  storm — he  gesticulates  with  his  legs, 
arms,  head,  hands,  hat— in  short,  he  is  perpetual  motion  im- 
personated. The  scene  in  which  be  persuades  his  friend  to 
marry  the  girl  and  not  to  marry  her,  and  his  dealing  tile  cards 
to  decide  which  letter  shall  be  sent,  was  most  amusing. 
Mademoiselle  Denain,  as  the  Marchioness,  had  a  most  difficult 
part  to  make  anything  of — a  compound  of  easy  morality 
and  forced  repentance,  without  even  the  merit  of  voluntarily 
discarding  her  would-be  lover.  This  charming  actress,  never- 
theless, supplied  by  the  polished  style  and  graceful  sensibility 
of  her  performance,  all  the  interest  in  which  the  character  she 
had  to  portray  is  wanting.  She  looked,  as  she  always  does, 
handsome  and  elegant,  and  lady-like.  Mdlle,  Vall6e  ]o<^ed 
and  acted  to  perfection  the  part  of  the  young  maiden.  "Oscar," 
or  Un  Mart  qui  trompe  sa  femtne,  is  worthy  of  the  reputation 
of  M.  Scribe  in  every  respect.  Oscsr  Bonnivet  has  married 
young,  and  loves  his  wife  to  adoration.  Unfortunately  he  has 
taken  to  reading  the  novels  of  the  romantic  school,  and  he 
finds  everything  insipid  when  compared  to  the  burning  passion 
and  harrowing  crimes  depicted  by  our  modern  writei^  of 
fiction.  His  brain  turned,  by  poring  over  these  compositions, 
he  resolves  to  commit  a  crime  himself,  just  to  judge  how  he 
will  feel  after  it,  and  v.ith  this  intention^  chooses  what  he  calls 
the  most  agreeable  of  all,  that  of  deceiving  his  wife.  Full  of 
this  idea,  he  writes  a  letter  to  ^is  niece,  and  proposes  a 
meeting.  She  answers,  "  Oscar,  je  f  attends ;"  but  his  wife 
gets  possession  of  the  epistle,  and  sends  her  servant  instead. 
Oscar  does  not  discover  his  mistake  until  some  time  alter,  and 
then  he  is  frightened  to  death  that  his  wife  may  find  him  out, 
he  doubles  Manette's  wages,  who,  by  the  bye,  is  prudently 
kept  in  the  dark  by  her  mistress,  and  buys  her  silence  by 
giving  her  a  large  sum  of  money.  The  tables  are  now  turned 
or  awhile ;  Oscar  laughs  at  his  own  fears,  but  his  wife  regains 
'  Digitized  by  \^OOy  It: 


334 


THE  MUSICAL  WORLD. 


her  empire  by  relating  to  him  the  whole  affair  in  which  she 
had  doped  him  during  upwards  of  six  months.  Matters  are 
finally  brought  to  a  successful  termination,  and  Manette's 
power  is  brought  to  an  end.  M.  Regnier  was  admirable.  His 
terror  of  his  wife,  his  fear  of  discovery,  his  horror  of  being 
betrayed  by  his  servant,  his  confession  to  his  wife,  were  all 
models  of  comic  acting,  and  kept  the  house  in  convulsions. 
Mademoiselle  Denain  was  admirable  as  the  wife,  and  made 
every  point  tell  with  exquisite  art.  M.  Cartigny  as  the 
uncle,  who  never  loses  sight  of  the  main  chance,  added 
materially  to  the  success  of  the  piece.  Mdlle.  Duverger 
looked  even  more  pretty  than  usual,  and  threw  a  proper  mea- 
sure of  pertness  into  the  part  of  the  soubrette, 

CONCERTS. 

Madami  Puzzi's  Concert. — The  Annual  Morning  Entertain- 
ment  of  this  esteemed  professor  is  usually  the  herald  of  the 
monster-eoncerts  for  the  season.  On  the  present  occasion  the 
locale  was,  as  usual,  the  great  music-room  of  Her  Majesty's 
Theatre.  The  programme  was  on  the  scale  of  variety  and  ezeellence 
to  which  Maaame  Puz^i  has,  for  many  years,  accustomed  her 
patrons  and  the  public.  The  following  vocalists  took  part  in  the 
proceedings  : — Mesdame^  Montenegro,  F.  Lablache,  Castellan, 
and  Toulmin ;  Mdlles.  De  Mendi,  Georgette  Brocard,  and  Dolby ; 
Signori  Gardoni,  Fraschini,  Lablache,  F.  Lablache,  Coletti, 
Superchi,  and  Staudigl.  Signer  Marras  was  announced,  but  did 
not  make  his  appearance.  The  vocal  selection  was  generally 
admirable,  some  few  pieces  especially  so.  Among  these  were  con* 
spiouous  two  capital  songs  from  the  Bohemian  Girl  and  the  Castle 
€f  Aymon,  bv  Balfe,  delivered  by  Staudigl,  with  a  characteristic 
energy  of  style  in  which  the  great  German  basso  has  verv  few 
competitors.  The  nest  and  eraceful  execution  of  Mdlle.  de  Alendi, 
a  young  and  pretty  Spanish  vocalist,  nearly  related  to  poor 
Malibran,  in  the  well-known  air  vari4,  by  Rode,  excited  general 
approval.  Mdlle.  Georgette  Brocard,  a  debutanie^  produced  a 
favourable  sensation  in  an  air  from  Pacini's  Saffo^  although  the  air 
itself  is  devoid  of  merit  Another  noticeable  item  was  the  air, 
*'  II  Sogno,"  from  one  of  Morcadante's  operas,  cleverly  sung  by 
Signer  Coletti,  and  expressively  accompanied  by  Signor  Puzzi,  on 
the  horn  obligato.  Madame  Montenegro's  '*  Una  voce,"  was  a 
sensible  if  not  a  highly  finished  performance.  A  trio  from  Ricci's 
Scararmtcciat  rendereil  with  innntte  spirit  by  Signori  Fraschini, 
Superchi,  and  Coletti ;  Signor  Gardoni's  intelligent  and  graoeful 
delivery  of  the  sir, ''  Alia  mia  meute  estatica,"  from  one  of  Balfe's 
best  operas,  Fakit^f  aud  Linley's  pretty  ballad,  •*  Constance,'' 
expressively  sung  bv  Miss  Dolby,  were  also  to  be  reckoned  among 
the  best  features  of  the  concert.  Nor  must  Madame  Castellan's 
"  Qual  prece."  (Mercadante),  Signor  Coletti's  ''  Be  la  viu," 
(Tadolini).  and  the  lively  duet,  **  Les  Muletiers,"  sung  by  Madame 
and  Signor  F.  Lablache,  be  passed  over  without  praise.  To  avert 
disappointment,  arising  from  the  absence  of  Signor  Marras,  a  duet 
was  liberallv  volunteered  by  Madame  Castellan  and  Signor 
Lablache,  which  was  warmly  appreciated  by  the  audience.  The 
instrumental  part  of  the  concert  contained  several  features  worthy 
notice  ;  and,  one  especially,  as  much  from  its  novelty  as  from  its 
meritj  we  mean  the  performance  of  a  pianoforte  fantcuia,  on 
Bohemian  airs,  by  Herr  Schuloff,  a  pianist  from  Prague,  who  dis- 
played such  musicianly  taste  and  such  neat  and  brilliant  mechanism 
as  to  force  an  encore,  which  is  a  rare  occurrence  at  these  fashionable 
morning  concerts,  where  the  preponderance  of  ladies  among  the 
audience  obviates  the  possibility  of  any  energetic  demonstrations 
of  approval.  The  compliment  was,  therefore,  the  greater  to  Herr 
Schuloff^  admirable  talent.  Instrumental  music  seemed  decidedly 
to  bear  the  bell  at  Madame  Puzzi's  concert — since  another  encore 
was  awarded  to  Signor  Cesare  Ciardi,  (first  flute  to  the  Grand  Duke 
of  Tuscanv),'  who  exhibited  extraordinary  facility  and  marvellous 
rapidity  or  utterance  in  a  solo  on  the  flute.  Signor  Ciardi,  though 
new  to  this  country,  has,  it  would  seem,  found  quick  appreciation, 
since,  we  understand,  that  he  is  in  treaty  with  one  of  our  great 
musical  establishments.  M.  Lavigne's  solo  on  the  oboe  and  Signor 
Piatti's  solo  on  the  violoncello  were  equally  masterly  in  their  way, 
and  produced  the  most  unequivocal  marks  of  approbation.    These 


artists  are  respectively  first  oboe,  and  first  violoncello  in  the  or.! 
chestra  at  Her  Majesty's  Theatre,  of  the  quality  of  which  they 
are  brilliant  examples.  The  horn  performance  of  Signer  Puzzt 
exhibited  all  the  usual  excellencies  and  peculiarities  of  that  artist's 
very  individual  talent,  and  was  foremost  among  the  morning's 
attractions.  The  conductors  at  the  piano  were  Messrs.  Ealfe. 
Pilotti,  and  Benedict,  who  effected  their  devoir  in  that  style  el 
excellence  that  might  have  been  anticipated  from  their  talents  and 
experience.  The  room  was  crowded,  and  no  one  complained  of 
anjrthing  in  the  concert  but  its  excessive  length— the  mvariable 
fault  of  such  entertainments. 

Ancient  CoNcsaTs. — The  third  Concert  took  place  on  Wed- 
nesday, May  5.  The  selection  being  under  the  superintendence  of 
H.  R.  H.  Prince  Albert,  comprised,  as  usual,  a  great  number  of 
novelties,  and  these,  combined  with  the  immense  attraction  of  the 
artists  employed  to  interpret  it,  ensured  the  fullest  attendance  in 
the  Hanover  Square  Rooms  that  has  hitherto  distinguished  the 
ancient  performances.  This  is  a  distinction  that  never  fails  to  vut 
upon  the  concerts  which  Prince  Albert  directs.  That  illustrious 
personage  is  evidently  an  innovator  and  is  never  satisfied  with  the 
common  places  of  every  day  occurrence  s  from  which  it  results, 
that  even  if  all  his  selections  be  not  happy,  they  never  /ail  to 
interest  as  matters  of  speculation.  \ 

PART  I. 
Thb  National  Anthem.— *<  God  Savo  the  Quekn.'*  Oointet,  MisiM 

S.  Novello  andM.  WilUami ;  Messrs.  Lockey,  Machin,  and  Herr 

Staudirl. 
Grboorxan  Hymn.— •*  Aneluia,  OFillietFUiK.**   Mdme.  Gutellan, 

MademoiaeUe  Alboni ;  Signori  Maiio,  Tamburioi,  and  Lablache.    A.  n.  iOOi. 

A;?iT::^*(l?%6^S"'"''"  }Mademoi«»Ue  Alboni ((k^,)....Gh^ 

QuiNTBTTo.— « Ah  lasciar  devl  i  rei,'*  Miu  M.  Williams,  Messrs. 

Lockey,  P.  and  M«  Machin*  ^^d  Semi-choros {Jot^}, M^h^L 

-•'Ttol 


Regit.- 


I  Well." 


J 


ICr.Lockey.. 


.(/a«At(ii.)...« Handek 


Maroh. 

Chorus.—"  Glory  to  God.» 

ARiBTfA.-"  8e  nel  ben,"  Sirnor  GardonL . . .  (atraOeUa.) a.  d.  16iO. 

MoTBTTO.— *<  lo  eantero  le  lodi  di  quel  Dio,"  8oloby  Madame  GasteUan 

and  MademoiaeUe  Alboni MmreeUe. 

Prelude  and  Fugue  on  the  Name  of  Bach— Organ.  (Dr,  F$U»  Men- 

delMMOhn  BertUidp,) AkS. 

Finale  to  the  First  Act  of  IlFlawto  Magieo,  Mdme.  Castellan,  Mdlle. 
Alboni,  Mftses  S.  NoveUo,  and  M.  WUliams ;  Signers  Mano,  Gar- 
doni, Tamburini,  Herr  Standigl,  and  Chorus Mesmt. 

PART  II. 

Overture,  Fnnto ^ Mimmi, 

ROMANCE.  -"  Dans  ma  cabane  obscore,"  Signor  Mario,  {Le  ueein  du 

F</ta^«.) : JlMMffM. 

Tbe  Raster  Hymn,—**  Jeans  Christie  risen  to-day."  Solos  by  Mdme. 

Castellan,  Misses  M.  Williams  and  S.  Novello,  Messrs.  Lockey, 

Machin.  and  Herr  SUadigl. 
Pustto.— ^*Un  non  so  che,"  Madame  Castellan  and  Signor  Mario,__ 

{Dae  Unterkreehene  Obferfeel.) WMer. 

Air.—"  Le  Roi  paasott^"  Signor  1\smbnrini,  fLe  Deeerteur.). Memi§$9' 


Duetto.— "Ohf  guardatal  che  ftgors." 


ij,  rxtfv  J 

Mdlle.  Alboni  and  Signor 
'*' Madame Gastdii^ 


Lablache,  (La  Capricciaea  eorretta^ 

Romance  and  Chorus.—**  Plaisir  d'as^oor," , ^     -      . 

Chorus.-"  Gloria  in  excelsis." CketMbM, 

Conductor- Sir  H.  R.  Bishop.  Organ- Mr.  Lucas. 

Out  of  the  seventeen  pieces  eleven  were  novelties,  and  oat  of 
the  eleven  novelties  half  a  dozen,  at  least,  were  worth  a  hearing. 
The  Oregorisn  chaunt  was  harmonised  in  a  style  by  no  means 
Gregorian*-we  know  not  by  what  musician.  The  MoiUtto  of 
Marcello  is  a  clever  but  not  an  exciting  composition  $  still  it  merited 
a  hearing.  Thejinale  to  i7  Flauto  Magico  was  a  treat,  although 
it  might  have  been  more  carefUlly  executed.  The  overture. 
Fugato,  of  Mozart,  is  a  masterly  effort,  and  the  introduction  of 
this  alone  entitles  Prince  Albert  to  the  thanks  of  the  subscribers. 
Strcdella's  air  was  expressively  sung  by  Gardoni,  and  Roussean's 
simple  ballad  admirably  expressed  by  Mario.  Of  course  the  organ 
performance  of  Dr.  Mendelssohn*  vile  as  is  the  organ  of  the 
Hanover  Square  Rooms,  was  the  most  interesting  point  in  the 
programme.  It  was  at  the  special  request  of  H.  cv.  H*  Prince 
All^rt  that  the  greatest  of  organists,  pianists,  and  composers, 
appeared  in  public  ou  this  occasion,  for  the  last  time,  previous  to 
his  departure  for  the  continent.  He  selected  the  Fugue  of 
Sabastian  Bach,  (well  known  fo  his  admirers),  constructed  on  the 
notes  which  answers  to  the  letters  of  his  name;  B  (B  flat)  A<C*H 
(B  natural)  according  to  German  notation.  This  be  preikced  bv  a 
prelude  to  the  same  composer,  selected  from  another  work,  bnt 
agreeable  in  character  ana  key  to  what  was  to  follow.  It  wss  a 
masterly  and  splendid  performance  and  got  more  sppUuse  than  we 
oyer  heard  recorded  at  the  Ancient  Concerts.     Afendelasohn J 

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alnott  the  odI^  jplayer  id  the  world  who  can  accommodate  himae^f 
to  the  pecuhantiea  of  a  defsctiTe  iostrument,  or  make  his 
hearers  forget  the  imperfections  of  the  medium  through  which  he 
interprets  himself— and  this  was  shown  to  admiration  on  the  in- 
famous  organ  Ihat  has  so  long  diBgaraced  the  Hanover  Sauare 
Rooms.  With  a  word  for  Mademoiselle  Alboni's  '^Che  mr^," 
which  was  excellent,  and  for  Staudigl's  general  singing  all  through 
the  concert  we  must  conclude  the  notice  of  this— the  most  interest- 
ing ancient  performance  of  the  season. 

The  Fourth  took  place  on  Wednesday  evening,  under  the  di^ 
rection  of  his  Grace  the  Archbishop  of  York.  The  programme 
was  as  follows  •— > 

PAET  I. 

Oybbtveb (ffffSMffs) •. »Btmd§lm 

National  Htmn.— "  Lord  of  Hetven,"  Mitf  Rainlbrth,  HIbb  M. 

WUlUms,  Mr.  Loekey,  Mr.  Machin,  and  Chonis Hapdn. 

Air.— ^*0  Lord, IttTS mercy  upon  me/*  HerrStendigL PtrtoiuL 

Cantata,—*'  Ust  to  tbs  miuic,'*  (Tl«  aon$  of  tU  QM^rff).    Miit 

Bsinlbrth Bt€thoft$n» 

LuTHBs's  Htm N.— <<  Great  God  I  what  do  I  see  and  hear?    Henr 

Btaudiffl.  and  Chorus. 
Chorus.— ■'^  He  gave  them  hailstones."  (Itr^ilin  Bgppt) HanM, 

l'^'Z:::i'£S:^SS^ni^^Z\  <W#I<.).  Madame JUl^....i^ao*s«. 

Pbatbb.— -'Vaterjichrufedich/'HerrStaadigl ZTtoMMf. 

Abia  con  CoBO.— *<  Yenro  a  vol,*'  Madame  Caradorl  Allan,  {Gertua- 

lemms  libtrmtdi ZlngarM. 

Sblbotiok  vbom  Sbcond  Sbbviob^-''  Kyxia  eldaon  I"  Solos,  Mad. 

Garadori  Allan,  Miss  M.  ^vmiams,  Mr.  Lockey.  and  Herr  StaQdigl.  Magdm* 
PAET  II. 

Otbbtiibb (BmHirmnU) Calsf. 

Chamt  Fbansais.— *< Econtes,  tons  raitUs  Gallois,"  Choras..(X« 

BaitmUie  dtMoHpium)  ,,.Clm€nt  Jmmtauim,  A.  D.  1515. 

I>vBTTo.-**  Qoel  sepolcro,*'  Mad.  Knispel  9t  Henr  SUndi^.  (4««m).  Pmir. 

|?^J'e^'.i!!fi?T;{i°o'l^^^  Mada»eCaiadoii..(.<m«.).  Gl«s*. 

QuABTBTTo  6  CoBO.— *<  0  Toto  tremeudo,'*  Bliss  Sainfortb,  Mias  M, 

'Williams,  M  r,  Lockey,  and  Herr  Steudig  1. . . .  (Idomeneo) MoMtai* 

fSST^^tiS^S^i'T.^"] (^  i^r«««*t»*o) U».art. 

QuiNTBT.— ** Blow,  gentle  giOe,"  ....(7*<l«  Sine) 8hrH.  R.Bi$hop. 

R«:iT.-.<*  Yatteae  HgUa  rata,**  \  Mad.  Caradori  k,  Herr  Stendigl. ,  p^.^^ 

DoBTTo.— "  Lo  conosco,** ....  ] iLm  8«rva  Padnma) l^erfoten, 

F1NA1.B  to  the  Second  Act  of  J^UMio.—SoIos,  Madame  Caradori,  Miss 
Kalnlbrtb,  Mr.  Lockey,  Mr.  Peck,  Mr.  Whitworth,  and  Herr 
SUndigL BstffAovsB. 

The  above  programme  was  entirely  destitute  of  any  interest 
derivable  from  the  novelty  of  its  materials.  The  only  two 
new  points — Catel's  overture  to  Semiramis,  and  Jaunequiu's 
ChaiU  Franfais,  were  both  failures.  The  best  singing  of  the 
evening  was  Miss  Rainforth'a  *'  Song  of  the  Quail,*'  Madame 
Caradori*8  •*  Inverno  alcun  deslr,"  (Gluck),  which  was  re- 
peated,  and  the  two  songs  of  Herr  Staudigl.  The  room  was 
not  nearly  full.     Prince  Albert  was  present. 

Hiaa  Kuhb's  Concert. —  The  concert  giver  is  a  pianist  of 
considerable  pretensions,  and  his  programme  attracted  a  full  audience 
to  the  Hanover  Square  Rooms,  among  whom  was  no  less  distin- 
guiahed  a  personage  than  Mdlle  Jenny  Lutzer.  Herr  Ruhe  played 
two  ^Buitasia's,  one  by  Emile  Prudent,  the  other  by  himself,  the 
musical  merits  of  which  are  about  on  a  par.  He  has  a  rapid  and 
distinct  finger,  and  great  power,  |^ys  octave  and  scale  passages 
with  great  facility  and  neatness,  and  does  not  exaggerate  by  a 
double  administration  of  what  is  called  sentiment  by  nianists  of 
the  modem  school.  On  the  whole  his  playing,  if  not  or  the  most 
astonishbg,  is  highly  agreeable  and  e£Pective.  Her  Kuhe  also 
performed  two  duets ;  one  with  Herr  Joseph  Helmesberger,  for 
piano  and  violin,  (composed  by  Wolf  and  Vieuxtemps  in  conjunc- 
tion), the  other  with  Mad.  Dufcken  for  two  pianos,  both  of  which 
were  deservedly  well  received.  The  latter  is  a  brilliant  and  clever 
aarangement  of  aim  from  Donizetti's  *'  La  Fille  du  Regiment,"  and 
IS  highly  creditable  to  Herr  Kuhe's  re]^utation  as  a  composer  for 
the  piano  of  the  modem  school.  Besides  hb  own  performances, 
Henr  Kuhe  had  provided  a  good  substantial  selection  of  vocalities 
and  instramentalities  for  his  patront.  Among  the  most  notable 
things  were  the  duet  of  the  young  violinisu,  Joseph  and  George 
Helmesberger,  of  which  we  have  elsewhere  spoken  1  a  vidonceilo 
aolo,  capitally  executed  by  Mr.  Hausmann ;  a  fantasia  on  the  finte 
by  Sig.  Cesare  Ciardi,  first  flute  to  the  grand  Duke  of  Tuscany, 
one  of  the  most  extraordinary  displays  of  finished  and  elaborate 
ezecuuon  we  ever  listened  to,  and  a  guitar  solo  by  M.  Leonard 
Schuiz,  in  which  the  artist  evinced  a  command  over  the  instrument, 
and  brought  out  a  tone  and  effect  from  its  poor  resources  that 


except  to  those  who  have  heard  thbaeeomplisbed  performer  woald 
appear  incredible.  The  vocal  music  provided  by  Herr  Kobe  was 
sustained  by  the  talents  of  Misses  Dolby,  Pyae,  and  L.  Pyne,  (Sir 
George  Smart's  clever  pupils,  who  have  just  returned  from  a  suc- 
cessful professional  trip  to  Paris,)  Mad.  Knispel,  Mad.  Jenny 
Lutzer,  Signers  M  arras  and  Galli,  Herr  Hoelzel,  and  Mr.  Gregg 
(a  oromising  pupil  of  Herr  Staudigl).  The  gems  were  Miss  Dolby's 
*'  Quando  Almiro  ;"  the  Misses  Pyne's  bokfro  from  the  sparkling 
**  Diamans  de  la  Couronne,"  of  Auber  ;  an  air  from  Mozart's 
"  Figaro,"  by  Mad.  Knispel ;  another  from  Donizetti's  *<  Linda'  by 
Mad  Jenny  Lutzer ;  a  eraceful  cavatina  from  the  "  Diamans  de 
la  Couronne,  by  Miss  L.  Pyne  i  an  air  **  Bella  adorata,**  (Mcr- 
cadante)  by  Sig.  Marras ;  two  pretty  German  iieder  by  Herr 
Hoelzel ;  and  Lioley's  simple  ballad  *'  Constance,"  by  Miss  Dolbv. 
Altogether  the  selection  was  exceedingly  interesting,  and  honorable 
to  the  taste  and  judgment  of  the  clever  concert-giver,  Herr  Kuhe. 
Thb  Rotal  Socibtt  ov  Femalb  Musicians  gave  a  grand 
concert  for  the  benefit  of  the  Institution  on  Friday  evening.  May  7, 
at  the  Hanover  Square  Rooms.  Misses  Bassano,  Birch,  Gubitt* 
Dolby,  DuvaK  Lincoln,  Sabilla  Novello,  Poole,  Rainforth,  Steele, 
Mrs.  W.  H.  Seguin,  and  Mad.  Jennv  Lutzer,  Messrs.  Braham 
Lockey,  Manvers,  Machin.  and  W.  H.  Segoin.  Mrs.  Anderson^ 
Mr.  Benedict,  Mr.  W.  Stemdale  Bennett,  and  Herr  Joseph,  and 
Geoige  Helmesberger  were  the  instrumental  performers.  The 
band  played  the  overture  to  "  Oberon."  Bach's  trio,  for  three 
pianofortes,  was  played  splendidly  by  Mrs.  Anderson,  Mr.  Benedict 
and  Mr.  Stemdale  Bennett.  The  rooms  were  very  full.  Mr.  Bene- 
dict and  Mr.  Stemdale  Bennett  conducted.  Tlie  Society  of 
Female  Musicians  is  deserving  of  the  support  of  musicians,  and 
those  who  have  the  interest  of  music  at  heart.  The  object 
of  this  Institution  is  for  the  benefit  of  such  of  iU  dtsiressed  mem- 
bers, as  by  relationship  or  other  ties,  have  no  claim  on  the  funds  of 
the  Royal  Society  of  Musicians.  It  has  been  established  eight  vears, 
but  its  design  is  not  yet  widely-enough  known  to  have  guned  that 
public  patronage  which  it  merits,  and  no  doubt  will  ultimately  otHain. 

Ma.  J.  Cohan's  pianoforte  recital  took  place  on  Wednesday 
evening  at  the  Hanover  Square  Rooms.  Why  it  was  called  piano- 
forte recital  we  are  at  a  loss  to  guess,  seeinjr  that  Miss  Birch  sang, 
and  Miss  Dolby  also  ;  and  Mr.  Hart  likewise ;  and  Miss  Ransford 
too  ;  and  Mr.  John  Parry  moreover ;  and  in  addition  Mr.  Blagrove 
played  a  solo  on  the  violin,  and  also  performed  in  a  sonata  of 
Beethoven's.  We  think,  begging  Mr.  J.Cohan's  pardon,  the  name 
was  a  misnomer.  The  concert  was  a  capital  one.  Miss  Birch  and 
Miss  Dolby  opened  the  ball  with  a  duet,  and  Mr.  Cohan  followed 
with  a  brilliant  frtnUsia  of  his  own  composing,  an  air  from  Frey- 
schutz ;  and  then  Miss  Birch  eave  an  aria,  and  Mr.  Cohan  per- 
formed another  fantasia  "  See  the  conquering  hero  comes,"  where* 
upon  Miss  Birch  saying  "Tell  me,  my  heart,"  (Bishop's)  and  was 
vehemently  encored  ;  and  Mr.  Cohan  played  a  tremendous  martial 
Fantasia,  entitled  '*  The  Greek  Revolution,"  which  was  uproariously 
applauded  ;  and  Albert  Smith's  song  of ''Young  England"  was  sung 
by  John  Parry,  and.  of  course,  encored,  and  so  ended  the  first  paK  of 
the  piano-forte  reciul.  Part  second  was  in  the  same  spirit,  therefore 
we  need  not  enumerate.  The  best  thing  in  the  second  part  was 
Beethoven's  sonata  for  violin  and  piano,  excellently  played  by 
Blagrove  and  Cohan.  But  it  is  in  bis  own  works  that  the  very 
peculiar  genius  of  this  pianist  is  shown.  Mr,  Cohan  has  an  immense 
finger,  and  his  execution  is  extraordinary.  He  was  applauded 
tremendously  in  every  piece,  and  excited  a  species  of  ^rore  among 
the  audience.  We  are  glad  to  £ee  the  rooms  crowded  to  excesS| 
for  Mr.  J.  Cohan  is  in  every  way  worthy  of  the  support  of  bis 
admirers.  «... 

**  Hxaa  AND  Fbaolbin  Hxlbns  Stopbl's  grand  morning 
concert  was  held  on  Thursday,  under  the  immediate  patronage  of 
the  Duchesss  of  Sutheriand,and  the  Marchioness  of  Londonderry. 
Mdlle.  Helen  Stopel  is  pianist  to  her  Grace  the  Duchess  of 
Sutheriand.  The  programme  of  the  concert  was  excellent ;  the 
instrumental  being  happily  varied  with  the  vocal  performances. 
Among  the  former  may  be  reckoned  M.  Stevenicr's  on  the  violin, 
Sig.  Piatti  on  the  violoncello,  Madlle.  Stopel  on  the  piano,  and 
M.  Herr  Stopel  on  the  xilocordeon.  In  addition  to  these,  twenty 
planisU,  mostly  pupils  of  Herr  Stopel,  performed  several  morceaux 
on  ten  pianos,  with  great  effect.  Mdlle.  Stopel's  principal  pei^ 
fonnance  was  the  Lucrezia  Borgia  fhntasia  of  Leopold  De  Meyer, 

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which  she  gmve  in  such  a  manner  as  to  elicit  the  roost  enthusiastic 
applauses  from  the  whole  house.  This  charming  young  artist 
made  a  most  favourable,  impression  by  the  way  she  played  this, 
one  of  Meyer*s  most  difficult  pieces.  Mdlle.  Stopel  has  a  very 
bvilliant  finger,  reminding  us  sometimes  of  Madame  Pleyel. 
Wo  have  been  rarely  so  much  pleased  with  a  fair  pianist  as  we 
were  on  Thursday  evening  with  ^idlle.  Helene  Stopel.  Herr 
Stope's  method  of  teaching,  the  piano,  judging  from  the  effect  pro- 
duced by  his  pupils,  is  admirable.  Among  the  vocal  performances, 
by  the  way,  there  was  one  worthy  of  note,  both  on  account  of  its 
novelty  and  hs'merit.  This  was  a  tcena  **  Per  basso  resule,"  from 
an  opera  by  Verdi,  which  was  sung  by  Signor  Montelli,  an  Italian 
barytonef  new  to  our  concertprooms.  Signor  Montelli's  voice  is 
powerful,  and  of  a  very  agreeable  quality.  He  sings  with  taste 
and  energi't  and  only  requires  a  little  more  experience  to  make 
him  a  very  pleasing  and  useful  addition  to  onr  concert-rooms.  He 
was  somewhat  nervous  on  this  occasioa ;  but  time  will  cure  this 
defect  inevitable  in  a  beginner. 

The  Musical  Union.— The  attraction  of  the  last  meeting  was 
Henri  Vieuxtemps,  the  great  and  justly-celebrated  violinist.  His 
performance  in  the  C  quartet  of  Mozart,  and  the  E  flat  (No.  10) 
of  Beethoven,  was  transcendant.  Finer  specimens  of  quartet- 
pitying  were  never  listened  to.  Vieuxtemps  outshone  even  him* 
self  upon  this  occasion,  a  feat  not  to  be  accomplished  by  any  other 
violinist.  His  playing  was  colossal.  Nothing  grander,  more  im- 
pressive, or  more  perfect,  could  be  desired  by  the  most  experienced 
and  punctilious  connoisseur.  The  quartet  was  admirably  filled  up, 
in  both  instances,'  by  M.  DelofTre,  Mr.  Hill,  and  Signor  Piatti, 
The  ensemble  was  irreproachable.  The  rest  of  the  performance 
consisted  of  two  solos.  Vieuxtemps  played  a  charming  morcettu  de 
salon,  of  his  own  composition,  in  «  hich  he  was  accompanied  on  the 
piano-forte  by  Madame  Vieuxtemps,  with  singular  elegance  and 
facility,— one  instrument  following  the  other  so  closely,  that  it 
was  difficult  to  fancy  that  two  performers  were  engaged.  The 
other  solo  was  a  bolero,  composed  by  Franchomme,  and  played  to 
oorfection  by  Signor  Piatti,  on  the  violoncello,  accompanied  by 
Mr.  Vincent  Wallace,  on  the  piano,  with  musicianly  skill.  We 
can  pardon  Mr.  Ella  the  anomaly  of  solos  at  classical  quartet 
meetings,  when  the  solos  in  question  are  such  unexceptionable 
specimens  of  taste  and  skill  as  these.  The  room  (Willis's}  was 
crowded  with  rank  and  fashion. 

^  Miss  WfUATLBv's  third  soiree  musicale  took  place  at  the  Ken- 
sington Assembly  Rooms  on  Wednesday  evening.  The  vocalists 
were  Miss  Cubitt,  Miss  Ellen  Lyon,  Mr.  W.  H.  Seguin,  and  Mr. 
Williams.  Miss  Cubitt  was  ^ncored  in  Miss  Camidge's  ballad, 
"  Did  I  not  love  thee,**  and  in  tbe  Scotch  ballad,  **  1  dinna  care  to 
tell."  Miss  Ellen  Lyon  wa«  also  encored  in  Bishop's  '*  Lo !  here 
the  gentle  lark."  Mr.  Wells,  in  the  unavoidable  absence  of  Mr. 
Clinton^  played  the  flute  accompaniment  to  this  song  excellently 
Of  Miss  Wheatley's  jicrformance  of  HummePs  rondo  for  the  piano- 
forte, with  accompaniments,  and,  in  conjunction  with  Mr.  H. 
Wheatley,  her  interpretation  of  Herz  and  Lafont's  duet  for  piano 
and  violin,  from  **  L' Enfant  du  regiment,"  we  must  speak  in  high 
terms.  Miss  Wheatley  also  played  with  effect  a  solo  of  Eliason's 
for  the  violin.     Mr.  H.  Wheatley  is  a  very  able  conductor. 

Miss  P.  A.  RoBiNsoN*s  first  concert  took  place  at  Crossby  Hall 
on  Monday.  The  beneficiaire  secured  the  support  of  the  Misses 
Williams,  Miss  Cubitt,  Miss  Lanza,  Mr.  Harrison,  Mr.  Lockey, 
Mr.Weiks,  Mr.  Turner,  Mr.  C.  E.  Stevens,  Mr.  Edney,  and  Mr.  A. 
Sedgwick.  Miss  P.  A.  Robinson  sung  several  songs,  and  met  with 
considerable  applause,  and  the  concert  went  off  with  great  spirit. 

Hsaa  WiLLMBRs.-— This  gentleman's  private  matin4e  musicale^ 
on  Monday,  at  Willis's  rooms,  was  attended  by  a  numerous  and 
intelligent  audience  of  amateurs,  artists,  and  critics.  Herr  Will- 
mere  performed  the  following  selection  of  pieces,  with  one  excep- 
tion all  his  own  compositions  : — 

Fantasie  Romantiaue.~'<  Un  jour  d'fetfe  en  Norvige,"  M.  Williibrs, 
WiUmert,  Scherso,  Piano-forte.—"  La  Sirdne,"  M.  Willmers,  WUlmert, 
Sexluor  Final,  Piano-forie.—-' Lucia  dl  Lammermoor,"  (Transcric),  M. 
Willmers,  WiUmers,  Sonata  Quasi  Fantasb,  Piano-forte,  (Op.  27),  M. 
Williibrs,  Beethoven.  Chant  du  Nord,  Piaoo-lbrte.— *<  Flieg'  yogel  flieg*  I" 
M.  Willmers,  WiUmers.    Serenata  Erotica,  Pjano-forta— '« Four  la  main 

fiuche,"  M.  WiLLMERf,  WUlmert.    Etude  de  Concert,  Piano-forte.—"  La 
ompa  dl  fcato,"  M.  Willmers,  WUlmert' 

All  we  premised  in  our  last  of  the  extraordinary  mechanical 


excellence  of  Herr  Willmers  was  justified  by  his  performance. 
No  living  pianist  has  a  more  vigorous  grasp  or  the  instrument,  a 
more  powerful  and  sonorous  tone,  a  more  wonderful  command  of 
the  most  perplexing  difficulties.  We  have  not  space  to  specialize 
his  achievements  on  the  present  occasion,  but  we  must  single  out 
as  the  most  amazing  effort  of  the  morning,  the  *'  serenata  erotica^** 
in  which  the  pianist  accomplished,  with  his  left  hand  alone,  as 
much  as  coula  be  reasonal>ly  expected  of  two  ordinary  players, 
with  the  full  use  of  their  double  pair  of  hands !  When  will  Uiese 
marvels  of  digital  force  and  suppleness  reach  their  apex,  and 
tumble  down  into  common-rplace  sensibility?  Notwithstanding 
the  continual  astonishment  to  which  wo  were  subjected  by  the 
unheard-of  difficulties  compassed  by  the  fingers  of  thu  trinity-of- 
pianists-in-one-person,  we  must  own  that  we  were  more  pleased 
with  his  execution  of  Beethoven's  lovely  sonata  than  with  any 
thing  else  he  effected.  Allowing  for  the  slight  excess  to  which  he 
carried  the  tempo  rubato  in  the  presto^  Herr  Willmers  interpreted 
this  sonata  in  a  style  that  may  truly  bo  styled  classical.  The 
execution  was  faultless,  and  the  expression  quite  in  the  true 
Beethoven  feeling.  We  must  leave  Herr  Willmers  for  the  present, 
but  trust  to  have  another  opportunity  of  treating  more  elaborately 
of  the  peculiarities  of  his  singular  talent 

MISCELLANEOUS. 

Mr.  W.  Vincent  Wallace  took  a  benefit  at  Drury  Lane, 
on  Monday  evening,  The  entertainments  embraced  the 
performance  of  Maritana,  followed  by  a  Monster  Concert, 
and  conduded  with  a  ballet  divertissement.  The  two  great 
features  of  the  evening  were  the  first  appearance  of  a  new 
English  tenorj  Mr.  J.  S.  Heeves,  and  this  pianoforte  per- 
formance of  Herr  Jules  ScbulhofT.  Mr.  Reeves  produced  a 
great  impression.  His  voice  is.  powerful  and  full  toned,  and 
bis  singing  is  characterised  by  sweet  expression  and  taste. 
He  gave  an  aria  of  Verdi  with  great  energy,  and  was  tumul- 
tuously  applauded.  Herr  Jules  Schulhoff  performed  a  com- 
position of  his  own,  and  exhibited  veiy  extraordinary 'powers 
on  the  piano.  In  rapidity  of  fingering,  brilliancy  of  execution, 
and  delicacy  of  touch,  he  reminds  us  more  of  Leopold  de 
iMeyer  than  any  pianist  we  have  heard  of  late.  His  performance 
was  rapturously  applauded.  ,Mr.  Wallace  conducted  tbe 
opera,  and  Signor  Schira  accompanied  all  the  vocal  mnsic. 
We  were  sorry  not  to  see  the  house  better  attended.  The 
name  of  Vincent  Wallace  is  a  tower  of  strength,  and  wc 
expected  to  have  seen  more  universal  homage  paid  to  the 
elegant  composer  of  Maritana  and  Matilda, 

M.GoDEFRoiD. — We  have  already  announced  the  arrival 
of  this  admirable  harpist,  who  will  remain  with  us  during  the 
season.  M.  Godefroid*8  last  performance  in  Paris  was  at  the 
Conservatoire ,  which  rarely  opens  its  classical  portals  to  a 
harpist.  M.  Godefroid  performed  three  pieces  of  his  own 
composition,  La  Melancolie,  La  R^ve,  and  La  Danse  des 
SylpheSf  two  of  which  were  encored  with  enthusiasm,  an  un- 
usual occurrence  at  these  classical  concerts.  This  was  a 
worthy  climax  to  M,  Godefroid*s  almost  unprecedented 
Parisian  successes. 

Madame  Cbleste*  has  announced  her  benefit  for  Wed- 
nesday next  at  the  Adelphi,  on  which  occasion  the  Flowers  of 
the  Forest  will  be  performed,  with  a  new  comedy,  called 
Flying  Colours;  or^  Crossing  the  Frontiers^  in  which  Mr. 
Webster  of  the  Haymarket,  will  appear.  The  fair  Manageress 
is  worthy  of  every  support  from  the  Public,  and  is  entitled  to 
a  bumper-royal. 

Philaarmonic  Concerts.— At  the  Sixth  Concert,  on 
Monday  evening,  Spohr's  Wiehe  der  Tione  and  Mozart's  E 
flat,  will  be  the  symphonies.  The  overtures  are  to  be  Egmsnt 
and  an  overture  in  C,  both  by  Beethoven.  The  concerto  wiU 
be  a  violin  one  composed  and  played  by  Vieuxtemps.  If  the 
vocal  musicjbe  as  good  the  concert  can  hardly  fail  of  pleasing. 

Digitized  by  \^OUV  IC 


THE  MUSICAL  WORLD, 


337 


TO  CORRESPONDENTS. 

Mr.  Muulempbldt's  Concert — the  hut  paper  on  "Elijah/*  and  other 
artielet,  unavoidably  postponed  till  next  week. 

The  large  number  of  Atanuiertpte,  Bfusiealand  IMerary,  that  are  tent  to 
ue  for  pMieatum,  loffs  ue  under  the  necestitif  of  requesting  that  thou 
who  desire  to  favour  <'  The  Musical .  World"  with  their  contributions 
will  be  canfful  to  keep  copies  of  whatever  thef  maff  be  pleased  to  offer 
usfor  consideration,  as  we  cannot  possibly  undertake  to  return  them, 
if  thejf  be  r^'ected. 

The  lines  for  music,  "  I  would  I  was  a  fairy/'  are  politely  declined. 

We  are  unable  to  answer  the  question  of  our  eorreepondent,  T.  P. 

C.  R.  (LymingtonJ — The  most  likely  place  to  meet  with  Sonatinas  of 
Handel  (which,  we  regret  to  say,  ue  never  taw),  is  Coventry  and  Hol- 
lier*t,  X>ean  St,,  Soho,  Of  the  glee  we  never  heard,  but  there  are  large 
collections  <if  old  gleeiinthe  catalogues  oflTAlmaine  8f  Co.,  Soho  Sq. ; 
and  of  Chappell,  in  Bond  Street, 

H.  L.  C.  CBelfastJ^fVe  think  the  if{formation  required,  will  be  found  by 
our  Corretpondent  in  our  Opera-articles,  We  shall  have  much  pleasure 
in  reviewing  the  flute-piece, 

iGNORANCK— "  If  Jgnorancc  be  bliu,  'tii  folly  to  be  wi«e."  As  we 
imagine,  from  the  jodoU  style  of  his  epittle,  that  *'  Jgr.orance"  exults 
blis^ully  in  the  attribute  that  has  sungesied  hi%  te^f-applied  lobriqaet, 
ue  shall  not  run  the  rish  of  mohing  Attn  unhappy,  by  enlightening  him 
on  the  pcints  about  which  he  questions  us. 


THE  PATENT  HARMONIUM. 


ADVERTISEMENTS. 


Warren's   QO   Gxdnea   Oottai^   PUno-Fortei 


ARE  NOW  SKLLING  AT  THE 

Manti£EiCtorv,  71,  Iieadenliall  Street 

{Removed from  1  and  2,  Liverpool  Street,  Bishopsgate  Street*) 
TbcM  iBstmmenU  are  well  manufkctured  of  the  beat  aeaaooed  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  yeart  warranty  given  with  each  inatra. 
ment.  ESTABLISHED  TWENTY^NE  YEARS,  The  only  hooae  in  London 
where  a  good  ■oimd  inatrament  can  be  obtained  at  the  above  low  price,  (for  caah 
only).  SMALL  PROFIT  AND  QUICK  RETURNS  1 
JOHN  ^MTARRBif  J  71, 1«««denlimU  St.,  opposite  Ald«ate  Pomp 

MR  WILLMERS 

BAB  THE  HONOUR  TO  ANNOUNCE  THAT  HIS 

ilE(g@!l^lg)    IRW^TOIFfllKI    lRja(y)iO€^Lg, 

WILL  TAKI  PLACE 

At  WZLXtZS'S  ROOMS,  Kinir  Strtet,  It.  James's, 
On  MONDAY,  May,  the  aist.,  to  commeDce  at  Two  o'Clock  predaely 
On  which  occasion  he  will  be  ataisted  by  aevcral  celebrated  Artiatea. 
Tickeu  and  Reserved  Seats  may   be  had  at  all  the    principal  Made 
Warehouses,  and  of  Mr.  Wiilmers,  25,  South  Molton  Street. 

MR.  HENRY  WYLDE 

BAt  THE  HONOUR  TO  ANNOUNCE  THAT  BIS 

ANNUAL   GRAND   M0BNIN6   CONCERT 

will  uke  place  at  the  HANOVER  SQUARE  ROOMS. 
On  TUB8DAY,  tho  lath  Juno, 

to  commence  at  Two  o'clock  precisely,  on  which  occasion  he  will  be  assisted 
bv  the  followioff  eminent  Artistes— Mesdsmes  Jrnny  Lutser,  and  A.  &  M. 
Williams;  Mr.  John  Parry,  and  Herr  Pischek.  Pianoforte,  Mr. 
S  enry  Wylde  ;  Violin,  Herr  Joachim.  The  Orchestra  will  be  niimeroua 
ai'd  complete  in  every  department.    Conductor,  Mr.  LucAa. 

Reserved  SeaU  and  Tickets  may  be  had  at  all  the  principal  Music  Ware- 
houses. 


This  beautiful  InAtrunifnt  pcisei^^  ilk^i:  »'>fcrii<at  fifih<t  \Qk*i  wttU  the  variety  of 

tone  of  everi  wtud  JJistrumriit^  n*.  Vk\su  rin'  ^.i  A^r  ui  a  IjirLrt'  (InrAUK      [t  IS  equally 

anitable for  ii&cred  Jiluuc,  ux  iLic  i;u;cc,  -ju.^  .w.^^-  •*'•  -•'u  U^n^iag  Room. 
Concert  Room,  Church  or  Chapel.  Printed  particulars  can  be  had  of  Lurr  and 
Son,  sole  agenta,  where  the  PATENT  UARMONIUM  can  be  heard  from  10  till  4, 
daily;  and  where  can  be  inspected 

LUFF  t  SON'S 
Elegant  Asiortment  of  PIAN OFORTES^ 

Made  by  experienced  workmra,  and  thoroughly  seasoned  wood,  all  of  which  ia 
prepared  on  the  premises.  They  are  warranted  to  sUnd  well  in  Tune,  and  are 
prepared  fbr  extreme  climates :  pricea  one-third  less  than  nsoally  diarged. 

Instruments  taken  in  exchange,  and  a  liberal  allowance  to  dealera. 
I.UFF  snd  BON,  108,  Oroat  RussoU  Stroot,  Bloomsbnrj.  . 

N3.— Tbo  terms  of  Mr.  JUI^AN  ADAMS,  the  oelebrated 
performer  upon  tbe  Patent  Harmoninm,  for  vtvlnc  Instroetion 
and  Performing  at  Concerts,  can  be  bad  of  Oeo.  ItUFF  Ai  SON, 

TO  THE  MUSICAL  PROFESSION. 

A  YOUNG  MAN.  having  ^400,  wishes  to  Join  >  Musical  EsUbUshment  where 
the  above  sum  and  his  services  may  secure  him  a  portion  of  the  business.  He 
has  a  thorough  practical  knowledge  of  the  Pianoforte,  and  has  been  engaged  in 
France  in  giving  instmctioos  on  that  instrument,  speaks  French  fluently,  and  has 
a  knowledge  of  the  German  language.  . 

Am>lication  to  be  directed  to  Mr.  Raymond,  MusicalWorld  OfBce,  CO,  St.  Mar- 
tin's Lane,  London. 


)36  ^6<^I 


^i^^. 


%etttt8  pittnt 


THE  HEW  DIATONIC  FLTTTE. 

This  Instrument  can  be  procured  only  of  the  Patentee,  Manufiictory,  S,  Bell 
Yard,  Gracechurch  Street. 

All  who  have  adopted  this  Flute  pronounce  it  superior  to  any  other  in  correct- 
nett  of  TuNR,  and  power  and  brilliancy  of  Tone.  It  is  so  constructed  as  to 
retain  THR  old  mbthod  op  pinobrino,  which  enablea  the  amateur  immedi* 
ately  to  perceive  iu  advantages. 

Just  published,  byCRAUER.  BBALE,&  Co.,  901,  Recent  Street, 

THEORY    OF   THB    PATBNT   DIATOMIC    FI4UTB. 

By  A.  SiooAMA,  B.A.,  Inventor  and  Patentee. 


THE  NEW  PATENT  DIATONIC  FLUTE. 
Mr.  WILLIAM  FORDE, 

Author  of  <*  L>  Anima  dell'  Opera,"  (Flute  and  Pianoforte),  Forty-eight  Trioa 
(3  Flutes  and  Pianoforte),  &c.  &;c. 

Begs  to  inform  his  Pupils  and  Flute  Playera  in  general,  that  after  a  carelhl 
investigation  of  SIOOAMA'S  PATBNT  DXiAHDNIC  FI.UTB,  he  has 
adopted  that  Instrument  with  the  conviction  of  the  Inventor's  claim  to  the  pro- 
duction of  Pbupbct  Tunb  in  every  Key,  with  improved  volume,  beauty,  and 
equality  of  Tons. 

A  peculiar  advantage  of  this  Inatrmnent  is  that  it  retains  the  FiNoaaiNa  of 
the  usual  Eight -kevednute. 

Mr.  FoaoB  gives  INSTRUCTIONS  from  eleven  tiU  three  o'clock  daUy,  at 
Mr.  Siccama's  Patent  Flute  Manulactory,  Bell  Yard.  Gracechurch  Street ;  and 
in  the  evening  at  his  own  residence,  No.  63,  Warwick  Street,  Bccleston  Square, 
Pimlico.  He  continues  alao  to  teach  Harmony  and  Composition. 


Mr. 


FLUTE. 
FREDERICK 


HILL 


Begs  to  inform  his  pupils  and  amatenrs  of  the  Flute,  that  he  has  adopted  the 
NBW  PATBNT  DIATONIC  FliUTB,  invented  by  A.  Siccama.B.A., 
and  gives  INSTRUCTIONS  daily  at  the  Patent  Flute  Manuftctory,  S.  Bell  Yard; 
Qracecbarch  St. ;  and  at  his  own  resideBce^  3,  Schotfield  Place,  Falham  Road. 


Digitized  by  \^OOy  ItT 


1338 


THE  MUSICAL  WORLD. 


MCSSi^^  COCKS  <^  CO-'s 

NEW  MUSICAL  PUBLICATIONS, 


HSW  VOlKEieV  PIAHO  FOBIB  KUSIC, 

BY    80HUI.B0FF. 

Four  Matm^M,  0^  5^  each  2a. ;  VaUe,  Op.  6,  tolo^  4i. ;  ditto  duet,  Ss.  | 
Deux  Penstet  FugltWei,  Op.  16,  3s.;  Galop  di  Brarura,  Op.  17,^. ;  Deux 
Styriennefl  Oriffinales  et  une  M&zurka,  Op.  18,  3  books,  each  2i. ;  Nocturne. 
Op.  19.  3b.  t  second  Valae»  Op.  20,  Ss.  N.B.— This  eminent  artist  has  just 
arriTed  fai  London. 

THE    BVSAL   DAVOES, 

BY    LABITZKY. 

PerforiMd  M  Her  Majesty's  State  Ball,  &c.  i  Morgenland  Waller,  Rusalka 
Galop,  Hyadnth  Polka,  Victoria  Walaer,  Cambridge  Walxer,  Chinese  Galop, 
and  the  Tunnel  Waller,  for  the  piano,  each  3s.,  by  Strauss ;  Hen  Tone, 
Themis  Kiange,  Bouquet  and  Landlitch  Stitlich  Walzer,  each  3s. ;  Strauss 
New  Polka,  and  Eisele  and  Beisde  ditto. 

BABE  mrSICAL  PBBSBirrS.--Oratorios  for  Piano  ftVoice. 

The  Messiah,  from  Mozart's  score,  by  John  Bishop,  15s.  {  the  Creation,  by 
John  Bishop,  15s.;  the  Seasons,  by  Clementl,  21s.;  Beethoven's  Mount  of 
Olives,  by  J.  Warren,  12s. ;  Rossini's  Stabat  Mater,  by  ditto,  15s.  The  most 
eminent  professors  have  pronounced  the  above  editions  to  be  far  superior  to 
all  others  extant 

HEW  PLTTTE   SOLOS 

FOBDB'8    BNOYOLOPJiDlA   OF    MBLOBY. 

3.050,  airs  selected  fVon  the  works  of  the  most  cdcbrated  anthors,  150  books» 
each  6d. ;  or  in  six  rols.,  whole  cloth  boards,  12s.  each.  Nicholson's  Beauties, 
eomplete  in  four  vols.,  half-calf,  price  £3  13s.  6d.  (formerly  price  £6  6s.) ;  or 
In  48  hooks.  2a,  6d.  CHintoti's  Bssays,  or  New  Instniction  Book  for  the 
.  Boehm  Flut&  9s.;  Drouet*s  Method,  15s.;  Dressler's  ditto,  9s. ;  Berblguler's 
do.,  I2a ;  and  9,000  other  works  for  the  flute.  Catalogues  gratis  &  postage  free. 

HEW  PLVTE   AED   PIAEO   MVSIC. 

rOBDB'8   VAXnmJL  BBZiIi'  OPBRA. 

Seta  t  to  96,  or  in  7B  numbers,  eaeh  3s.;  Nicholson's  13  Fantasias,  each, 
la.  aoc^  5a. ;  his  HotutA  Pieces,  aiz  hooka,  each  5s.r— two  flutes  and  piano ; 
Forde's  TAnima  Trios,  36  books,  each  4s« — trios  for  flute,  piano,  and  tioIod- 
eello?  Forde's  Three  AmateArs,  36  boolts,  each  4s.  ^  Ressiger's  Bight  Trios 
for  ditto,  each  8s.;  Haydn's  Twelve  Grand  Symphonies  for  piano,  flute 
▼folio,  and  bass,  by  Csemy,  each  4s.  5s. ;  Mosart's  six  do.  for  do.,  by  Clementi, 
each  8s.    N.B.— Gratis  and  postage  free.  Catalogue  of  New  Flute  Music. 

7EBT  EAST  MTTSIC  FOB  SCHOOLS,  POB  THE  PIAHO. 

Graven^  Muste  do  Pianiste,  12  airs,  including  Die  Elfin,  Duetsche  Lust 
Walzers,  Ditto  Weber's  last  Walta,  &c.,  each  Is. ;  Craven's  12  Italian  airs, 
to  follow  the  above,  each  la.;  Craven's  Two  Friends,  12  Piano  Duets,  each  Is.; 
Hamilton's  Piano  Tutor,  with  30  airs  and  preludes,  figured  by  Cxemev,  4s. ; 
his  Dictionary  of  2,500  Musical  Terms,  with  their  signification  in  Bnglisli,  Is. ; 
Clarke's  Catechism  of  Music,  Is, ;  Hamilton's  Miniature  Course  of  Harmony 
and  Composition,  5  Yols.,  2s.  and  3s.  each;  snd  Clare's  Psalmody,  40  Psalma 
and  Hymna,  with  Chants,  3b. 

VIOLIH  KUBIC.— Tbe  VIOLIH,  being  aa  Account  of  fhat 
leading  Infltmment.  and  its  most  eminent  Professors. 

By  OBOBOB   DUBOUBO,  Bsq. 

Third  edition,  price  5b.  ContenU :— Prefibce—Origia  of  the  YloKn^The 
Italian  School— Paganini— The  French  School— The  German  School— The 
English  School — Amateur— Female  Performers— On  the  Construction,  &c. 
of  the  Violin— Anecdotes,  ftc  Also,  just  published,  Spohr's  Great  School, 
br  Bishop,  31s.  6d.;  Campagnoli's  dittos  br  John  Biahop,  24s.;  Paganini'a 
Method,;  12s. ;  Rode's  ditto,  10s.  6d.;  Hamilton's  Catechisms ;  where  may  be 
had  100  Violins,  [irice  from  one  guinea  to  50  guineas  each,  and  a  catalogue 
of  new  violin  muuc,  gratis. 

BOTAI   PIAH070BTE   SALOH. 

Bopwrlor  PIOOOIiO  *  OOTTAOB  PIANO  FOBTBB,  Moa.  X  tO  7, 

Manu&ctured  by  R.  Cocks  and  Co.,  6,  Burlington  Street,  London,  Muaie 

Sellers  ta  tin  Queen. 
**  These  pianofortes  are  remarkable  for  the  beauty  and  equality  of  their 
tone^  the  fiunlity  of  thdr  touch,  aud  their  extremely  elegant  exterior.  They 
have  the  advantage  of  being  firmly  and  oompactiy  made,  of  the  best  seasoned 
materials,  and  el  kee|^  well  in  tune  tor  an  unusual  length  of  time." 
-^Musical  World,  Dec,  1 1,  1845.  "  It  is  our  candid  opinion  that  for  work- 
manship and  quality  throughout,  together  with  the  extreme  reasonableness  of 
the  prices,  these  pianofortes  cannot  be  surpassed." — Dramalic  and  Mutical 
Review,  Jan.,  24,  1846.  N.B.  A  list  of  prices  and  other  particulars  to  be  had 
sratis,  postage  free.  Seven  of  Erard's  harps,  and  a  htkndred  pianos  for  sale  or' 
mre,  on  very  moderate  terms,  including  several  grand  squares  by  Messrs. 
CoUaid  and  CoUard,  and  Messrs  Broad  wood. 

Mmm.  OOOBtf  *  Co.,  e,  BwUBtWa  Btrstt, 


JULES    SOHnLHOFI% 

PIANOFORTE  WORKS,  ^. 

PUBLISHED  BT 

WESSEL   ft  CO. 

229,  REGENT  STREET,  Coenbb  of  Hanoybe  Stuzt. 

No.                                           a.  d. 

1.  "  Pracne,"  Allegro  hr.  dedicated  to  Chopin,  in  C     . .       ..  Opt.  1.  4   0 

2.  "  lie  Zephir/*  Romance   ..                        ..          iaAb.  Op.S.  SO 

3.  "  lA  Hajnd«,'*  Mdodie in  B  mi^or,  Op.  2.  SO 

(Perlbrmed  by  the  Compoaer  at  Mr.  WAU.aaB'a  Concert  with  the  grealest 

auocess.) 

4.  '<  Blegie,*'  Marcia  ftm^bie in  O  minor.  Op.  2.  2   0 

5.  "  Andante  et  Etuda  da  Concert,*'                 in  A  flat.  Op.  t.  16 

6.  "Toplits-Polka"           faiAflatOp.4.  1    6 

7.  "  Carlsbad- Polka/'      in  F  sharp  minor,  (^.  4.  S  0 

8.  «<  Lea  ttandello/*  Mainrkaa 1st  set.  Op.  5.  SO 

9.  Idem.                 Idem        Snd  Set,  (^.5.  SO 

10.  «  Victoria,"  Valsebrillanta       in  A  flat.  Op.  6.  4   0 

Idem      as  Piano-Ihiet      (^.6.  5   0 

11.  Premier  Scherao, ..    in  A  minor.  Op.  7.  S   6 

12.  Second     ditto         inUb.  Op.7.  4   0 

15.  «' Confidence/" let  Imprompta  in  O  flat.  Op.  8.  1  6 

14. '<  Chanson  a  boire/'              ..2nd      ditto     inBflat,  Op.  8.  S   6 

19.  "  Barearolle/*       Srd     [ditto          in  A,  Op.  6.  So 

16.  «  Polonia/' Mazurka. No.  S,  in  A  flat.  Op.  9.  S6 

17.  "  PolonU/' Mazurka,                             No.  4,  in  A  minor.  Op.  9.  S   0 

11.  Oavrlce^  anr  dea  Airs   IfationMn  de  ]ia  e.  flat.  Op.  10.  6  o 

Bobeine,  

(Performed  by  theComposer  at  Mauam a  Puszi'i  Concert,  aad  enthnaiaatical^ 

encored). 

19.  Nocturne  oii  Romaneey la  A  flat,  Op.  ll.  1  0 

30.  *<  liC  Tonmoi/' Grande  Etnde                  ..  iaCmlnor,Op.  13.  S   6 

31.  Dense  Btndes,  Book  1  ^     ^  ^,    1  .*      C  Op.  U.  4  6 

33.  Ditto          ditto,      Booksi,^*^}                       Op.  11.  4   6 
38- Ditto           ditto.      Books)  ^^^^    C                        ^•^'-  *• 

34.  4me.  Imprompta, «*  La  Bercenae/'  ia  Aflat,  Op.  14.  I    6 

35.  4me.  Impromptu,  *' I*a  BabiUardCi  toC.        Op.  14.  SO 

96.  "Acitato/*       hi  A  minor.  Op.  16.  4 

37.  <*  Orertore  dn  Jenne  Bnri/'  de  JfeAe^   Is-n  ...  4   6 

(morseanx  de  Concert)  ..  ..  '        * 

The  cdebritv  which  the  Compositions  of  M.  SCHULHOFF  eq|oy  In  France  «id 
Germany,  both  as  regards  originality  and  elegance,  entitlea  theoi  to  thepartfcnlar 
notice  of  all  Ffainists. ,, « « 

WESSEL  &  CO.,    229,    REGENT    STREET, 
(Comer  of  Hanover  Street). 

PIANOFORTES    CHEAP. 

The  Largfe  and  Valuable 
STOCK    OF     PIANOPORTES, 

laaauuictarett  by 

^IfllTTIE^    ^    €®. 

Ii  now  Seninr  olTat  ^_^    .^•.*.^,- 

A,  NEW  CAVBNDIBH  ST.,  PORTXiAlfD  PXiAOB,  LONDON. 

IN  ooNsaeuENCB  or  a  aisaoLurioN  o»  pabtnkbbhip. 
The  InstramenU  consisthig  of  mahogany  and  rosewood  gnmds,  semi-gF^da, 
cabinet,  cottage)  and  piccokw,  are  made  with  the  patent  sonn^nff-board,  metalUc 
plate,  check  action,  and  all  the  latest  improvements.  The  Pianofbrtes  madeby 
Zeitter  and  Co.  have  always  enjoyed  a  preference  among  the  nobility  and  gentry, 
having  been  honoured  with  the  patronage  of  her  Majesty  theQneen,  the  Dncheaa 
of  Sutheriand,  &c.  The  pecnUar  conatmctioa  of  the  soonding-bowd  inanres 
their  graater  durabUity,  and  the  Arm  tone  ia  weU  known.  Fartiea  deslrona  of 
possessing  one  of  these  superior  instruments  may  now  purchase  the  same  on  tot 
advantageous  terms.  Grands,  hereCofbre  from  130  to  MS  gnineaa,  are  now  asD- 
Ing  at  6M.  to  701.,  and  othera  in  proportion.  The  pramiasa.  No.  5,  have  been 
recently  closed. 


ORIENTAL    BOTANICAL    PREPARATION, 

For  removing  almost  instantaneooalycntaneoaB  enrationa,  fredJea,pimpl«, apota, 
and  other  discokvatioDs  of  the  skin.  After  one  application  of  the  Botanic  f>^nct* 
wMchnuat  be  used  tince  a  day,  a  wonderful  change  will  he  perceived,  andin  the 
course  of  a  few  days  the  oompteuon  wiU  asaome  a  beautifhl  tranaparent  rofw^ 
hue  appoirance.  The  extract  to  apply  is  of  the  moat  agreeable  n**5J*»,  "'^  ™ 
first  application  will  prove  ite  wondernil  eflicacy.  Prepared  only,  and  sola  wnoie- 
sale  and  retail,  by  the  sole  proprietor, 

OBOBOB  H.  J.  OOOKBUBN,  9,  Ald«a«e,  IiOndeasf 
And  Barclay  and  Sons,  Farringdon-street,  London ;  in  botUesat  3a.  9d.  aad^.  6d. 
each;  also  by  Sanger,  150,  Oxford-street s  Keating.  St.  Pwd'*  Ch'*^  ,?f^5 
Johnson,  68,  Comhill:  Hannay  and  Co.,  63,  Oaiortljjareet;  ?«^*5*„^#i 
Cheapaitie  j  kdwarda,  iu  Paul's  Chnrchyard)  Froat,  SSS,  Strand)  andof  all eChar 
Cbemista  and  Ferfomers  in  the  kingdom. 

Digitized  by^^UOy  It: 


THE  MUSICAL  WORLD. 


339 


HER 


MAJESTY'S 


THEATRE. 


Tbe  Nobility,  SntaMriben  to  tiie  Open  and  the  Pablic  wo  rapeetftilly  infbnnedj 
that  thoe  will  be  A  GRAND  EXTRiL  NiailT 

On  THUBSDAY  NEXT,  May  27,  1847, 

wbsB  win  be  perftmned  (for  ttm  First  Time  In  this  Coimtrj) 

Doiuzetti*8  Opera,  entitled 

LA  HGIIA  DEL  BEOamENTO. 

mOi  NEW  8CBNERT.  DRESSES  and  DECORikTIONS. 
The  Scenery  by  Ifr.  CRAaLVS  Marshall. 


MdUa.  JBlflfY    LZlfB. 
lA  M arehssa  di  Barkanflaldy   Madama  B  O  LA  R  I. 
■vpUalo  Sarffantai       .      .      Biff.  F.  LAB&AOHB. 

I^Ottlo,  ...       Sir.  OARDOlf  I. 

Tobe  Ibnowed  by  farioaa  Entertainments  in  the  BALLBT  DEPARTMBNT, 
combining  the  talenU  of  MdUe.  Gablotta  Gaisr,  Mdlle.  Ldcxlb  Gbahn, 
Mdne.  Cabolxna  Rosati,  Mdlle.  Pstit  Stbphan  and  MadUe.  Cbezto, 
M.  Pbbbot  and  M.  St.  Lbon. 

The  Free  List  U  euspended,  the  PuhHe  Prete  excepted, 

V.  Pit  Tickets  may  be  obtained  as  nsaal  at  the  Theatre,  price  lOs.  6d.  each. 

Arolications  for  Boxes,  Pit  Stalls  and  TickeU,  to  be  made  at  theBox-OiBce  at 

tteTheatrs.— Doors  open  at  Seven  o'clodc ;  the  Opera  to  commence  at  Haif-past 


MR.  &  MRS.  W.  H.  SEGUIN, 

(JAsodate^  Hon.  Member  and  Professor  of  Sinrinf  at  the  Royal  Academy 
of  Mnsic,)  beg  to  announce  that  their 

AD^D^miAL     (g®l}^©IEI^T 

ii  fixed  to  take  place 
On  TUB8DAY    MORMZNO,  tha   Bth  of  JUMB, 
At  the  HANOVER  SQUARE  ROOMS,  under  the  distinguished  Patronage  of 
HIB  BOYAIi  BIOHNB88  ma  DUKB  of  OAMBBZDOB. 


Farther  particalsTB  will  be  duly  announeed. 
adlers.  Old  ^Mr.  and  Mrs.  W.  H.  Sbouxk,  at  their  residence.  No.  iSrConon- 


TickeU,  108. 6d.  each;  Reserved  Seats,  ISs., 
jenen,aiidofMr.*»<<t -     -» 

street,  May  Fair. 


e  had  of  all  the  principal  Masic 


OAK  BARK  TANNED  LEATHER  HARNESS. 

^  Brwyham  Harness,  lined,  7  «.,  unlined  5  gs. ;  Chariot  Harness,  lined,  18  gs. 
fuice  the  introduction  of  chemicals  in  tanning,  not  one  hide  in  50  is  now  tanned 
with  baik ;  the  chymical  process,  by  sulphuric  and  other  acids,  impoverishes  the 
hide,  oak  bark  alone  converU  it  into  solid  leather. 

D.  MOBIABTT,  84,  Berwick  Street,  Soho, 

invitea  gentlemen  to  inspect  the  process  of  carrying  on  his  own  premises, 
whereby  alone  they  can  depend  on  bark  Unned.    Old  harness  taken  In  achange. 


HERR  JULES   SCHULHOFF, 

(from  PRAGUE,) 

Has  the  honour  to  announce  that  his 


ITALIAN 


ROY  Al- 
ii 


OPERA, 


COVENT  ^SE^BR^t^        GARDEN. 
EXTRA   NIGHT 

On  THURSDAY  NEXT,  May  37, 

When  Mozart's 

IL    DON    GIOVANNI 

will  be  performed  with  the  most  perfect  Ensemble,  comprising  a  DOUBLE 

0RCHB8TRA*  POWERFUL  CHORUS  wittk  the  leading  Characters, 

sustained  by 

Orisl  — Parsiaal — Corbarl — Mario Rorara-^-Tamlrartiil— 

TacUallco — iMjf  *e, 

Under  the  direction  of  M.  COSTA. 

FANNT  ELLSLER  and  DUMILATRB  will  perform  In  the  new  popular  Ballet, 

LA  SAIAMAITDRINE. 

supported  by  MadUe  Bbbtin,  Madlle  Nbodot,  MadUe  De  Mb^issx,  M.  Pbtipa 
and  a  numerous  Corps  de  BaHet. 

The  Scenery  by  Messrs.  Oribtb  andTBLBiw  { the  Music  by  Signer  Citbm i. 

V  Tickets,  Stalls,  and  Boxes  to  be  bad  at  Messrs.  Crsmer,  Beale,  aad  Oo.*b, 
Ml,  Regent  Street  \  and  at  the  Box  Office,  Bow  Street. 

Prices  of  admission,  Pit  Tickets,  8s. ;  Pit  Stalls,  ais. ;  First  Amphitheatre 
Stalls— First  Row,  I5s.,  Second  and  Third  Rows,  12s.  6d. ;  Second  Amphitheatre 
Stalls,  7s.  I  First  Amphitheatre  Ticketo,  8s. )  Second  Amphitheatre  Tidtets,  6s. ; 
Gallery  Tvdcets,  8s. 

The  doors  wiU  open  at  half-past  Seven,  and  the  performance  to  commence 
at  Eight 


WILSON'S     SCOTTISH 


ENTERTAINMENTS, 
o'Cioak, 


ON    MONDAY    EVBNINOy    MAY    OA,    at    8 
AT  THE  MUSIC  HALL,  STORE  STREET. 

MR.   WILSON 

wiUsiag  a  SELBCnON  OF  SONGS  by  Bums,  several  Ihvoorite  old  BaUads, 
_.  ....  ...    ^        :^**MhA  yndati  fetch  for  Charlie ?»»—«He»s 


wad'*— •* There  are 


aad  the  fellowing  JaeobHe  Songs:-       

o*er.tbe  hillL'' —  <<  Tbe  women  are  a'  jnne 

maidens''— "Wae's  me  for  Prince  Charfie." 
On  TUESDAY  EVENINO,  the  asth  May.  Mr.  Wilson  win  give  his  HRST 
.6iBY  HAIibi  andli 


St  Half-past  Two  o'clock. 


will  take  place  at  the  HANOVER  SQUARE  ROOMS, 

Ob  FSn>AY  BVBNZNO^  asth  May,  to  commanea  at  8  o^doek. 

The  fellowing  eminent  Artistes  will  assist : 

VOCALISTS. 

KI88     BA8BANO.  Mt8SMB88BNT. 

MABAMBMACFABBBN.  MADLB.  VBBBA. 

THB    MIi8B8   WILI.IAM8. 

THB    MI8SB8    PYNE, 

AMD  "-."• 

MB.    r.    B O  D  D  A. 

TiouifB-HERA  GEOROIO      and      JOSEPH  HELMBSBBROER« 

Harp— HERR  OBBRTHUR. 

PlANOiOBTB— HERR  JULES    SCHULHOFF. 

«  •  *M   CONDUCTOBS-M.  M.  BBMBDICr,  VBRRA,  and  KUHB. 

Jisl  ^'^JSSX^JiSS^  ■*  WESSEL  fc  CO.'S.  German  Mosie  Ware. 

hoase,  939,  RBOBNT  STREET,  comer  of  Hanover  Street 


D.  ALBEHITb  QTTEEir  of  the  BALL  WALTZ, 

As  peribrmed  at  Her  M^esty's  State  Ball,with  a beautifal  Illustration  by  Brandanl. 

•  *' IS^r^^*5lK*®.J?^il*»l»P«^*rfty*'»e  best  of  Strauss  and  JulMen.  It 
Mparticnlarly  adapted  to  the  Valse k  Deux-tems."   Also  the  •<HelenaFOika,» 

S£&nkSrs«JiSt*£*iS^^^ 

CHAPEL,  50,  NEW  BOND  STIieET. 


GRATIS  I    GRATIS  1    GRATIS  I 

Every  Person  who  ahali  subacribe  fer 

THE    DISPATCH 

ihtring  ike  Month  of  June  next, 

WILIi  BE  PRESENTED  WITH  A  FINELY  ENGRATED 

PORTRAIT  OF   ELIZA  COOK. 

"  The  poems  of  Miss  Cook  are  national  property.  There  Is  hsrdly  a 
homestead  in  the  land  where  her  name  and  her  contributions  to  tbe  Dispatch 
are  not  familiar  as  household  words.  Apart  from  the  powerful  and  brilliant 
talent  with  which  the  Dispatch  is  conducted,  this  handsome  and  acceptable 

5 resent  to  Its  fifty  or  sixty  thousand  readers,  cannot  fall  to  be  appreciated."— 
Liverpool  Chronicle,  May  8,  1847. 

The  likeness  of  tnls  Poetic  Genius,  by  Trantscbold,  Is  most  striking,  and 
the  EngravlBg  is  by  Adlard,  In  the  first  stylaof  the  art 

An  Edition  of  the  Dispatch  is  published  at  Five  o'clock  mrerr  Saturday 
morning,  for  transmission  by  the  First  Trains  and  Morning  Mails,  so  that 
persons  residing  in  towns  250  miles  from  London  may  receive  Jt  the  same 
evening. 

This  Edition  contains  the  London  Markets  of  the  week,  Indading  those 
held  on  Friday;  also  the  spirited  Letters  of  Publicola,  Caustic,  and 
Censorius  ;  and  frequentlT  original  Poems  by  Miss  Eliza  Cook. 

Persons  dedrons  of  bdng  supplied  with  the  Weekly  Dispatch,  may 
aive  their  orders  and  pay  their  subscriptions  to  any  News  Agent ;  or  to 
Mr.  Richard  Wood,  at  the  Dispatch  OpncE,  139,  Flebt-street, 
London,  who»  by  a  remUtaaee  of  8s.,  or  Postage  Stamps  to  that  amount, 
will  •upjply  the  Dispatch  tbroughoat  June  next. 

Tho  Terms  for  the  Dibpatch  are»  per  Quarter      •    •    78.    Od. 
Per  Year,  in  AdTance     •  •  •  •    £l     68.    Od. 

Ditto  on  Credit,  payable  by  reference  in  London    £1  10b*    Od. 

N.B.— A  beautifbl  Prame^  of  an  original  character.  In  Imitation  of  oak 
branches  and  foliage,  interspersed  with  medallions  illustrative  of  Miss  Cook's 
Works,  has  been  prepared  oy  an  artist  of  considerable  talent,  and  which  can 
'     *    •       -  *  •"•  •      Arrangements  have  also  been  made  with 


be  had  at  twenty  shillings  each.    . 

respectable  manuncturers  to  supply  eleffsnc  Frames,  at  pxices  varying  from 
Si.  to  2Ss.,  and  any  Subscriber  to  the  Dispatch  may,  oy  transmitting  to 
Mr.  Wood  tha  sum  for  the  Frame  he  wishes  to  obtain, ,  be  supplied  with  the 


Digitized  by  \^OOy  It: 


340 


THE  MUSICAL  WORLD. 


Annual  Miudcal  Presentation  and  Cirotilating 
Library  combined. 

M.  JULLIEN  has  the  honour  to  sabmit  to  the  Musical  Public  of  Great 
BritMn  and  Ireland,  an  entirely  NEW  SYSTEM  for  supplying  their  Musical 
requirements. 

It  has  long  been  a  subject  of  just  complaint  in  the  .Profession,  as  weH 
as  amongst  Amateurs,  that  in  order  to  become  possessed  of  a  moderate 
proportion  of  the  Musical  Novelties  of  the  day.  it  is  necessary  to  purchase, 
at  a  very  considerable,  and  in  many  cases,  at  an  inconTenient  cost,  a 
quantity  of  Music,  which,  if  it  do  not  prove  utterly  worthless,  is  very 
frequently  found  on  trial,  to  be  unsuited  to,  or  unwished  for  by,  the  pur*- 
chaser,  who  thus  becomes  burdened  with  a  considerable  expense,  while 
the  object  he  has  been  seeking  remaitts  unattained. 

A  Musical  Circulating  Library 

would  appear  in  a  great  measure  to  obtiate  these  inconveniences ;  yet 
there  are  many  who  object,  and  naturally  so,  to  pay  a  consideiteble  sum 
annually  for  the. mere  loan  of  Music,  not  haviog  the  power  to  retain  as 
their  own  property  any  one  piece  .which  they  may  wish  to  possess,  with- 
out making  further  payments  in  addition  to  their  annual  subscription. 

To  meet  both  these  difficulties,  M.  JuLLitif  brings  forward  this  New 
System,  which,  supported  as  it  will  be  by  the  great  resources  of  his 
eitensive  London  establishment,  as  well  as  by  his  numerous  Continental 
connections,  will,  he  hopes,  afford  advantages  and.  facilities  to  his  sub- 
scribers, to  which  no  other  plan  hitherto  brought  forward  has  ever  laid 
dfurn.  :       •  : 

M.  JuLLiBK  has  formed  a  copiplete  Circulating  Library,  and  intends 
every  year  to  establish 

A  caANb  injsxoAi.  presentation, 

in  which  every  subscriber  wilt  become  interested  to  the  ftdl  trnoont  of 
their  Annual  Subscription — that  is  to  say,  M.  Jullikm  will  present 
GRATIS  to  each  subscriber  Music  to  the  pull  amount  op  his  or 
HBB  SuBSCHiPTioN  to  the  Library— Huch  Music  to  be  chosen  by  the  sub- 
scribers themselves,  and  to  become  their  sole  property— so  that,  in  other 
words,  any  person  purchasing  Music  to  the  amount  of  £S  Zs.  (the 
amount  of  the  Annual  Subscription)  will  be  further  entitled,  during  the 
whole  year,  to  the  loan  of  any  Music  he  may  choose  to  select  fk^om  the 
entire  library,  and  this,  without  charob,  being  also  entitled  to  change 
such  Music  as  often  as  he  may  please. 

For  Three  Guineas,  therefore,  a  subscribtr  will  be  supplied,  on  loan, 
with  any  Music  he  may  wish  for,  and  at  the  end  of  the  year  will  be  prb- 
SENTBD  with  THREE  GUINEAS'  WORTH*  to  become  his  own  exclusive 
property.  . 

In  order  to  facilitate  the  Subscribers'  Selection,  M.  Jullibn  will 
furnish  a  list  of  the  most  fashionable  and  popular  Pieces,  with  the  prices 
attached.  This  list  having  been  marked  and  sent  into  the  library,  the 
Subscriber  will  immediately  receive  the  pieces  chosen. 

In  bringing  forward  this  system,  (new  to  this  country.)  M.  Jullibm 
has  the  satisfaction  to  reflect  that  on  the  continent,  where  it  has  been 
some  years  in  operation,  it  has  had  the  effect  of  advancing  the  mterest  of 
the  Musical  Art  in  the  highest  degree. 

M.  Jullibn's  Library  which  is  the  most  extensive  to  l>e  found  in 
England  at  the  present  tijn«f,  possesses  the  COMPLETE  known  WORKS 
of  the  English,  German,  Italian,  and  French  Authors,  all  of  which  will  be 
at  the  disposal  of  the  Subscribcn. 

TERMS  OF  SUBSCRIPTION : 

1.— The  Subscription  to  be  always  paid  at  the  time  of  subscribing  and 

at  the  renewal  of  every  subsequent  term. 
2.— Subscribers  resident  in  London,  to  be  entitled  to  Six 'Pieces  of 

Music  and  one  Score  at  a  time ;  Country  Subscribers  to  Twelve 

Pieces  and  Two  Scores  at  a  time. 
3.— To  each  Subscriber  will  be  presented  gratis,  at  a  time  of  subscribing 

a  Portf(»lio,  for  the  protection  of  the  Library  Music;  and  at  no 

time,  on  any  consideration,  will  Music  be  received,  or  sent  back, 

unless  enclosed  in  the  Portfolio. 
4.— Should  any  Music  be  retained  beyond  the  time  subscribed  for,  the 

Subscription  will  continue  open,  and  must  be  paid  for  until  such 

Music  is  returned. 
5.— AU  expences  attending  Carriage,  Postage,  &c.,  to  be  defrayed  by  the 

Subscribers. 

ROYAL    CONSERVATORY    OF    MUSIC, 

214^'Regekt-Stbeet,  AND  45,  Eing-Streex. 


SOVBRKIfiN 


No.  5,  St.  JAMES'S  STREET,  LONDON- 


Sir  A.  Brydges  Henniker,  Bart. 
B.  Bond  CahbeU,  Esq.,  M.P. 


Ch  Ainu  AX,  Lieutenant  Colonel  Lord 

Arthur  Lennox. 
DxPUTY-CHAiBMAy,  T.  C.  Granger, 

Eaq.,  M.P. 
Joha  Ashburner,  Esq.,  M.D. 
T.  M.  B.  BaUrdL_Ksq. 
Philip  P.  Blyth,  Esq. 


,  M.P. 


IWcffMf. 

I       Henry  PownalL  Esq. 

I       Olsude  Edward  Soolt,  Esq. 

Henry  Broadwood,  ] 

Sir  James  Carmicbael,  J 

Charles  Farebrother»  Esq.,  Alderman. 

l^iUiam  Tulloh  Fraser,  Esq. 

John  Gardiner,  Esq. 

Aaron  Asher  Goldsmld.  Esq. 

Henry  William  Fownail,  Esq. 


Assarances  on  tbe  lives  of  persons  in  every  station  of  life  and  every  part  of  the 
world,  icranted  on  a  plan  which  combines  the  utmost  amount  of  benefit  to  the 
families  of  the  assuKd  ai  demtk,  with  every  atUinable  advantage  during  U/r, 
which  the  systesD  of  Life  Assurance  is  capable  of  affording. 

Peraans  wishing  to  borrow  money  to  enable  them  to  complete  the  pordiBse  of 
property,  or  desiring  to  pay  off  existing  charges  thereon,  can,  by  assoring  with 
this  Company,  obtaUi  the  advance  oi  tbe.fall  .amovnt  of  Uie  Policy,  repayable  by 
instalmento,  extended  over  a  period  of  years,  on  the  advantageous  terms  explained 
in  the  Prospectus. 

In  esse  the  assured  dies  during  the  limited  number  of  years  agreed  upon,  he 
will  not  leave  his  property  encumbered  with  a  debt ;  but,  on  the  contrary,  his 
representatives  will  be  enUtled  to  receive  the  amount  secured  by  tbe  POlicy^  after 
deducting  the  sums  then  remainbig '  unpaid.     Or,  he  may  at  any  time,  anticipate 


t  of  the  sums  still  resBaining  unpaid  on  fhwarable  terms,  and  conti- 
Icy,  if  hepleases,  as  an  ordinary  Life  Policy. 
as  and  kndowmbnts  on  liberal  terms. 


the  payment  c 
aue  the  Policy, : 

Annuities  i 

The  usual  commission  to  Solicitors  and  Agents. 

H.  D.  Datsnpobt,  8eiraar$, 

CUrtcal  iHe^ttal,  antr  ^tntxKl 

.     LIFfi  ASSURANCE  SOCIETY- 
DiRaqroRs. 

JosEPR  1C00RE»  M.D.,  Chairman. 


GeoRGE  G.  Babinoton,  Esq. 
John  Blackail,  M.D. 
StR  Bbmj.  C.  Brodjjb,  Bart.  F.R.S. 
Rev.  Alprbo  B.  Clouoh,  M.A. 
Samubi.  Coofer,  Esq. 
John  Rt.  Cornish,  Esq. 
ItEv.  Thomas  Dale,  M.A. 
Thomas  Davis,  Esq 


James  Dunlap,  M.D. 
Rbv.  Richard  Garvet,  K.A. 
Joseph  Henry  Gtreen,  Esq. 
Oliver  Haroeeave,  Esq, 
Clbment  Hue,  M.D. 
Samuel  Mebriman,  M.D. 
Andrew  A.  Mieville,  Esq. 
Andrew  Spottiswood,  Esq. 


In  addition  to  Assurances  on  bealthy  Lives,  this  Society  continues  to  giant 
Policies  on  the  Lives  of  Persons  subject  to  Gout,  Astiima,  Rupture,  and  other 
DiseasBtf  on  the  payment  of  a  Premium  proportioned  to  the  increased  risk. 
The  plan  of  granting  Assarances  on  Invalid  Lives  originated  with  this  Office 
in  the  beginning  of  1824. 

Table  of  Premiums  for  Assuring  jgiOO  on  a  Healtrt  Lifb. 


For  Seven  Years 

For  Fourteen  Years, 

Age. 

at  an 

at  an 

IJfeRate. 

Annual  Payment  of 

Annual  Payment  of 

£    «.    d. 

£    :     rf. 

£    s,     d. 

30 

1      4      1 

1      6      1 

2    10      4 

35 

1      7      2 

1      9      3 

2    16      6 

40 

1     10      4 

1    13      6 

3      3      8 

45 

1     14      8 

2      10 

3    13      0 

£0 

2      3      0 

2     13    11 

4      7      3 

55 

3      1      2 

3    13      3 

5      5      0 

60 

4      2      3 

5      1      3 

6      7      2 

65 

5    16      3 

6    19    11 

7     16      9 

Everif  detcription  of  Assurance  may  be  effected  with  this  Society,  and  PoUeiee 
are  granted  on  the  Lives  of  Persons  in  any  sttUion  oiuf^  evert  aoE. 

BONUSES. 

Tbe  two  first  Divisions  averaged  £21%  per  Cent,  on  tbe  Premiums  paid.  Tbe 
Third  £28  per  Cent.  The  FOURtH  Bonus,  dedared^January  1847,  averaged 
rather  more  than  £36  per  Cent.  ;  and  from  the  large  amount  of  Prqfii 
alresdy  realised,  which  has  been  reserved  for  future  appropHoHon,  and  other 
causes,  the  Bonuses  hereai^r  are  expected  considerably  to  exceed  that  amount. 
The  Secretary's  income,  which  is  steadily  increasing,  is  now  upwards  of 
£\  16,000  fbr  annum. 

GKO.  H.  PINCKARD,  Actuary, 

78,  Great  Russeil  Street,  Bfoomehtry;  London. 

Printed  and  Publisheil,  for  the  Proprietors,  at  tbe  "Nassau  Stoam  Press.*' 

ar  William  Spencer  Johnson,  60,  St.  Martin's  Lane,  in  the  pari^  of  St. 
artin's  in  the  Fields,  in  the  County  of  Middlesex:  where  all  commumcatlona 
for  the  Kditor  are  to  be  addressed  post  paid.  To  be  had  of  O.  Pnrkess,  Dean 
Stnet,  Soho :  8tran«:e,  Paternoster  Row  s  Wisebeart,DttbUo;  and  aU  Booksellers. 
-8.hmUy.i..ya.m7.  ^.^^.^^^  ^^^  N^UU^ LtT 


€|)e  Mniiul  Wiovirt, 

(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Ttnui  of  Stttaerlvtlon,  pwAuamm,  16«.  Stamped;  Ifta.  Unataaipedi  to  be  forwarded  by  Momej  Order  or  Poatave  fltaapa 
to  the  PnbliaJ^er,  W^  fl.  Johnaon^  ^'Maaaau  Steam  Preaa/'  60,  St.  Martin'a  Lane,  Oltfwinff  Croaai 
XS^Aannal  fl^aeribera  o&ly  (wboae  naoMa  are  re^latered  at  the  OIBee)  are  enUtled  to  aa  Admlaalon  to  the  Oonoert,  and 

a  Piece  of  Huale,  (regular  Mvale  aixe)  Honthlj. 


No.  22.-.V0UXXIL 


SATURDAY,  MAY  29,  1847. 


(PRICE   THREEPENCE 
1  STAMPED,  FOURPENCE 


TO    OUR   READERS. 

Annual  gnbacribera  wboae  namea  are  entered  In  the  Book 
at  onr  Ofllee,  and  wboae  Bubaerlptloaa  are  paid  In  adTance 
to  Cbrlatmaa  nextrare  AXiONB  entitled  to  an  Admlaalon  to 
the  fortheomlnc  Annnal  Concert,  which  will  be  giTcn  in  Jnne 
or  Jmir  next. 
Otlr  StAicrib^rf  will  he  preseiUed  ikU  week  with  an  IMFBOMPTU, 

eompoeed  expreeely  for   the   "Miuical    World,*'    by   CG9ABLES 

LUDBBS. 

JENilY  LIND  AND  HER  INFLUENCE. 

OuB  worthy  progenitors  may  prate  about  Henry  Betty  and 
Miss  O'Neil  as  they  will,  we  have  got  something  in  our  time 
to  match  them.  Those  bubbles  swelled  into  the  dimeusions 
of  a  pumpkin  before  they  burst— but  this  bubble  is  already  as 
big  as  one  of  Mr.  Green's  balloons,  and  yet  there  is  no  sisrn 
of  its  melting  into  air.  It  gets  bigger  and  bigger  every  day  ; 
but  it  looks  so  smooth  and  glitters  with  such  diaphonous 
brightness  in  the  sun  that  one  has  not  the  heart  to  throw  a 
atone  and  smash  it.  In  these,  depressed  and  apathetic  times 
It  is  pleasant  to  get  hold  of  an  excitement,  come  whence  it 
may;  and  we  shall  not  quarrel  with  the  charming  Jenny 
because  she  has  in  three  weeks  set  the  Thames  on  fire. 
Welcome  then,  thou  most  delightful  epidemic,  that  hast 
poured  into  the  ear  of  old  London  such  precious  distillations 
as  have  ravished  it  beyond  h  cure !  Welcome,  thou  melodious 
plague^  from  whose  infection  none  escapes — no,  not  even  the 
doctors  who  walk  the  hospitals  and  presume  to  administer 
medicine  to  thy  victims,  for  they  are  as  intoxicated  with  thy 
honeyed  poison  as  their  patients.  The  doctors  (critics)  who 
first  cried  "  Pshaw !"  and  prescribed  brandy  and  salt,  are 
now,  sick  in  their  turn,  at  a  loss  to  invent  a  nostrum  for 
themselves.  Madder  than  their  patients,  they  run  about  and 
xave,.  But  no  wonder^^for  Jenny  Lind  is  irresistible  !  She 
has  smiled  upon  the  patricians,  the  people,  and  the  press, 
and  has  vanquished  them  to  a  man.  The  Queen  throws  a 
bouquet  at  her  ;  the  barons  and  dames  of  rank  flourish  their 
■ilken  scented  kerchiefs,  and  weigh  down  the  atmosphere 
with  indefinite  and  countless  smells;  the  people  shout  and 
roar;  the  press  look  on,  with  affected  unconcern— as  who 
should  say,  '*  Poor  infatuated  devils  !"«»and  straightway  hie 
them  to  their  garrstSy  and  emulate  the  mobbish  drunkenness  on 
paper.  For  one  stroke  of  art  they  write  down  ten  ;  for  one 
burst  of  nature  twenty ;  for  one  loud  cheer  fifty  t  And  yet 
withal  there  is  in  the  reality  enough  of  truth  to  mock  hyperbole. 
But  no  wonder — Jenny  Lind  is  irresistible !  See  how  "  The 
Thunderer"  nightly  rocks  himself  on  the  waves  of  her  sweet 
singing,  and  how  next  morning  he  flings  incense  before  her 
altar»  exulting  in  his  odoriferous  employ.  The  lion  will  not 
devour  the  spotless,  virgin,  and  "  The  Thunderer"  crouches 
before  the  Swedish  maid.    She  looks  at  him,  and  his  eyelids 


close;    she  pats  him  on  the  mane,  and  he  slumbers;   she 
caresses  him,   and  he  has  dreams  of  elysium  ;    she  gently 
wakes  him,  and  he  carries  her  on  his  sinewy  back  to  glory 
and  to  triumph !  Oh,  cunning  maid,  that  lo-like,  hast  learned 
to  sooth  •*  The  Thunderer!"     But  none  escapes — even  Punch 
himself,  the   downy-feathered,   spear-tongued  railer,   whose 
glance  is  sharp  steel,  whose  smile  is  bitter  myrrh,  has  been 
discovered  blubbering;  he  has  shed  a  tear,  and  owns  it  in 
half  a  sonnet.     Peruse  his  solemn  verse  : — 
*'  Not  oft  I  give  a  sentimental  squeak. 
Nor  deal  in  homage ;  but  thou  hast. 
Fair  maid,  drawn  wooden  tears  down  Punch's  cheek, 
And  thi^t  18  an  achievement  vast. 

Thus,  therefoK,  doth  he  bare  his  crown. 

And  throw  him  at  thy  footstool  down,  - 

Hoping  that  thou  wilt  smile  at  him  this  week." 

Thus  you  see  there  is  no  outlet  from  her  influence.  Jenny 
Lind  has  put  salt  upon  the  public  tail  and  has  fairly  caught  the 
public.  Here,  we  suspect,  is  her  secret.  She  is  the  people's 
own.  She  looks  at  the  mob,  as  the  beauty  at  the  beast,  and 
moved  by  the  tears  that  run  silently  down  its  rough  ungainly 
cheeks,  yearns  towards  it  as  towards  an  honest  ugly  friend. 
Jenny  Lind  has  wedded  the  multitude,  and  from  the  union  has 
sprung  her  universal  popularity.  The  crowd  regards  her  with 
the  eye  of  a  protector.  The  feeling  is  unanimous.  Every 
man  when  he  goes  to  hear  Jenny  Lind  goes  with  a  large  stick, 
and  the  intention  of  knocking  any  one  down  who  says  she  is 
not  the  greatest  of  singers,  the  greatest  of  actresses,  the 
simplest  and  loveliest  of  maidens.  A  few  miserable  heretics, 
in  whose  bosoms  scepticism  sourly  reigns,  have  dared  to  say, 

"  But ."     But  no  further 

could  they  get  in  their  argument : — the  faithful  to  whom 
it  was  addressed  have  turned  away  in  scorn,  and  left  the 
infidels  to  munch  the  bitter  cud  of  their  reflections.  We  know 
of  a  son,  who  was  turned  out  of  doors  by  his  father,  because 
he  was  rash  enough  to  suggest  that  Jenny  Lind's  middle  notes 
were  not  so  good  as  those  of  her  upper  register.  A  husband 
beat  his  wife  because  she  affirmed  that  in  the  encore  of  the 
final  air  in  Sonnambula^  Jenny  lind  made  the  same  ornaments 
and  cadences  twice  over.  "  Tliere  was  not  one  note  the  same," 
said  the  husband,  who  |knew  nothing  about  music.  "  Every 
note  was  alike  both  tiroes,"  insisted  the  wife,  who  was  an 
excellent  amateur.  '*  You  are  a  fool,  my  dear,"  rejoined  the 
husband.  •'You  know  nothing  of  the  matter,"  retorted  the 
wife.  And  so  when  they  got  home,  the  dispute  recommenced 
over  the  supper-table,  and  the  husband  thrashed  his  wife.  Oh  I 
could  the  simple  *'  Jenny "  have  known  this  or  the  other 
circumstance,  how  would  her  pretty  eyes  have  opened,  and 
her  pretty  lips  have  pouted  with  dismay  I  *'  And  this,"— 
would  she  have  said, — "  and  this  is  to  be  beautiful  and  great  1 
There  is  discord  in  all  things  that  transcend  the  level.      0ood 


842 


THE  MUSICAL  WORLD. 


begets  evil;   eyil«  good.    It  wtT6  bttto  to  be  cloaked  in 
nedioority  I" 

It  would  appear  tbat  tbe  French  critics  are  jealous  of  our 
possession  of  the  fan:  Jenny.  In  the  SiicU  of  last  Saturday, 
the  feuilletonistet  Eugene  Guinot,  a  right  worthy  scribbler, 
pays  himself  and  his  brethren  of  the  Gallic  press  the  following 
compliment,  to  our  disadvantage,  which  is  the  more  beautiful 
from  its  being  (as  who  will  deny?)  so  thoroughly  appro- 
priate : — 

"  The  iVHMian  singer  (Jenny  Lind)  would  willinsljr  give  up  «U  tlie 
pecuniary  advantages  of  her  connection  with  Her  Majesty's  Theatre,  for 
a  feouine  triumph  at  the  Academic  Royale  fof  Paris),  for  the  applause 
of  the  Parisian  journals,  in  which  artists  are  spolccn  of  according  to  their 
merit,  and  whose  critics  praise,  without  being  paid.  After  the  baptism 
of  Parisian  success,  fortune  would  follow  rapidly.  .  .  .  The  English 
give  money,  not  glory." 

And  the  French  give  glory  and  not  money — is  not  that  it, 
Monsieur  de  Guinot  ?  It  is  as  well,  however,  that  we  have 
something  to  give  which  is  sufficiently  attractive  to  lure  the 
Swedish  nightingale  to  our  shores.  The  French  "glory," 
has  been  rejected  by  her  with  singular  contempt  Meyerbeer 
himself  has  been  unable  to  make  her  swallow  it.  The 
reason  is  that  it  cannot  be  placed  in  the  funds,  bearing 
interest ;  and  the  Swedish  clergyman  to  whom  Jenny  Lind  is 
said  to  be  betrothed,  would  doubtless  prefer  the  bank-notes, 
as  more  available  for  the  purposes  of  domestic  comfort. 

And  after  all  we  are  not  so  cold  to  Jenny ;  and  after  all 
it  is  not  erery  foreign  artist  that  can  achieve  a  triumph  on  our 
stage.  ^  We  have  heard  it  even  whispered  tbat  until  London 
has  given  its  verdict  a  singer's  fame  is  incomplete.  Of 
course  this  must  be  a  mistake ;  but  we  put  it  to  Monsieur  de 
Guinot's  candour  to  explain.  We  are  very  modest  about 
hese  matters,  and  are  ever  anxious  to  be  set  right. 

MENDELSSOHN'S  ELIJAH. 

{Continued f^rom  page  313.) 

OuK  task  is  drawing  to  an  end.  To  describe  the  numberless 
impressions  received  from  this  great  work  would  take  more  of 
our  time  and  space  than  we  are  able  to  afford.  It  would, 
nevertheless,  be  a  grateful  task,  and  were  there  not  so  many  other 
thfngs  that  absolutely  command  our  attentive  consideration  at 
this  eventful  period  of  the  musical  season  we  would  attempt  it, 
fortified  by  conviction  of  the  truth  of  all  we  should  have  to 
•ay,  and  mentally  assured  of  the  unsurpassable  magnificence  and 
beauty  of  this,  the  last  of  Mendelssohn's  great  efforts.  But 
as  matters  stand  we  must  hasten  to  conclude. 

After  the  lovely  chorus  of  comfort  and  encouragement  to 
Elijah,  of  which  we  have  spoken  in  terms  of  such  unmeasured 
praise,  the  music  assumes  a  graver  and  more  solemn  tone. 
The  end  of  the  prophet's  labours  is  at  hand  ;  he  has  fulfilled 
his  mission.  Something  more,  however,  yet  remains  for  him 
to  do.  An  angel  tells  him  to  arise  and  go  to  Horeb,  the 
Mount  of  God,  a  journey  of  forty  days  and  forty  nights. 
Elijah,  still  complaining,  declares  that  he  has  toiled  in  vain, 
and  entreats  the  Lord  to  manifest  his  power  by  his  presence. 
An  angel  answers  him  by  an  exhortation  to  patience  and  a 
promise  that  his  heart's  desire  shall  be  fulfilled.  A  choir  of 
angels  sings  the  promise  of  redemption  to  those  who  shall 
•ndurc  to  the  end  without  repining.  Elijah  at  length  accomplish- 
es his  journey.  Night  falls  around  him,  and  his  soul  thirsts 
for  the  presence  of  God,  as  the  parched  earth  for  rain.  An 
ingel  commands  him  to  rise  and  go  up  to  the  mount  and  there 
he  shall  behold  the  glory  of  the  Lord.  Elijah  covers  his  face 
Wd  anticipates,  with  eager  longing,  the  divine  presence. 
God  passes  by  and  a  mighty  wind  rends  the  mountain— but 
t&e  Lord  ia  not  in  the  tempest.    God  passes  by,  and  the  sea 


it  upheaved  and  an  earthquake  shakes  the  land— but  the  Lord 
is  not  in  the  earthquake.  After  the  earthquake  comes  a  fire 
— ^but  the  Lord  is  not  in  the  fire.  After  the  fire  **  a  still  small 
voioe — ^and  in  that  still  voice,  onward  comes  the  Lord." 
Above  him  are  the  seraphim  who  sing  his  praises. 

Mendelssohn  has  comprised  the  whole  of  the  above  in 
another  magnificent  picture.  First  a  contralto  recitative,  *'Axise 
Elijah" — then  a  bass  recitative,  in  which  the  prophet  makes  his 
complaints  and  his  desires  manifest — and  then  an  air  for 
coniralts,  "  O  rest  in  the  Lord."  If  religion  can  be  made 
lovelier  than  itself  by  musical  expression,  here  is  a  triumphant 
example  of  its  powers.  The  melody  is  purity  itself— the 
accompaniments  calm  and  devotional.  Oiie  of  the  most  ex- 
quisite points  is  the  reprise  of  the  subject  in  the  original  key, 
C  major,  from  the  transition  into  E  minor  which  accompanies 
the  second  part  of  the  air.  Nothing  can  be  more  artlessly 
beautiful,  while,  at  the  same  time,  it  is  a  fine  stroke  of  art- 
one  of  those  master-touches  with  which  Mendelssohn  so 
frequently  raises  an  unassuming  thought  into  a  high  ideal 
beauty.  Who  that  has  heard  this  delicious  melody  falling  from 
the  lips  of  the  charming  Miss  Dolby,  as  soft  water  from  a 
gentle  eminence,  and  can  forget  it,  must  have  a  heart  of  lead. 
Ihe  chorus  that  follows,  "  He  that  shall  endure  to  the  end." 
is  quite  ecdesiaatical  in  character.  The  theme  is  composed  of 
long  sustained  notes,  and  is  worked  throughout  with  great 
profundity,  without  the  introduction  of  any  extraneous  subject. 
A  recitative  for  Elijah,  "  Night  falleth  round  me,"  and  another 
for  the  angel,  *' Arise,  now  get  thee  without,"  leads  to  a  chorus 
in  E  minor,  "  Behold  !  God  the  Lord  passed  by."  In  de- 
scriptive magnificence  this  chorus  is  surpassed  by  nothing  in 
the  whole  oratorio,  and  equalled  by  nothingf,  except  the  final 
chorus  to  the  first  part,  "  Thanks  be  to  God."  The  high 
voices,  sustained  by  the  organ,  give  out  a  fine  unison  passage 
on  the  first  words,  •* Behold!  God  the  Lord  passed  by/* 
and  then,  a  theme  of  singular  originality,  developed  by 
the  double  choir,  with  close  imitations  of  every  phrase,  leads 
by  a  gradual  crescendo  into  the  description  of  the  tempest, 
which  afterwards  by  degrees  subsides,  and  at  last  dies  away 
into  silence,  when  the  chorus  sings  a  characteristic  phrase,  in  full 
harmony,  on  the  words,  **  But  the  Lord  was  not  in  the 
tempest,"  of  which  the  effect  is  quite  thrilling.  The  second 
verse  (for  this  chorus  may  be  said  to  be  in  verses)  is  conducted 
on  nearly  the  same  plan  : — ^the  unison  passage,  the  crescendo 
to  the  earthquake,  and  the  decrescendo  to  the  same  passage  in 
full  harmony  on  the  words,  "  But  the  Lord  was  not  in  the 
earthquake."  The  third  verse  is  more  developed.  The 
description  of  the  fire  is  terrific,  the  trumpets  and  trombones 
beginning  pianissimo  and  gradually  swelling  out  into  Bkf&riii* 
simo  at  the  climax,  produce  an  effect  that  is  positively  awful. 
(The  trombones  in  the  last  scene  of  Don  Giovanni  may  have 
suggested  this).  The  phrase  on  the  words,  "  And  yet  the 
Lord  was  not  in  the  fire,"  is  developed  and  elaborated  with 
amazing  grandeur.  The  fury  of  the  orchestra  and  chorus, 
however,  gradually  subsides,  and  the  words,  "  And  after  the 
fire  there  came  a  still  snudl  voice,"  are  introduced ^by  a  tran- 
sition into  B  major,  developing  a  melody  of  heavenly 
beauty,  which,  with  the  graceful  character  of  the  accom- 
paniments, the  violins  undulating,  like  soft  bree«es,  is 
ravishing  to  the  senses  and  brings  comfort  to  the  heart.  We 
have  heard  nothing  in  music  to  surpass  it.  After  this 
fine  effort  of  genius,  a  recitative,  '*  Above  Him  stood  the 
Seraphim,"  leads  to  a  very  noble  quartet  and  chorus,  •*  Holy« 
holy,  holy,  is  God  the  Lord,"  in  which  the  corah  form  is 
assumed,  and  the  organ  and  brasa  instruments  ait  used  witk 
surprising   grandeur.       Thus  ends   the  gorgeous  musical 


THE  MUSICAL  WORLD. 


M3 


picture  we  have  attempted  to  describe,  but  of  which  no  words 
can  even  iiuntly  convey  the  infinite  depth  and  beauty  to  those 
who  have  not  been  so  lucky  as  to  hear  it. 

We  now  approach  the  climax  of  this  mighty  work,  which 
illustrates  with  tremendous  power  the  sublime  passage  of 
scripture  involved  in  the  words, "  And  Elijah  walked  with 
Ood."  Angels  comfort  Elijah  with  the  assurance  that  his 
labours  have  not  been  vain,  for  there  are  yet  seven  thousand 
in  Israel ''  who  have  not  bowed  down  to  Baal."  Elijah  is 
oonsoled  and  glorifies  God  in  thanksgiving.  The  people 
praise  Elijah  for  bis  prophecies  and  his  denunciations,  and  the 
awful  crisis  arrives — Elijah  is  snatched  away  to  Heaven  in  a 
chariot  of  fire  drawn  by  horses  of  fire  :  ''And  Elijah  was  not,  for 
God  took  him  !*'  This  is  illustrated  by  a  choral  recitative  in 
unison,  "  Go  retiim  upon  thy  way,"  which  is  highly  grand 
and  impressive— a  recitative  for  Elijah,  ''  I  go  on  my  way  in 
the  strength  of  the  Lord,"  followed  by  an  air,  **  For  the 
mountains  depart,"  a  quiet  melody  in  C  major,  6-4  measure 
accompanied  exclusively  by  the  stringed  instruments  and  the 
oboe,  to  which  latter  instrument  is  allotted  an  obligato  part, 
which  dialogues  exquisitely*  with  the  voice.  This  scene  is 
completed  by  another  magnificent  chorus,  "  Then  did  Elijah 
the  prophet  break  forth  like  a  fire,"  in  two  parts.  The  first 
part  is  distributed  in  full  harmony  for  the  chohr,  while  the 
whole  strength  of  the  basses  is  employed  in  the  development 
of  a  passage  of  great  energy  and  character.  The  second  part 
of  the  chorus  occurs  on  the  words,  **  And  when  the  Lord 
would  take  him  away  to  Heaven,  lo  I  there  came  a  fiery 
chariot  with  fiery  horses,  and  he  went  by  a  whirlwind  to 
Heaven."  These  words  are  expressed  with  graphic  power, 
and  the  chorus  exhibits  from  first  to  last  the  hand  of  a  master 
and  the  invention  of  a  genius. 

The  remainder  of  the  oratorio  is  didactic,  consisting  of 
comments  on  the  past,  glorifications  of  the  Almighty,  con- 
solation to  the  faithful,  prophetic  allusions,  and  exhortations 
to  the  people  to  continue  in  the  right  faith.  The  character  cf 
the  music  in  this  part  assumes  a  staid  loftiness  and  solemn 
majesty  that  quite  reaches  the  sublime.  The  tenor  air,  '<  Then 
shall  the  righteous  shine  forth,"  in  A  flat,  is  of  a  devotional 
character,  streaming  with  melody  as  exquisite  as  might  be 
supposed  to  issue  from  the  throat  of  an  angel.  The  harmony 
and  instrumentation  are  so  lovely  in  their  simplicity  that  it 
would  be  a  despair  for  any  extent  of  elaboration  to  approach 
their  indefinable  beauty.  A  recitative,  '*Behold,  God  hath 
•ent  EKjah  the  prophet,"  leads  to  a  chorus,  "  But  the  Lord 
from  the  north  has  raised  one,"  beginning  in  D  minor,  in  a 
strain  of  gloomy  grandeur,  (the  low  tones  of  the  oboes  again 
making  expression  thrice  expressive)  and  ending  with  a 
brilliant  movement  in  D  major,  on  the  words,  **  Behold  my 
servant  and  mine  elect,"  which  is  quite  Handelian  in  its 
sublimity.  A  finely  developed  passage  on  the  words*  "  On 
him  the  Spirit  of  God  shall  rest,"  recals  a  striking  feature  in 
the  great  chorus  in  E  minor  from  the  Israel  of  Handel ;  but 
Mendelssohn  is  so  sparing  of  these  reminiscences  that  when 
they  do  occur  you  welcome  them  as  pleasant  examples  of  his 
Veneration  for  the  great  masters  and  his  profound  acquaintance 
with  their  works,*  The  unison  passage,  beginning  on  the 
words,  '*  The  spirit  of  wisdom  and  understanding,"  is  a 
wonderittl  combination  of  character  and  sublimity,  and  the 
whole  chorus  is  finely  worked  out.  Next  follows  a  quartet, 
ia  B  flat,  "  O  come  every  one  that  thirsteth,"  for  the  principal 


*  In  the  heavenly  chorus,  "  He  watching  over  Israel,"  we  omitted  to 
ttote  a  similar  reminkcence  from  the  same  chorus  of  Handel^  which 
'  lastnkiBgfntuniathafcof 


singers.  This  might  almost  be  pronounced  the  offspring  of 
the  double  quartet  in  the  first  part,  *'  For  he  shall  give  his 
angels,"  since  it  has  the  same  Monartean  flow  of  melody, 
the  same  smooth  and  unoffending  (albeit  cunningly  artistic) 
arrangement  of  the  vocal  parts,  and  the  same  transparent 
smoothness  of  the  orchestration,  which — 

"  like  golden  boats  on  a  sunny  tes," 
shines  and  glitters  with  perpetual  but  imperceptible  motion. 
It  is,  however,  a  most  lovely  quartet,  and  has  a  touch  of 
Heaven  in  it  that  will  go  home  to  the  heart  of  every  enthu- 
siast for  the  beautiful.  The  last  chorus  "  And  then  shall 
your  light  break  forth,"  is  in  two  parts : — the  first,  a  majestic 
prelude,  in  D  minor,  the  last  on  the  words,  "  Lord,  our 
Creator,"  a  splendidly  worked  fugue,  the  only  example  of  the 
severely  scholastic  style  of  writing  which  the  entire  oratorio 
presents.  The  development  of  this  fugue  is  magnificent — 
the  pedale  preceding  the  end,  in  which  the  subject  is  treated 
with  close  imitation,  preparing  the  mind  admirably  for  the 
climax  to  one  of  the  most  transcendant  efforts  of  the  human 
mind. 

We  shall,  in  our  next,  conclude  this  brief  analysis,  with 
some  general  remarks,  in  which  we  shall  endeavour  to  convey 
our  impressions  of  Eiijah  as  a  work  of  art,  our  opinion  of 
the  position  it  must  occupy  among  the  masterpieces  of  all 
time,  and  of  the  influence  it  cannot  fail  to  have  in  giving  an 
entirely  new  tone  to  the  loftiest  branch  of  musical  composition 
—the  ecclesiastical,  as  developed  in  its  highest  phase — the 
oratorio. 

(To  beramduded in  our  next) 

MUSIC  AT  BERMUDA. 

{From  the  Bermuda  Ro^al  Q^zotte,  April,  \9M.) 
Mr.  Oliver's  Concert. — Circumstances  prevented  our 
being  present  at  Mr.  Oliver's  Concert  at  the  Town  Hall 
yesterday ;  we  were  much  pleased  to  learn  that  there  was  a 
full  attendance.  We  are  promised  a  critical  account  of  the 
exhibition  for  our  next  publication.  We,  however,  can  now 
say,  as  the  opinion  of  the  best  authority  in  the  room,  that  the 
performances,  gave  the  greatest  satisfaction.  That  Miss  Oliver's 
dehikt  was  most  successful,  but  that  the  piano  did  not  do  her 
justice,  not  being  of  sufficient  power.  The  whole  was  per- 
formed with  great  precision  and  admirable  taste.  His 
Excellency  the  Governor  and  Mrs.  Elliot  kindly  patronised 
the  concert.  The  following  is  the  programme  of  the  moiic 
performed  :— 

Quartet  In  F,  No.  82         -  -  Ha^dn.\ 

Quartet  in  E  Flat,  No.  2     -  -  Motart. 

Quartet  in  B  Flat,  No.  6     -  -  BMlAMren. 

Quartet,  "God  lave  the  Emperor"  JBoydii. . 

Quartet  in  G,  No.  2  -  -  Booiko^on. 

The  quartets  were  for  two  violins,  tenor  and  violoncello. 

VBB    AmaiviBB, 

iProm  x^t  €rerm&n  of  €r0tfre. 

Continued  firom  page  S29.: 

PART    II CHAPTER    XVI, 

When  Mittler  bad  come  to  talk  over  the  matter  with  Edward, 
he  fonnd  him  alone,  with  his  bead  leaning  on  his  right  hand,  and 
hid  arm  resting  on  the  table.  He  seemed  to  suffer  mucL  *•  Docs 
your  bead-acbe  again  trouble  you  T*  asked  Mittler.  *'  It  does," 
replied  Edward,  *'  and  yet  I  cannot  bate  it,  for  it  reminds  mc  of 
Ottilia.  Perhaps  she  herself  is  also  suffering,  1  think,  leaning  upon 
her  left  arm,  and  is  suffering  more  than  I.  And  why  should  1  not 
endure  it  as  she  docs  ?     These  pains  to  me  are  vholeaomo— I  may 

I  almost  say,  desirable :  for  with  greater  power  does  the  imago  of 
her  paOeifteef  acoompaniad  by  all  her  otLer  qualities,  ^^^ore 


344 


THE  MUSICAL  WORLD. 


my  soul ;  it  ib  onljr  in  suffering  that  we  perfectly  feel  all  the  great 
qualities,  which  are  necessarjr  to  support  it." 

When  Mittler  found  his  fnend  so  resigned,  he  was  not  backward 
with  his  mission,  which  he  stated,  step  by  step,  in  historical  order, 
saying  how  the  thought  had  arisen  with  the  ladies,  and  how  it  had 
gradually  been  matured  to  a  plan.  Edward  scarcely  uttered  an 
objection.  From  the  little  which  be  said,  might,  it  seemed,  be 
collected,  that  he  led  every  thing  to  the  others :  his  present  pain 
seemed  to  have  rendered  him  indifferent  to  everything. 

Scarcely,  however,  was  he  alone,  than  he  arose,  and  walked  up 
and  down  the  room.  He  felt  his  pun  no  longer;  he  was 
occupied  quite  out  of  himself.  Even  during  Mittler's  narrative, 
the  imagination  of  tho  lover  had  been  warmly  excited.  He  saw 
Ottilia,  but  as  good  as  alone,  on  a  well-known  path,  iu  a  familiar 
inn,  tho  rooms  of  which  he  had  often  paced.  He  thought,  he 
considered,  or  rather,  bo  did  not  think  and  consider;  he  only 
wished— willed.  He  must  see  her — speak  to  her.  Why  ? 
Wherefore  ?  What  could  come  of  it  ?  Of  this  there  would  be 
no  question.     He  did  not  resist-- he  must 

Tdo  valet  was  taken  into  his  confidence,  and  at  once  learned  the 
dar  and  night  when  Ottilia  was  to  set  off.  The  morning  dawned ; 
Saward  did  not  delay  to  go  unaccompanied,  on  horseback,  to  the 
place  where  Ottilia  was  to  pass  tho  ni^hL  He  reached  it  too 
early ;  the  astonished  hostess  received  him  with  joy ;  she  was 
indebted  to  him  for  much  of  her  domestic  happiness.  He  had 
obtained  a  mark  of  honour  for  her  son,  who  haci  shewn  himself  a 
brave  soldier,  by  zealously  representing  to  the  general  the  man*B 
act,  at  which  he  alone  had  been  present,  and  thus  overcoming  the 
obstacles  set  up  bv  some  ill-wishers.  She  did  not  know  how  to  do 
enough  to  please  him.  As  quickly  ^s  possible,  she  put  to  rights 
her  best  room,  which  was,  indeed,  her  wardrobe  and  store-room  at 
the  same  time  ;  but  he  announced  to  her  the  arrival  of  a  lady  who 
was  to  take  possession  of  this  apartment,  and  had  a  back  room, 
which  opened  upon  the  passage,  scantily  got  ready  for  himself. 
To  the  hostess  the  affair  seemed  mysterious,  and  she  was  pleased 
to  oblige  her  patron,  who  appeared  very  interested  and  active  in 
this  matter.  And  he — with  what  feelings  did  he  pass  the  long 
time  before  evening !  He  looked  round  the  room  in  which  he  was 
to  see  her  ;  with  all  its  homely  singularity,  it  appeared  to  him  a 
heavenly  abode.  What  plans  did  he  not  devise  I  Should  he 
surprise  Ottilia,  or  should  ho  prepare  her.  The  latter  opinion  at 
last  preva  led  ;  he  sat  down  and  wrote.  She  was  to  receive  the 
following  iepistle. 

EDWAaO   TO  OTTILIA. 

'<  whilst  thou  readest  this  letter,  my  best  beloved,  I  am  near 
thee.  Thou  must  not  be  alarmed — must  not  terrify  thvself ;  thou 
hast  nothing  to  fear  from  mo.  I  will  not  intrude  upon  thee.  Thou 
shalt  not  see  me  till  thou  thyself  permittcst  it. 

**  First  consider  thine  own  situation  and  mine.  How  much  do  I 
thank  thee,  that  thou  intondest  to  take  no  decisive  stop  ;  but  still 
this  one  is  important  enough  :  do  not  take  it.  Here,  on  a  sort  of 
cross-road,  consider  once  more.  Canst  thou  be  mine?  wilt  thou 
be  mine  ?  Oh  I  thou  wilt  confer  on  all  of  us  a  great  blessing— on 
me  an  inestimable  one. 

**  Let  m^  see  thee  again — see  thee  again  with  joy.  Let  me  ask 
tliee  the  beautiful  question  with  my  lips,  and  do  thou  answer  it 
with  thy  lovely  self.  Come  to  my  bosom,  Ottilia,  here,  where 
thou  hast  often  reposed,  and  to  which  thou  ever  bolongest." 

Whilst  he  was  writing,  he  was  seized  with  the  feeling  that  that 
which  he  most  desired  was  approaching,  and  would  soon  be  in  his 
presence.  "  At  that  door  she  will  enter — this  letter  she  will  read 
— she,  for  whose  appearance*  I  have  so  oflen  longed,  will  actually 
stand  before  me  as  formerly.  Will  she  still  be  the  same  ?  Has 
her  form— have  her  feelings  changed  ?"  He  still  held  tho  pen  in 
his  hand,  he  wished  to  write  as  he  thought,  but  the  carriage  rattled 
into  the  court-yard.  With  rapid  pen  he  added  the  words.  '*  I  hear 
thee  coming.    For  a  moment,  fare  thee  well." 

He  folded  the  letter,  and  directed  it ;  there  was  no  time  to  seal 
it.  He  sprang  into  the  room,  by  which  he  could  afterwards  reach 
the  passage,  and  at  the  instant  it  struck  him  that  he  had  left  his 
watch  and  seals  upon  the  table.  She  ought  not  to  see  them  first. 
He  darted  back,  and  succeeded  in  taking  them  away.  From  the 
ante-room  he  already  heard  the  hostess,  who  approached  the 
apartment  to  shew  it  to  her  guest.    He  hastened  towtnU  the* 


room-door,  but  it  was  closed.  On  hurrying  in,  be  had  shaken 
down  the  key,  which  lay  inside  ;  the  lock  had  snapped,  and  he 
was  held  fast  He  pressed  violently  against  the  door,  but  it  did 
not  yield.  Oh,  how  did  he  wish  to  slip  like  a  spirit  through  the 
crevices  I  In  vain.  He  concealed  his  face  against  the  door-post 
Ottilia  entered, — the  hostess,  as  she  observed  him.  witharew. 
Even  from  Ottilia  he  could  not  remain  concealed  for  a  moment 
He  turned  towards  her,  and  thus  once  more  were  the  lovers  &oe 
to  face  in  the  most  singular  manner.  She  looked  at  him  calmly 
and  seriously,  without  advancing  or  retiring  ;  and  when  he  made  a 
movement  to  approach  her,  she  went  some  steps  back,  as  far  as  the 
table.  He  also  again  receded.  "Ottilia,"  he  cried,  <<let  me 
break  this  fearful  silence  1  Are  we  only  shadows  that  stand  feeing 
each  other?  But,  above  all,  hear  mo.  It  is  a  chance  that  thou 
now  findest  me  here.  By  thee  lies  a  letter,  which  should  have 
prepared  thee.  Read  it  I  entreat  thee,— read  it,  and  then  resolve 
as  thou  canst'' 

She  looked  down  upon  the  letter,  and  after  some  hesitation,  took 
it  up,  opened  it  and  read  it.  Without  any  alteration  of  manner, 
she  read  it  through,  put  it  softly  down,  and  then  pressed  together 
the  palms  of  her  hands,  which  she  had  lifted  up,  brought  them 
towards  her  heart,  whilo  she  bent  slightly  forward,*  and  looked  on 
the  urgent,  importunate  lover  with  such  a  glance,  that  he  felt 
compelled  to  desist  from  everything  that  he  could  wish  or  desire. 
This  movement  rent  his  very  heart.  He  could  not  support  the 
sight  the  attitude  of  Ottilia  It  seemed  completely  as  though  she 
wonld  fall  on  her  knees,  if  he  persisted.  .  He  rushed  out  at  the 
door  in  despair,  and  sent  the  hostess  to  the  lovely  girl. 

He  walked  up  and  down  in  the  anteroom  ;  night  had  set  in,  and 
all  was  quiet  in  the  chamber.  At  last  the  hostess  came  out 
bringing  with  her  the  key.  The  good  woman  was  afflicted — over- 
powered— she  did  not  know  what  to  do.  At  last,  as  she  was  going 
she  offered  the  key  to  Edward,  who  refused  it  She  left  the  light 
and  withdrew. 

Edward,  in  a  deep  torpor,  threw  himself  on  the  threshold  of 
Ottilia's  door,  which  he  watered  with  his  tears.  Never,  perhaps, 
did  a  pair  of  lovers,  so  near  each  other,  pass  a  night  in  greater 
wretchedness. 

Day  broke ;  the  coachman  drove  up ;  the  hostess  opened  the 
door,  and  entered  the  chamber.  She  found  Ottilia  sleeping,  but 
not  undressed ;  she  went  back  and  beckoned  to  Edward  with  a 
sympathising  smile.  Both  approached  the  sleeping  one ;  but  this 
sight  also  Edward  was  unable  to  support  The  hostess  did  not  venture 
to  awaken  the  reposing  girl,  but  seated  herself  opposite.  At  last 
Ottilia  opened  her  beautiful  eyes,  and  stood  uprignt  She  refuses 
breakfast,  and  now  Edward  appears  before  her.  He  earnestly 
enteats  her  to  speak  only  one  word,— to  declare  her  will ;  he 
swears  that  her  will  is  his  own— but  she  is  silent.  Again  he  asks 
her  lovingly  and  urgently,  whether  she  will  be  his  ?  How  charm- 
ingly, with' downcast  eyes,  does  she  motion  her  head  to  a  soffc 
"  No  r  Ho  asks  whether  she  will  go  to  the  school  ?  She  signifies 
the  negative  with  indifference.  But  when  he  asks  her  whether  he 
may  take  her  back  to  Charlotte?  she  answers  in  the  affirmative 
witn  an  inclination  of  the  head,  expressive  of  consolation.  He 
hastens  to  the  window  to  give  orders  to  the  coachman,  but  Ottilia, 
from  behind  him,  has  dashed  like  lightning  out  of  the  room,  down 
the  stairs,  and  into  the  carriage.  The  coachman  takes  the  way 
back  towards  the  castle ;  Edmund,  at  some  distance  follows  on 
horseback. 


PART    II. CHAPTER    XVII. 

How  astonished  was  Chariotte  when  she  saw  Ottilia  coming  first 
and  Edmund  springing  immediately  after  her  into  the  courtpyard 
of  the  castle.  She  hastened  to  tho  door.  Ottilia  alights,  and 
approaches  with  Edward.  With  fervour  and  force  she  takes  the 
hands  of  the  married  pair,  presses  them  together,  and  hurriesto 
her  room.  Edward  throws  his  arras  round  Charlotte's  neck,  andis 
dissolved  in  tears.  He  cannot  explain  himself;  he  begs  her  to 
have  patience  with  him— to  assist— to  help  Ottilia.  Charlotte 
hastens  to  Ottilia's  room,  and  shudders  as  she  enters  it  It  was 
completely  cleared  out,  and  only  the  bare  walls  remained.    It 


*  It  wfllbe  remembered  that  just  at  the  bMrinningof  the  romance^  flds  podtioa 
is  described  by  the  school-«His£uit  as  one  «?bttiUi?!s  pecaUaiities.-2hBi«faf«r« 


THE  MUSICAL  WORLD. 


845 


appeared  as  spacious  as  it  was  melancholy.  Everything  had  been 
taken  away,  except  the  chest,  which,  as  no  one  had  resolved  where 
to  put  it,  had  been  left  in  the  room.  Ottilia  lay  upon  the  ground, 
with  her  head  and  arms  extended  over  the  chest.  Charlotte  busies 
herself  about  her,  asks  what  has  happened,  and  obtains  no  answer. 

She  leaves  the  servant,  who  brings  restoratives,  with  Ottilia,  and 
hastens  to  Edward.  She  finds  him  in  the  drawing-room,  but  he 
also  gives  her  no  information.  He  throws  himself  at  her  feet, 
bathes  her  hand  in  tears,  flies  to  his  room,  and  as  she  is  about  to 
follow  him,  she  is  met  by  the  valet,  who  enlightens  her  to  the  best 
of  bis  power.  The  rest  she  imagines,  and  then,  with  resolution, 
thinks  what  is  required  tor  the  immediate  moment.  Ottilia's  room 
is  put  to  rights  again  as  speedily  as  possible.  Edward  has  foiind 
all  his  things,  even  to  the  last  sheet  of  paper,  just  as  he  left  them. 

The  three  seem  once  more  to  be  reconciled  to  each  other,  but 
Ottilia  continues  to  be  silent,  and  Edward  can  do  nothing  but 
entreat  his  wife  to  have  paUence,  thoueh  he  seems  without  it  him- 
self Charlotte  sends  messengers  to  Aiittler  and  to  the  Major. 
The  former  was  not  to  be  found-  the  latter  arrives.  To  him 
Edward  pours  forth  his  heart ;  to  him  he  confides  the  smallest 
drcamstance ;  and  thus  Charlotte  learns  what  has  happened,— -what 
has  so  strangely  changed  the  position,  and  excited  the  feelings  of 
the  parties. 

She  talks  most  afiectionately  to  her  husband.  She  can  make  no 
other  request,  except  that  the  girl  may  not  be  disturbed  at  present. 
Edward  feels  the  worth,  the  love,  the  reason  of  his  wife,  but  he  is 
solely  governed  by  his  inclination.  Charlotte  gives  him  hopes ; 
promises  to  consent  to  a  separation.  He  does  not  believe  her ;  he 
IS  so  heart-sick,  that  hope  and  belief  leave  him  by  tarns ;  he  urges 
Charlotte  to  promise  her  hand  to  the  Major ;  a  sort  of  mad  gloom 
has  taken  possession  of  him.  Charlotte,  to  appease  him,  to  enter- 
tain  him,  does  what  he  requires.  She  promises  her  hand  to  the 
Major,  in  the  event  of  Ottilia  consenting  to  an  union  with  Edward, 
but,  under  the  express  condition,  that  for  the  present  time,  the  two 
men  shall  take  a  journey  together.  The  Msyor  has  a  foreign 
mission  for  his  Court,  and  Edward  promises  to  accompany  him. 
Preparationa  are  made,  and  new  calmness  is  product,  for,  at  least, 
something  is  going  on. 

In  the  meanwhile,  it  can  be  observed  that  Ottilia  rarely  takes 
anything  to  eat  or  drink,  while  she  constantly  maintains  her  silence. 
If  she  is  spoken  to  she  seems  pained,  and  therefore  the  attempt  is 
abandonee!.  For  we  have  not  generally  the  weakness  of  wishing 
to  torment  persons,  even  for  their  own  good.  Charlotte  thought 
over  every  means,  till  at  last  she  hit  upon  the  notion  of  letting  the 
assistant  come  ih>m  the  school.  He  had  much  influence  over 
Ottilia,  and  had  expressed  himself  very  kindly  on  the  sutgect  of 
her  unexpected  non-appearance ;  but  he  had  received  no  answer. 

Not  to  surprise  Ottilia,  they  mention  this  plan  in  her  presence. 
She  seems  not  to  consent ;  she  reflects  ;  at  last,  a  resolution  seems 
to  be  matured  in  her ;  she  hastens  to  her  room,  and,  before  the 
evening,  sent  the  following  address  to  the  assembled  party  ;— 

*<  OTTILIA   TO  TH£  FaiENDB. 

"  Why,  my  dear  friends,  should  I  expressly  say,  what  of  itself  is 
obTious?  I  have  stepped  out  of  my  path,  and  Tarn  not  to  return 
into  it.  A  hostile  demon,  which  has  gained  power  over  me,  seems 
to  hinder  me  from  without,  even  if  1  had  returned  to  unity  within 
myself. 

'*  Quite  firm  was  my  resolution  to  renounce  Edward,  and  with- 
draw myself  from  him.  I  hoped  not  to  meet  him  again.  It  has 
KOTed  otherwise  ;  he  stood  before  me,  even  against  his  own  will. 
y  promise  not  to  enter  into  conversation  with  him,  I  have  perhaps 
taaen  and  interpreted  too  literally.  According  to  the  feeling  and 
conscience  of  the  moment,  I  was  silent.  I  was  dumb  before  my 
friend,  and  now  I  have  nothing  more  to  say.  By  a  strict  vow, 
which  perhaps  is  painful  to  those  who  make  it  deliberately,  I  have 
bound  myself,  being  accidentally  urged  by  my  feelings.  Let  me 
adhere  to  it  as  long  as  my  heart  commands  me.  Call  in  no  middle 
person.  Do  not  press  me  to  speak,  or  to  take  more  nourishment 
than  1  strictly  require.  By  indulgence  and  patience,  help  me 
through  this  time.  1  am  young,  and  youth  revives  unexpectedly. 
Suffer  me  in  your  presence,  cheer  me  with  your  love,  instruct  me 
with  your  conversation,  but  leave  my  inmost  feelings  to  myself.** 

The  long-prepared  jooiney  of  the  men  did  not  take  place*  on 


account  of  the  delay  in  the  Major's  foreign  business.  And  how 
desirable  was  this  for  Edward !  Being  excited  anew  by  Ottilia's 
letter,  being  again  encouraged  and  justified  in  resolute  perseverance 
by  her  hope-inspiring  words,  he  declared  at  once  that  be  would  not 
quit  the  place.  **  How  foolish  it  would  be,"  he  exclaimed,  *'  deli- 
berately and  prematurely  to  cast  away  that  which  is  most  nc e^ssarr 
and  inaispensable,  that  which  perhaps  might  be  retained,  even  if 
the  loss  of  it  were  threatened.  And  for  what?  Only  that  a 
person  mav  seem  to  be  able  to  will  and  choose.  Thus  have  I, 
overcome  by  this  silly  conceit,  often  torn  myself  away  from  my 
friends  hours,  nay,  days,  too  early,  in  order  not  to  be  decisively 
forced  by  the  last  inevitable  term.  But  this  time  I  will  remain. 
Why  should  I  remove  myself?  Is  she  not  already  removed  from 
me  r  I  have  no  notion  of  clasping  her  hand — of  pressing  her  to 
my  heart ;  I  dare  not  even  think  of  it ;  it  inspires  me  with  horror. 
She  has  not  taken  herself  away  fiom  me,  but  has  elevated  herself 
above  me." 

And  so  he  remained — as  he  wished — as  he  was  obliged'.  But 
nothing  could  equal  the  pleasure  he  felt,  when  he  found  himself  in 
her  company.  And  the  same  feeling  remained  with  her,  and  she 
could  not  withdraw  herself  from  this  happy  necessity.  Now,  as 
before,  they  exercised  one  upon  another  an  indescribable,  almost 
magical  power  of  attraction.  They  lived  under  the  same  roof,  and 
even  without  exactly  thinking  of  each  other,  busied  with  other 
matters,  and  drawn  in  different  directions  of  society,  they  mutually 
approximated.  If  they  found  themselves  in  one  room,  it  was  not 
long  before  thev  were  standinff  or  sitting  close  together.  Only  the 
nearest  proximity  could  satisfy  them,  and  that  completely — pros 
imity  was  enough.  Ttiere  was  no  necessity  for  a  look,  a  word, 
a  gesture,  a  touch.— but  the  mere  being  together  sufficed.  Then 
they  were  not  two  persons,  but  only  one  single  person,  in  uncon- 
scious perfect  felicitv,  contented  with  himself  and  the  world.  Nay, 
if  one  of  the  two  had  been  kept  last  at  one  end  of  the  building, 
the  other,  of  his  own  accord,  without  design,  would  gradually  have 
moved  in  that  direction.  Life  was  to  them  a  riddle,  the  bolution 
of  which  they  only  found  with  each  other. 

Ottilia  «  as  perfectly  cheerful  and  composed,  so  that  one  might 
be  perfectly  easy  on  her  account.  She  withdrew  but  littte  from 
the  company,  though  she  gained  the  point  of  taking  her  meals 
alone.     No  one  but  Nanny  waited  upon  her. 

What  ordinarily  happens  to  every  man,  is  repeated  oflener  than 
is  believed,  because  nis  nature  immediately  determines  it.  Cha- 
racter, individufidity,  inclination,  direction,  locality,  surrounding 
objects,  and  habits,  form  together  a  whole,  in  which  every  man 
floats  as  in  an  element, — an  atmosphere,  in  which  alone  he  feels 
comfortable  and  at  his  ease.  And  tnus,  after  many  years,  we  are 
astonished  to  find  men,  about  whose  changeableness  so  many 
complaints  are  made,  still  unchanged  and  unchangeable,  in  spite  of 
infinite  incitements  both  within  and  without. 

Thus  also  in  the  daily  intercourse  of  our  friends  did  nearly  every 
thing  again  move  in  the  old  track.  Still  did  Ottilia,  by  man^  a 
kind  action,  express  her  obliging  disposition  ;  and  thus  was  it  with 
every  one,  according  to  his  peculiarity.  In  this  manner,  the 
domestic  circle  appeared  as  a  phantom  of  its  former  life,  and  the 
fancy  that  all  was  still  as  it  used  to  be.  was  excusable. 

The  autumn  days,  like  the  spring  days  in  length,  called  the  party 
at  the  same  hour  from  the  open  air  into  the  house.  The  ado'u- 
ments  of  fruit  and  flowers,  which  are  peculiar  to  this  time,  occa- 
sioned the  belief  that  this  was  the  autumn  of  that  first  spring— the 
intervening  time  had  fallen  into  oblivion.  For  now  flowers  were 
blooming  of  the  kind  that  had  been  sown  on  these  first  da  vs  ;  now 
fruits  ripened  on  the  trees,  which  had  then  been  seen  in  blossom. 

The  Major  came  and  went  at  intervals ;  Mittler.  too,  was  more 
often  to  be  seeA.  The  evening  sittings  were  generally  regular. 
Edward  usually  read ;  and  with  more  animation,  more  feeling, 
better,  nay,  more  cheerfully,  if  you  will,  than  ever.  It  was  as  if 
he  wished  both  by  joyousness  and  feeling  to  give  new  life  to  the 
torpor  of  Ottilia — to  dissolve  her  silence.  As  before,  he  sat  so 
that  she  could  look  into  his  book,  nay,  ho  was  uneasy,  distracted, 
if  she  did  not  look  into  it,  if  he  was  not  certain  that  she  followed 
bis  words  with  her  eyes. 

Every  unpleasant,  unhappy  feeling  of  the  intervening  time  was 
extinguished.  No  one  grudged  anything  to  another ;  every  kiiid 
of  Mtteroess  had  vauished.    The  Major  accompanied  on  the  violin 


846 


THE  MUSICAL  WORLD. 


Charlotte's  playing  on  the  piano,  while  Edward's  Ante,  again,  as 
before,  accorded  with  Ottifm'iB  treatment  of  the  keyed  instrument. 
Thus  did  Edward's  birthday  approach,  which  they  had  failed  to 
solemnize  in  the  preceding  year.  On  this  occasion  it  was  to  be 
celebrated,  without  festivitir,  by  quiet  friendly  enjoyment.  Thus, 
half  taditly,  half  expressly,  nad  all  come  again  to  an  understanding. 
But  the  nearer  this  epoch  approached,  the  more  was  increased  the 
solemnity  in  Ottilia's  nature,  which  had  hitherto  been  more  felt 
than  obseryed.  She  seemed  often  to  review  the  flowers  in  the 
garden  ;  she  had  signified  to  the  gardener  that  he  was  to  spare  the 
summer-plants  of  all  kinds,  and  particularly  insisted  on  the  china- 
asters,  which  bloomed  this  year  in  unusual  abundance. 

(To  be  concluded  in  our  next,) 

%•  To  |trtT6iitiiiisiuiderstandiBg,  it  may  ba  stated  tfast  the  copyright  of  this 
tnmsUtf Ob  belongs  solely  to  the  tnuMlstor. 


SONNET. 

No.  XXXVI. 

If  there  be  any  mourniiig  for  the  soul. 
Let  that  of  blackest  hue  round  mine  be  twin'd, 
And  let  it  so  enwrap  both  heart  and  mind. 

That  I  majr  stand  apart  from  the  great  whole. 

Let  ev'ry  hour  and  minute  o'er  me  roll, 
Leaving  no  trace  of  joy  or  grief  behind; 
Let  me,  within  mine  own  dark  sphere  confinM, 

Rest  undisturb'd — free  from  the  world's  control. 

Rest,  do  I  call  itr--Oh !  can  that  be  rest, 
When  its  own  core  the  soul  unceasing  gnaws, 
By  memory's  lamp,  as  a  sepulchral  light  f ^ 

Aye,  be  it  so,  till,  by  its  pain  oppress'd, 
My  soul  its  narrow  confines  closer  draws, 
And  then  forgets  itself  in  endiess  night.— N.  D. 

MADEMOISELLE  DENAIN. 
Ouft  excellent  contributor,  J.  de  C,  who  supplies  us  with 
notices  of  the  French  plays,  has  frequently  bestowed  warm 
enoomiums  on  the  talent  of  this  charmiog  actress,  who,  now 
that  she  is  on  the  point  of  leaving  us,  to  return  to  her  duties  at 
the  Comedie  Francaise,  demands  a  word  or  two  of  special  notice. 
Mdlle.  Denain  belongs  to  that  class  of  dramatic  art  which 
perhaps  is  the  most  difficult  to  sustain  with  credit — genteel 
comedy.  Nature  has  gifted  her  with  a  face  and  figure  that 
tingularly  fit  her  for  the  line  she  has  chosen.  Her  features 
are  delicate  though  well  marked,  and  full  of  a  certain  quiet 
expression  which  enables  her  to  indicate  by  a  look  or  a  word 
more  than  the  most  energetic  gestures  could  possibly  convey. 
She  is  exceedingly  handsome;  and  when  she  smiles,  her 
whole  countenance  beams  with  an  intelligence  that  is  almost 
seraphic.  Her  figure  is  slight  but  well  proportioned*  Her 
deportment  is  lady-like  and  dignified.  Jules  Janin,  the  cele- 
brated dramatic  critic,  in  a  letter  addressed  to  us  privately, 
pronounces  her  the  worthy  successor  of  Mdlle.  Mars^  whose 
^eat  parts  she  is  destined  to  preserve  upon  the  stage.  Since 
her  arrival  here,  Mdlle.  Denain  has  had  few  parts  to  play 
which  are  precisely  in  her  peculiar  walk,  the  advent  of  the 
popular  and  admirable  comedian,  Regnier,  having  necessitated 
the  representation  of  a  number  of  petite  comedies  in  which  he 
ia  so  inimitable.  But  Mdlle.  Denain,  with  the  ease  that  only 
belongs  to  perfect  art,  has  made  herself  quite  at  home  in  these 
pieces,  and  we  doubt  whether  the  excellent  Regnier  was 
ever  supported  with  more  decided  efficiency.  Nevertheless, 
Mdlle.  Denain  found  occasion,  at  her  benefit  on  Wednesday, 
to  introduce  to  the  public  a  three-act  drama,  in  which  she 
sustains  a  role  that  may  be  regarded  as  one  of  her  triumphs. 
The  drama  is  La  Marquise  de  Senneterre^  by  MM.  Melesville 
and  Ch.  Duverger,  in  which  Mdlle.  Denain  personates  the 
character  of  Henriette,  the  heroine.  Her  acting  in  this  part 
is  one  of  the  most  finished  and  elegant  histrionic  efforts  we 


have  witnessed  at  the  French  plays.  In  the  first  scenes, 
where,  as  the  simple  confiding  country- wife,  she  comes  to  the 
celebrated  courtesan,  Marion  Delorme^  to  consult  her  as  to  the 
best  means  of  reestablishing  the  tottering  affections  of  her 
truant  husband,  her  voice,  manner,  and  gestures  are  consum- 
mately natural.  Nothing  can  be  more  thoroughly  delicious 
than  the  naivete  with  which  she  puts  the  question  to 
Marion,  and  the  childish  astonishment  with  which  she  listens 
to  her  expositions  of  the  world's  \anity  and  heartlessness. 
You  behold  her  gradually  imbibing  the  lessons  of  the  arch- 
coquette,  who  tells  her  that  there  is  no  such  thing  as  heart  in 
the  world  ;  that  a  husband's  neglect  must  be  answered  by  a 
wife's  disdain  ;  that  lesfemmee  s*embrasscnt  it  e'enkveni  leurs 
amans ;  and  a  hundred  such  moral  axioms.  When  at  last, 
an  accomplished  scholar,  she  practises  the  lessons  of  her 
instructress,  and,  as  the  brilliant  and  pleasure-courting  woman 
of  the  world,  she  outshines  the  notorious  Marion  herself,  beats 
her  on  her  own  territory^  and  robs  her  of  both  her  lovers,  her 
acting  was  worthy  of  a  Jordan,  a  Duncan,  or  a  Flessy,  Her  bye 
play  is  admirable,  full  of  point,  and  sustained  with  undiminished 
brilliancy.  The  dashing,  fascinating,  spiritual,  and  heartless 
creature  of  fashion  is  pourtrayed  to  the  life.  With  eyes 
flashing  intelligence,  voice  thrilling  with  animation,  and  frame 
throbbing  with  the  mere  delight  of  being — of  living— she  walks 
across  the  scene  like  one  of  those  joyous  queens  of  comedy, 
who,  of  yore»  delighted  our  fathers  in  the  wUty  masterpieces 
of  Congreve.  Every  word  had  its  point ;  every  gesture,  its 
signification.  Who  could  wonder  that  she  turned  the  heads 
of  all  the  courtiers  ?  Who  could  wonder  that  she  vanquished 
the  egotism  of  Cinq  Mars  himself,  the  very  emperor  of  cox- 
combs ?  Who  could  wonder  that  she  brought  her  faithless 
husband  to  har  feet,  and  made  him  forget  Marion  Delorme, 
and  everything  else  in  the  world,  except  the  wife  whom  he  had 
neglected  and  misunderstood  ?  But  this  was  not  all.  The 
pathos  of  those  moments,  when  alone,  trembling  at  the  preci* 
pice  on  which  she  stood ;  doubtful  of  the  success  of  her  assumed 
character;  doating  on  her  husband,  while  affecting  to  disdain 
him ;  irritably  jealous  of  every  woman  that  spoke  to  him ; 
were  as  full  of  pathos  and  womanly  tenderness,  as  the  other 
situations  were  dazzling  and  impressive.  In  short,  we  have 
seldom  been  more  delighted  by  a  comedienme  of  the  f  rench 
school,  than  by  Mdlle.  Denain,  in  Henriette  Marquise  de 
Senneterre. 

In  taking  leave  of  Mdlle.  Denain,  whose  absence  will  be 
regretted  by  all  lovers  of  legitimate  comedy,  it  is  our  duty  and 
our  pleasure  to  thank  Mr.  Mitchell,  the  indefifttigable  lessee  of 
the  St.  James's  Theatre,  for  having  introduced  us  to  so  charm- 
ing a  specimen  of  the  school  of  our  near  neighbours,  pleasant 
friends,  and  ancient  enemies,  the  French.  Let  us  hope  that 
next  season  Mdlle.  Denain's  visit  will  be  longer,  and  that  we 
shall  have  more  frequent  occasion  to^  criticise  her  in  her  best 
parts.  On  Tuesday,  unhappily,  she  quits  the  white  shores  of 
Albion  for  her  native  France.  The  director  of  the  Comedic 
Franfaise  will  not  trust  her  to  us  any  longer— jealous,  no 
doubt,  of  our  possessing  one  of  the  brightest  stars  of  his  great 
company. 

Meanwhile,  we  pledge  a  cup  to  her  health,  prosperity,  and 
speedy  return  to  £ng1and.  Having  once  seen  her,  the 
habitues  of  Mr.  Mitchell's  elegant  theatre  will  look  for  Mdlle. 
Denain  as  regularly  and  as  anxiously  as  for  the  month  of  May, 
when  the  still  modest  sun  loves  most  to  shine  upon  the 
bvely  face  of  woman.  Conie  back,  then,  quiet,  beautiful 
Denain !  The  arms  of  merry  England  will  remain  out- 
stretched, to  welcome  yoa  next  spring. d  by  V^nOOy  It^ 


THE  MUSICAL  WORLD, 


»tt 


MUSIC     IN    DUBLIN. 

(From  a  CofruptrndentJ 

Mat  25.  1647.— Madame  Anna  Bishop  is  aiill  creatliiff  th« 
freatest  fensatton  hare.  She  is  such  an  universal  favourite  that  it 
vill  be  hard  for  any  prima  donna  to  please  after  her  in  this  *'  land 
of  song.**  By  her  extraordinary  talent,  Madame  Bishop  has  kept 
our  theatre  open  at  a  period  when  public  and  theatrical  affairs 
wore  a  most  gloomy  aspect.  She  sang  four  times  last  week  at  the 
Spacious  Music  Halli  just  erected  by  Mr.  Drewett.  No  less  than 
two  thousand  people  congregated  in  one  evening  to  listen  to  the 
warbling  of  the  English  Nightingale,  who  is  the  sole  attraction  of 
the  pertorroances,  which  are  simply  varied  by  some  songs  by  Mr. 
P.  Corri,  and  an  occasional  pianoforte  Jantasia  by  the  talented 
accoinpanyist,  Mr.  Willy.  This  week  Anna  Bishop  sings  three 
times  more  at  the  Hall.  She  is  engaged  also  for  a  Grand  Concert 
at  the  Rotunda,  which  takes  place,  inureday,  the  27th  instant.  On 
the  96th  she  performs  at  our  theatre  for  a  benefit,  and  Saturday, 
S9ih,  she  starts  lor  Cork  and  Limerick.  She  will  then,  probably, 
ret  urn,  for  a  few  days,  to  Dublin,  in  the  aniddle  of  lune.  Several 
eonoeit  directora  and  managers  are  already  on  the  qui  vm  to 
engage  her  before  she  returns  to  London. 

HER   MAJESTY'S  THEATRE. 

Two  events  of  importance  have  occurred  aince  oHr  last  :-*« 
the  rentrie  of  Carlotta  Grisi,  and  the  appearance  of  Jenny 
Lind  in  another  of  her  great  parts — that  of  Maria  in  Doni- 
zetti's La  Figlia  del  Regimento. 

On  Saturday  tbe  performances  began  with  Lucia  di  Lam- 
wiermcor,  with  the  same  cast  as  usual.  En  pasiant,  we  may 
say  that  Castellan,  in  Lucia,  sang  extremely  well  and  acted 
with  grace  and  sensibility,  and  that  Fraschini,  in  Edgardo, 
made  a  greater  impression  on  the  audience  than  hitherto, 
confirming  us  in  the  notion  we  have  already  advanced,  that  a 
chronic  lethargy  of  temperament  is  the  only  harrier  to  the 
young  tenor*s  exertions.  Tbis>  except  when  broken  down  by 
rare  momenta  of  enthusiasm,  deprives  him  of  the  command 
of  one  half  of  his  natural  resources.  Fraschioi,  it  is  fair  to 
presume,  lacks  energy  of  character.  In  no  other  way  can  we 
account  for  the  cramp— so  to  express  it-«-that  sometimes  robs 
his  powers  of  development,  and  encloses  htm,  as  it  were,  in 
an  iron  cage  of  mediocrity,  in  which  his  artistic  talent  can 
neither  stand  eract,  nc»:  lie  horizontally,  nor  sit  composedly, 
nor  run  at  leisure — a  sort  of  spiritualisation  of  the  s^ate  of 
Cardinal  Balue,  who,  in  the  time  of  Louis  XT.  of  France, 
invented  a  cage,  with  the  conditions  above  specified,  as  a  new 
method  of  torment,  and  was  confined  in  it  himself  by  the 
crafty*  cruel,  superstitious,  and  bigoted  monarch,  for  the  space 
of  twelve  years.  Fraschini  is  Ckirdinal  Balue — his  lethargy 
the  iron  cage  of  his  own  fashioning.  Who  is  the  Louis  XI. 
that  puts  him  into  it  we  have  not  decided,  as  time  presses, 
space  pushes,  and  we  are  not  at  leisure  to  complete  the  simile. 
Soffioe  it  that  Fraschini  occasionally  gets  oat  of  the  cage — as 
on  Saturday  night — and  is  then  a  wholly  different  man  from 
his  ordinary  self.  Why  does  he  not  summon  up  strength  to 
emancipate  himself  in  perpetuity  ?  Where  there  is  a  will 
these  is  surely  a  way. 

But  the  great  solemnity  (as  the  French  critics  term  it.)  of 
this  Saturday  evening  was  the  rentr^e  of  Carlotta  Grisi  in 
her  famous  part  of  £smeralda,  which,  through  her  absence 
from  Her  Majesty's  Theatre*  during  the  whole  of  Uist  season, 
has  been  a  dead  letter  to  the  public  since  184d.  The  charming 
dansaase  was  never  more  charming.  The  hearty  burst  of 
welcome  that  greeted  her  from  all  parts  of  the  house,  as  she 
came  tripping  on  the  stage,  light  as  a  feather,  seemed  at  first 
to  astonish  her.  Did  Carlotta  think  that  the  habitu^a  of  Her 
Maiesty's  Theatre  had  forgotten  her  ?  Did  she  imagine  them 
ao ,  Mkl#---so  ungrat^iU  ?    That  graceful  form  that  beads  and 


undulates,  like  tender  trees  beneath  the  kisses  of  the  southern 
wind;  those  twinkling  feet  that  radiate  in  impereeptibte 
evolutions  ;  that  gentle  spirit  which  plays  upon  them  both,  ai 
the  wind  upon  the  harp  of  ^olus,  making  them  discourse  a 
music  that  ravibhes  the  eye  as  the  melody  of  Mozart  enchants 
the  ear ;  that  sloping  neck,  fair  as  the  swan's,  soft  Ss  the 
dove's ;  those  long  white  arms  outstretched,  which  seem  lik^ 
paths  that  lead  to  happiness  ;  those  beamy-bending  eyes  tt 
which  the  souFs  desires  rush  as  impetuously  as  comets  to  thi 
sun:— were  they  to  be  foi^otten  in  twelve  fleeting  months  f 
Not  by  those,  at  least,  in  whose  bosoms  reign  the  sympathies 
that  yearn  for  all  the  loVely  truths  which  poesy  can  tell !  And 
they  were  not  forgotten.  The  cheers  that  acknowledged  thft 
presence  of  Carlotta,  in  whose  being  they  are  cumuUted. 
as  the  infinitesimal  parts  that  make  one  gracious  whole,  proved 
that  the  audience  of  Saturday  night  was  of  one  mind — and 
that  was  all  for  her,  the  peerless  Esmeralda.  These  wet^ 
redoubled,  over  and  over  again,  as  she  threaded  the  coquettish 
mazes  of  the  IVuandaise,  followed  by  little  wing-footed 
Perrot,  whose  vain  attempts  to  catch  her  were  as  the  heart'l 
pursuit  of  an  unbodied  joy — a  joy  that  once  dweh  somewhere 
but  is  now  homeless,  and  flit«  about,  happy  sn^l  content,  as  a 
butterfly  that  has  emerged  from  the  chrysalis,  its  •*  antenatal 
tomb."  The  Trnandam  was  re~demaAded  with  acclamations, 
and  repeated  with  new  graces,  new  combinations  of  arch- 
coquetry  and  innocent  simplicity,  at  once  the  most  reflned  and 
the  most  natural.  In  the  same  scene  Carlotta's  playful 
manner  and  light  firolicsome  ste]^,  when  she  danees  with 
childish  exultation  at  the  possession  of  the  scarf  of  Phoebus, 
was  received  with  loud  expressions  of  delight.  Ths  scene 
with  Qringoire,  in  the  second  tableau  (Esmera1da*s  home  () 
where  the  innocent  Bohemian  teaches  the  egotistical  poet  tha 
secrets  of  that  art  by  which  she  gains  her  living,  was  another 
enchanting  display  of  natural  grace  and  perfect  art.  Thf 
applause  was  incessant,  never  flagging  from  the  bf'ginning  to 
the  end  of 'the  scene.  The  third  tableau  (the  palace  of  Fieur 
de  Lys)  offers  the  only  occasion  for  Carlotta  to  display  those 
marvels  of  Terpsichorean  agility  for  which  some  of  her  com- 
petitors, despairing  to  equal  her  in  those  unaffected  beautiel 
that  spring  like  wild-flowers  from  her  fertile  being,  have  woi^ 
deserved  celebrity.  But  here,  once  more,  Carlotta  proved 
herself  the  accomplished  mistress  of  her  art.  The  ease  v^ith 
which  she  achieved  the  complex  elaborations  of  this  elegant 
step— the  Pas  de  la  iS?*mcrtfWa— made  them  seem  like  the 
simplest  matters  possible.  Carlotta  performs  incredible  diffi- 
culties with  such  an  utter  absence  of  effort,  that  any  one 
looking  on  would  fancy  herself  capable  of  doing  the  like, 
until— as  in  the  classic  instance  of  Ph«ton,  who  rashly 
thought  to  guide  the  horses  of  Apollo,  in  the  absence  of  their 
driver — the  failure  would  follow  in  the  track  of  the  attempt, 
as  swiftly  as  the  rolling  thunder  the  unseen  steps  of  the 
lightning,  and  the  daring  intruder  tumble  from  the  chariot  of 
presumption  into  the  ennpty  space  of  incompetency.  In 
execution  Carlotta  combines  the  Ellslerian  rapidity  of  st^p 
with  the  Taglionian  grace  of  gesture.  Nothing  is  too  difficult 
for  her,  and  yet  she  never  seems  to  be  wrestling  with  a  diffi- 
culty. The  Pas  de  la  Esmeralda  was  followed  by  acclamations 
of  applause.  Ct  was  a  triumph  of  legitimate  art  wortliy  cf 
ranking  with  the  loftiest  achievements  of  chorepjraphy. 

But  it  is  not  only  as  a  dancer  that  Carlotta  shines.  Ai  kn 
actress  (or  mimist,  to  speak  in  dialect-TerpsichoreanJ  she 
equally  excels,  ller  Esmeralda  is  a  great  dramatic  effort 
The  lovely  creation  of  the  poet  Hugo  is  there  before  you,  and 
every  attribute  with  which  he  has  endowed  it.  No  accompa- 
niment of  music  or  of  poetry  could  render  it  more  eloquently 


348 


THE  MUSICAL  WORLD. 


true.  CarlptiBL  looks  the  Esmeralda  to  perfection.  Her  small 
and  well-formed  head;  her  fine  and  quaintly-expressive 
featorea,  that  glow  with  the  baby-look  of  unconscious  in- 
nocence; her  exquisitely-proportioned  form,  and  the  £race 
and  infinite  meaning  of  her  every  movement  and  gesture,  are 
precisely  what  Victor  Hugo  has  pourtrayed  in  his  magnificent 
romance.  She  is  the  child  of  nature,  that  walks  among  guilty 
men  and  guOty  things  without  being  defiled;  the  inborn 
goodness  of  her  heart,  the  native  gracefulness  of  her  mind, 
making  her  incapable  of  comprehending*  much  less  of  sym- 
pathising with  aught  but  what  is  beautiful  and  true.  Her's 
is  the  aspiring  soul  that  flies  to  unknown  Heaven ;  her*s  is 
the  gushing-heart  that  melts  at  the  appeal  of  sorrow.  A 
thing  to  dream  of  when  the  soft- white  hands  of  happiness  are 
pressed  upon  your  eyes  and  you  are  lost  in  the  heaven  of  calm 
and  reposeful  slumber;  a  green  spot  to  remember  in  your 
voyage  through  life's  long  and  dreary  desert;  an  ideal  creature, 
whereof  the  image  will  remain  with  you  until  you  receive  your 
last  summons,  preserving  for  ever  in  some  silent  corner  of  the 
memory— 

"  The  tender  grace  of  a  day  that  it  dead." 
Such  is  the  Esmeralda  of  romance,  and  such  is  Carlotta 
Grisi,  the  Esmeralda  of  the  ballet.  Look  at  her,  as  she  moves 
about  the  scene,  mingling  ever  and  anon  aniong  the  motley 
throng,  "  as  a  swan  trooping  with  crows  ;"  or  in  the  happy 
solitude  of  her  own  bright  presence,  flitting  here  and  there  like 
a  bit  of  sunshine  that  will  keep  getting  in  your  eyes.  Look 
at  her  face,  beaming  with  goodness  and  purity,  when  she,  the 
beautiful  Esmeralda,  accepts  the  graceless  Gringoire  in 
marriage,  to  save  him  from  untimely  death  ;  or  when  she  ad- 
ministers the  cooling  draught  to  the  goaded  and  excited 
Quasimodo,  her  eyes  bending  with  pity,  and  mercy  playing  a 
sweet  and  silent  melody  upon  her  hidf-open  lips ;  or  when 
grateful  and  loving  she  gazes  with  ecstacy  on  the  unconscious 
Phoebus,  whose  iron  soul  comprehends  her  not — ^as  the  poor 
idolator  worships  the  image  of  brass  or  wood,  that  is  insensible 
to  his  homage ;  or  when,  under  her  own  humble  roof,  she  repels 
the  i^vances  of  the  astonished  Gringoire,  treating  him  with 
kindness  all  the  while  ;  or  when  fleeing  from  the  dark  monk 
Frollo,  as  a  sun-beam  from  the  presence  of  a  cloud ;  or  when 
bent  down  with  sorrow,  crushed  with  persecution  as  the 
innocent  flower  by  the  pitiless  storm,  she  yields  to  the  pressure 
of  adverse  circumstance,  and  gently  and  womanly  resigns 
herself  to  fate.  Look  at  her  in  all  these  positions  of  the 
drama  and  say  if  Carlotta  Chisi  be  not  a  great  actress  as  well 
as  a  great  dancer.  It  was  evident  that  the  audience  thought 
so  for  we  never  recollect  a  ballet  performance  accompanied  by 
such  unanimous  and  incessant  demonstrations  of  enthusiasm. 
There  seemed  to  be  but  one  feeling  of  delight  at  Carlotta's 
return,  the  only  event  which  was  wanting  to  consum- 
mate the  absolute  perfection  of  Mr.  Lumley's  ballet-troupe. 
The  Gringoire  of  Perrot  was  an  inimitable  piece  of  panto- 
mime, worthy  of  association  with  the  highest  eflTorts  of 
comedy.  If  Perrot  had  not  been  the  greatest  of  dancers,  and 
the  most  inventive  and  graceful  of  5a/^<-masters,  he  would 
have  been  a  Lemaitre  or  a  Perlet.  Perrot  is  a  genius,  and 
nothing  less.  He  has  given  us  a  grotesque  view  of  Victor 
Hugo's  houseless  poet,  but  one  oveilowing  with  wit,  drollery, 
and  unctuous  humour.  It  was  quite  a  feast  to  witness  the 
acting  of  the  two — of  Perrot  and  Carlotta— in  la  nuU  des 
noees.  It  was  eloquence  itself ;  every  gesture  and  movement 
being  full  of  unmistakeable  meaning.  Perrot's  dancing  was, 
as  usual,  inimitable.  He  affects  no  wonders  now — ^but  he 
makes  the  beholders  wonder  at  the  ease  and  grace  with  which 
he  accomplishes  them,  with  such  apparent  unconsciousness. 


His  Truandaise  and  Pas  de  la  Esmeralda  (both  with  Carlotta) 
were  the  perfection  of  choregraphic  art.  Perrot  was  received 
with  that  warmth  which  is  due  to  his  great  merits,  and  his 
acting  excited  constant  laughter  and  applause.  Jennj  liind 
was  present,  and  was  one  of  the  mo;st  zealous  applauders  of 
Carlotta's  grace,  and  one  of  the  keenest  relishers  of  Perrot's 
mercurial  humour.  The  ballet  was  presented  in  a  complete 
and  satisfactory  condition.  The  charming  music  of  Pugni 
(the  most  attractive  that  has  proceeded  from  his  pen)  was 
excellently  played  by  the  orchestra,  under  Nadaud's  direction, 
and  the  characteristic  incidental  dances  were  all  executed  most 
satisfactorily.  We  must  not  pass  over,  without  praise,  M. 
Gosselin's  admirable  impersonation  of  the  monk  Frollo,  quite 
»< piece  of  acting  in  its  way,  nor  St.  Leon's  manly  bearing, 
exhibited  in  the  character  of  Phoebus.  At  the  end  of  the  ballet 
Carlotta  Grisi  was  re-called  upon  the  stage,  and  was  led  on 
by  Perrot.  The  audience  seemed  never  tired  of  manifesting 
the  satisfaction  they  felt  at  once  more  beholding  the  charming 
and  incomparable  Esmeralda. 

On  Tuesday  Jenny  Lind  triumphed  anew  in  La  Sonnam- 
buta^  and  Carlotta  Grisi  again  delighted  us  in  Esmeralda.  In 
the  opera  we  remarked  that  Mdlle.  Lind  introduced  several 
new  and  charming  cadences  and  fioriture.  The  house  was 
literally  crammed  to  suffocation.  Her  Majesty  and  Prince 
Albert  were  present. 

On  Thursday,  Donizetti's  Fi^lia  de  la  Reggimento  was  pro- 
duced, with  Mdlle.  land  as  Maria.  As  we  were  present  at 
the  Royal  Italian  Opera,  (Don  Oumanni  being  pei:formedf  of 
which  olir  collaboratewr,  D.  R.,  has  elsewhere  rendered 
account),  we  must  defer  ^our  notice  of  this  new  essay  of 
Mdlle.  Lind  until  next  week.  We  understand  the  house  was 
densely  crowded,  and  that  the  National  Anthem  waa  sung 
after  the  opera,  Mdlle.  Lind  taking  part  in  it.  The  Queen 
and  Prince  Albert,  and  all  th6  stan  of  the  drawing-room  were 
present.  •  D. 


ROYAL  ITALIAN    OPERA. 

On  Saturday  the  Barbiere  was  announced,  but  was  post- 
poned in  consequence  of  the  illness  of  Madame  Persian!. 
Puritani  was  substituted.  There  was  some  novelty  in  the 
performance,  inasmuch  as  Marini  played  Geoigio,  the  role 
he  was  originally  cast  for,  and  Tamburini  assumed  his  own 
part  of  Riccardo.  The  opera  was  completely  done.  Marini 
achieved  a  great  success.  He  came  out  in  the  old  Puritan 
with  more  force  than  on  any  previous  occasion,  and  proved 
himself  one  of  the  finest  bassi  profundi  who  have  been  heard 
in  this  country  fat  a  long  while. .  The  duet  in  the  second  act 
between  him  and  Tamburini  obtained  an  encore  and  a  recall. 
Mario  and  Grisi  were  both  in  fine  voice,  and  sang  splendidly* 
What  we  have  said  of  the  performance  as  a  whole  in  a  former 
number  will  apply  here.  The  greatest  care  has  been  bestowed 
on  the  getting  up  of  the  Puritanic  the  scenery  and  dresses 
being  extremely  splendid.  We  cannot  refirain  from  highly 
commending  the  attention  paid  to  the  minutest  scenic  details  at 
the  Royal  Italian  Opera.  In  the  first  scene  of  the  Puritan*^ 
during  the  symphony  or  introductory  music,  the  sun  is  seen 
to  rise ;  the  light  breaks  slowly  over  the  sea,  and  reveals  a 
distant  view  of  the  French  coast  — the  various  shades  of 
light  are  managed  with  great  effect — ^the  guard  is  relieved, 
and  soldiers  pass  across  the  stage,  the  whole  giving  a  reality 
to  the  scene  which  we  have  rarely  witnessed  on  any  stage. 
This  is  certainly  making  the  most  of  situation.  After  the 
opera,  the  new  ballet  La  Salamandrine  was  performed,  to 
which  we  now  hasten  to  devote  a  few  lines,  according  to 
promises  laid  down  in  our  ^^f^j^j^J^^  M^l^^^^i^f^^iW^i 


THE  MUSICAL  WORLD. 


34t9 


the  axgament  of  the  8tory>  aa  taken  from  the  affiehe  of  the 
Royal  Italian  Opera. 

Giolio  (M.  Petipa),  a  young  Sidlitn  peasant,  returni  from  hunting,  to 
the  cottage  wheie  resides  Nina  (MUe.  Fanny  Elssier),  to  whom  he  is 
betrothed*  She  reproaches  him  with  his  ilUsuccess  in  the  chase,  and  so 
ridicules  bis  tnal<iffdret$e,  that  he  returns  to  the  mountain.  Still  his 
ill-fortune  pursues  him,  until,  wearied  with  his  march,  he  determines  to 
enter  into  the  crater  of  Etna,  and  cull  a  bouquet  of  certain  flowers  which 
grow  in  its  sulphurous  soil.  These  flowers,  according  to  an  old  Sicilian 
superstition,  are  under  the  protection  of  the  Salamandrines— spirits  of 
flre«  who  are  supposed  to  inhabit. the  burning  mountain.  With  this 
fatal  gih,  he  returns  to  Nina.  She  is  alarmed;  at  first  refuses  the 
present ;  but  at  last  accepts  it.  Immediately  she  is  overcome  by  a  heavy 
sleepk  and  sinks  senseless  upon  a  )>anlc.  She  dreams  that  she  climbs  the 
nouotala  to  restore  the  flowers,  that  a  storm  arises,  and  she  shelters 
hendf  beneath  a  tree.  The  tree  is  struck  by  lightning ;  she  is  killed ; 
while  Heda  (Mile.  Dumilatre)  appears  in  the  midst  of  the  burning  tree. 
Nina  continues  to  dream  that  she  is  transformed  into  a  Salamandrine, 
and  seeks  Giulio  while  be  sleeps  beside  a  fire  under  a  shed,  where  he  is 
paidnf  the  night.  The  Spirits  of  Fire  interpose  and  drag  her  away,  and, 
at  the  very  instant  they  are  descending  with  her  into  the  volcano,  she 
awakes,  and  finds  that  she  has  dreamed. 

The  story  aa  above  told  is  certainly  not  carried  clearly  out 
in  the  ballet.  The  first  scene  is  exceedingly  beautiful,  and 
tlie  di^break  on  Mount  Etna  and  the  surrounding  country  is 
mana^^  with  unusual  effect.  The  first  sc^ie  exhibits  the 
mme  powers  of  Fanny  Elssler  to  admiration.  No  artist  in 
the  world,  terpsichorean,  histrionic,  or  operatic,  can  surpass 
the  cq>tivating  Fanny  in  personifying  the  airs  and  graces  of 
a  ooquetish  maiden.  The  dances  belonging  to  this  portion  of 
the  ballet  are  not  very  striking,  if  we  except  one  pas  by  Fanny 
Elaaler,  given  with  aJl  the  power  of  the  great  artist.  During 
the  first  tableaux  her  performance  and  gestures  might  weU 
form  studies  for  the  actor  and  the  sculptor.  Every  attitude 
had  an  express  meaning,  and  was  instinct  with  grace ;  whilst 
every  motion  was  as  easy  and  natural^  as  though  it  were  a 
spontaneous  effort  exerdtated  by  no  art.  In  the  second 
tableau^  the  interior  of  Etna,  the  effect  of  the  scene  was 
entirely  spoiled  by  giving  too  much  light  firom  the  chandelier, 
thereby  nullifying  the  x«d  and  mysterions  glare  that  at  first 
signified  the  abode  of  the  Salamanders.  This  was  a  great 
mistake.  The  dancing  of  Fanny  Elssler  and  Dumilatre  in  this 
scene  was  admirable ;  but  the  groupings  of  the  choregraphic 
corps  discovered  nothing  new,  and  the  dances  themselves  were 
not  super-excelleot*  I^ler,  Dumilatre  and  M.  Petipa  were 
loudly  applauded  in  a  pas  de  troit  of  some  merit,  and  the 
Meactomoiselles  Neodot,  Bretin  and  O' Bryan  were  received 
with  much  favour  in  a  subsequent  pas.  The  third  tableau 
presented  nothing  very  striking  or  effective.  M.  Petipa  and 
Mdlle*  Fanny  Elssler,  performed  a  pas  de  deux  in  which  they 
were  loudly  applauded.  The  pedal  fiorUure  (we  dont  like 
the  expression)  of  the  gracious  Fanny,  brongh£  down  thunders 
of  applause.  We  did  not  observe  the  interposition  of  the 
spirits  of  fire»  and  their  dragging  away  Nina,  as  so  impres- 
sively mentioned  in  the  affiehe.  The  sum  of  all  our  criticism 
amounU  to  thus  much»  that  the  Saiamandrine  is  a  very  splendid 
ballet  in  some  reapects,  but  that  it  is  on  the  whole  inefSdent, 
or  ineffective :  that  some  of  the  scenery  is  beautiful ;  that 
the  music  is  horribly  boisterous,  loud  enough  to  kill  deafness 
itself ;  that  the  story  is  not  well  conceived  and  indifferently 
followed  out  on  the  stage ;  that  the  dancing  of  Fanny  Elssler 
and  Dumilatre  is  exquisite,  and  that  of  Petipa  very  good ;  that 
all  the  ladies  of  the  carps  are  capital  individually,  but  so— so 
collectively — in  fine,  that  there  is  much  to  be  lauded  and 
something  to  be  found  fault  with.  So  much  for  the  new 
ballet  La  Salamandrine. 

On  Tuesday  the  Lucrezia  Borgia  was  given  for  the  fourth 
lime.    The  performance  was  magnificent — ^nay,  almost  fault- 


less. The  chorus  in  the  first  scene  was  encored,  as  was  also 
the  grand  trio  in  the  second  act,  most  exquisitely  given  by 
Grisi,  Mario,  and  Tamburini.  As  a  matter  of  course,  Alboni 
was  encored  twice  in  "II  segreto  per  esser ; "  the  house 
cheering  most  vociferously  at  the  end  of  the  second  repeat. 
The  Salamandrine  followed,  which  calls  for  no  particular 
notice.  We  must  now  hasten  to  a  task  more  in  consonance 
with  our  sympathies  that  any  thing  that  has  devolved  on  ua 
in  our  critical  duties  since  we  commenced  reviewing  the  per- 
formances of  the  Royal  Italian  Opera.  It  is  indeed  a  labour 
of  love  to  write  about  Mozart's  Don  Giovanni^  one  of  the 
world's  chef'd*ctuvres. 

The  announcement  of  Don  Giovanni  by  the  Royal  Italian 
Opera  company,  raised  the  greatest  expectations  in  the  public 
mind.  The  style  of  splendour  and  completeness  in  which 
the  Semiramide,  Puritanic  and  the  Lucretia  Borgia  were 
produced*  led  to  the  anticipation  that  Mozart's  immortal  work, 
involving  so  great  a  cast  of  characters  and  so  much  magnifi- 
cence in  the  scenic  details,  while  it  demanded  the  highest 
capabilities  of  the  band,  would  surpass  all  that  had  gone  before. 
Great  4s  these  expectations  were,  they  were  not  lowered  a  jot 
in  the  minds  of  all  those  who  witnessed  the  Don  Giovanni^ 
at  the  Royal  Italian  Opera,  on  Thursday  evening.  An  im- 
mense concourse  of  people  had  assembled  to  do  homage  to 
the  mightiest  lyrical  production  of  all  times,  and  long  before 
Signer  Costa  appeared  in  the  orchestra,  the  house  was  filled 
in  every  part.  Before  proceeding  to  speak  of  the  performance, 
we  shall  give  a  list  of  Uie  parts  personified. 

Donna  Anna       ....    MAnAMi  Gaisi. 

Zerlina MkHAUW  PsasiAHf. 

Elvira M^nLLi  ComiAU. 

Don  Ottavio       ....    SioNoa  Mabio. 

II  Commendatore        .        •        •    SioMoa  TAOUArico. 

Mazetto SioNoa  P.  Lit. 

Leporello SioNoa  Rovaai. 

Don  Giovanni     .        •        •        •    SiONoa  TAinuaiifi. 

The  overture  displayed  the  powers  of  the  band  to  perfection. 
It  was  played  in  a  manner  we  have  rarely,  if  ever  beard,  and 
the  nuances  were  given  with  the  greatest  care  by  Signer  Costa. 
We  have  only  one  word  to  chronicle  of  the  conductor  on 
Thursday  evening,  viz.,  praise — nay,  let  it  be  two  words, 
exceeding  praise,  and  the  compliment  will  be  more  befitting 
the  menu  of  Signer  Costa.  We  never  heard  Don  Giovanni 
before  interpret^  throughout  in  so  masterly  and  complete  a 
manner ;  and  certainly  much  of  this,  if  not  all,  is  due  to  the 
untiring  efforts  of  the  Chef.  The  band  was  fruitless,  and 
the  chorus  surpassing  all  eulogy.  The  finale  to  the  first 
part  was  given  with  a  power,  and  certainty  we  had  never 
previously  heard.  The  effect  was  quite  electrical,  and  ob- 
tained a  loud  encore  from  all  parts  of  the  house,  to  which  the 
chorus,  very  properly,  did  not  respond.  With  this  general 
comment  on  the  band  and  singers,  we  hasten  to  notice  the 
principal  artists.  The  part  of  Leporello  would,  a  priori,  seem 
almost  fatal  to  a  singer  who  should  attempt  it  in  this  country 
after  Lablache ;  but  Signer  Revere  played  and  sung  the  part 
so  well  as  entirely  to  de  away  with  any  ungenerous  compa- 
risons. His  l.eporello  was  acted  with  great  spirit,  and  his 
humour  did  net  for  one  moment  border  on  the  farcical.  In 
the  sUtue  scene  he  was  capital,  and  though  highly  comic,  did 
not  injure  the  effect  of  the  scene  with  any  display  pf  extrava* 
gant  fun.  Altogether,  Signer  Revere  pleased  us  much  in 
Leporello.  We  shall  recur  to  his  performance  in  a  secend 
notice.  Mademoiselle  Corbari  was  the  best  Elvira  we  have 
seen  since  Mademoiselle  Sophie  Loewe  performed  the  part 


^SS 


3fiO 


THE  MUSICAL  WORLD. 


I'  Ahl  cfae  mi  did  mai/'  very  beauUfoUy,  and  tang  her  share 
IB  the  trio  and  terzetto  in  the  second  act,  with  great  effect. 
Tbie  lady  bide  fair,  before  very  long,  to  occupy  no  inferior 
poeition  in  the  Operatic  world.  The  improvement  she  has 
made  since  last  year  is  remarkable.  Madame  Fersiani's 
Zerlina  is  well  known  as  an  exceeding  graceful  and  elegant 
performance.  Her  singing  the  music  of  the  part  is  beautiful, 
\\xi  hardly  Mozartean.  She  was  encored  with  Tamburini  in 
*'La  ei  darem,"  and  in  the  **  Batti,  batti/'  and  **  Vedrai 
oarino.'*  Signor  Ley  cannot  hope  to  attain  any  particular 
fiime  by  his  performance  of  Mazetto.  His  voice  is  powerful, 
bnt  the  quality  is  not  remarkable  for  expression.  His  acting 
was  better  than  his  singing.  Sigaor  Tagliafico  was  the  best 
Commendatore  we  ever  heard.  He  was  positively  great 
in  the  magnificent  scene  in  the  last  act.  The  tremendous 
duet  between  him  and  Tamburini  was  given  with  most 
thrilling  effect.  Grisi*s  Donna  Anna  was  superlatively  grand. 
It  is  perhaps  her  greatest  part.  Her  first  scene  over  her 
AthefB  dead  body  was  beantii'ul  in  the  extreme.  The  scene 
where  she  discovers  Don  GiovtMni  to  be  her  betrayer 
called  forth  all  her  highest  tragic  powers.  The  scei\m  "  Or 
sai  ehe  Tindegno,"  was  as  magnificen^t  an  instance  of  acting 
and  sitging  as  ever  we  witnessed.  Grisi  was  retailed  after 
this  splendid  arti>tio  display.  We  were  delighted  with  the 
introduction  of  the  "  Non  mi  dir,*'  which  should  never 
be  oniitted  £rom  the  performance  of  Don  Giovanni.  Grisi 
aasg  it  exquisitely,  and  did  not  wander  for  one  instant 
from  the  integrity  of  the  text.  All  praise  to  the  gifted  child 
of  Italia  for  her  heartfelt  reverence  of  the  divine  German 
musician.  Tamburini's  Don  Giovanni  is  one  of  the  roost 
complete  and  splendid  performances  ever  seen  on  the  stage. 
Whether  we  behold  him  in  the  first  scene  killing  a  man  in  a 
duel,  and  making  sport  of  the  catastrophe ;  or  in  the  scene 
with  Elvira,  when  he  dbguises  his  feelings,  and  feigns  a  con- 
tinuance of  his  old  passion  ;  or  with  Zerlina,  when  he  pours 
forth  a  melody  of  love  in  such  a  manner,  as  would  endanger 
the  heart  of  old  Saturn's  wife  herself;  or  with  Donna  Anna 
and  Ottavio,  when  the  accomplished  cavalier  is  transparent 
ih  every  attitude  and  motion ;  or  in  the  ball-scene,  where  he 
playa  the  host  with  unsurpassed  grace  and  dignity ;  or  when, 
detected  by  the  guests  in  his  attempt  on  Zerlina,  and  they 
threaten  him  with  their  vengeance,  he  looks  at  them  with  a 
calmness  perfectly  In  unison  with  the  fearlessness  of  his  cha- 
racter, till,  stung  by  their  threats,  he  turns  on  them  like  a 
stag  at  bay ;  or  in  the  scene  in  the  churchyard,  where  he 
treats  with  levity  the  warning  of  the  statue,  and  invites  it  to 
supper  ;  or,  in  fine,  in  tlie  last  scene,  when  he  stands  before 
the  ghost  undaunted,  unmoved,  viewing  him  like  one  that 
dared  to  look  upon  the  devil  himself  and  winced  not,  until 
k  sudden  thrill  of  agony  and  despair  passed  through  his 
frame,  when  he  gives  his  hand  to  the  statue,  and  feels  the 
supernatural  influence— we  feel  that  Tamburini  is  an  artist 
of  the  most  singular  power,  high  conception,  and  lofty 
endowments.  His  last  scene  may  rank  among  the  greatest 
performances  of  past  and  present  times.  The  singing  of  the 
great  artist  was  equal  to  his  best  days.  He  obtained  an 
encore  with  Peisiani  in  **  La  ci  darem."  He  was  also  called 
on  to  repeat,  "  Fin  chan  dal  vmo,"  which  he  gave  with 
immense  spirit,  and  narrowly  escaped  an  encore  in  the 
serenade,  "  Deh  vieni  alia  finestra,"  which  he  sang  with  the 

freatest  purity  and  expression.  We  owe  our  gratitude  to 
ignor  Tamburini  for  the  restoration  to  the  score  of  the  aria. 
"  Meta  di  voi,"  whiclj  he  gave  with  great  taste.  In  the  ball- 
scene,  a  novel  effect  was  produced  by  having  the  minuet 
danced,  according  to  the  intention  of  the  composer,  by  two 


dancers,  after  the  mode  of  the  period.  Miles.  Fanny  Elsslec 
and  Dumilatre,  the  former  assuming  the  gentleman,  danced 
the  minuet  so  captivatingly,  that  they  eheited  a  xapturous 
encore.  The  dancing  of  the  two  charming  artists  was  graceful 
in  the  extreme.  It  is  impossible  to  eall  to  mind  all  the  encorei 
and  all  the  recalls.  We  remember  all  the  artists  appearing 
after  the  first  act,  Grisi  being  recalled  after  '*  Or  che  sai,"  and 
Tamburini  coming  on  at  the  end  amid  a  hurricane  of  applause. 
There  was  but  one  feeling  in  the  house  regarding  the  perform* 
ance,  and  that  was  one  of  intense  delight.  The  National 
Anthem  was  given  at  the  end  of  the  opera,  it  being  the 
Queen's  birth-day,  Grisi  and  Persian!  taking  the  solos.  The 
evening  concluded  with  the  ballet  of  La  Salamandrine. — ^D.R. 

DRAMATIQ   INTELLIGENCE. 

Adblphi. — Madame  Celeste  took  her  benefit  on  Wednes- 
day evening,  and  had,  as  she  so  well  deserved,  a  buropCT 
house.  Mr.  Webster,  on  the  occasion,  came  expressly  to  play 
for  her  in  a  new  pieceentitled  Flying  Colours  ;  or^  Cro»inf 
the  Frontier,  The  piece  is  evidently  a  translation  from  the 
French,  and  the  version  is  excellently  well  done.  The  plot 
rests  entirely  on  the  shoulders  of  Celeste,  Webster,  and  Miss 
Woolgar,  and  famously  these  artiste  carried  it  through,  The 
situations  are  excellent,  and  the  author  has  shown,  much 
stage  tact  and  good  judgment  in  his  construction  of  the  piepe. 
The  acting  ol  Madame  Celeste  was  charming  in  the  extreii^e« 
and  elicited  rapturous  applause.  We  have  seldom  seen  the 
fair  artist  in  a  part  more  befitting  the  graces,  naivetif  and 
piquancy  of  her  style.  Mr.  Webster  had  a  capital  character 
to  sustain,  and  performed  it  with  all  his  usual  artistio  skill* 
Miss  Woolgar  was  admirable  likewise.  Flying  Colours;  or^ 
Crossing  the  Frontier,  will  certainly  have  a  long  run  at  the 
Adelphi.  The  dresses,  decorations,  and  scenery  were  on  tha 
usual  scale  of  splendour  for  which  this  theatre  has  long  been 
celebrated.  The  principal  artists  were  called  on  at  the  end 
amid  great  enthusiasm. 

Frbnch  Plays. — L' Enfant  trouvi  is  an  amusing  comedietta 
of  Picard's,  the  only  fault  of  which  is  its  being  spun  out  into 
three  acts,  when  two  at  most  would  have  amply  sufficed  for 
the  matter  contained  therein.  Without  being  hypercriticali 
we  expect  something  more  than  a  mere  charge  in'three  acts.— <- 
We  enter  upon  the  field  of  pure  comedy,  and  we  are  conse* 
quently  disposed  to  be  more  serious,  and  not  entirely  sacrifice 
our  sense  to  our  risible  faculties.  Laying  aside  the  extrava^ 
gance  of  the  plot,  the  piece  is  neatly  worded,  and  artistioaUy 
put  together,  without  betraying  any  symptoms  of  dullness  or 
patchiness.  The  orphan  is  a  M.  Saint  Jules,  and  is  about 
to  be  married  to  a  certain  Henriette,  whose  relations,  although 
professing  the  utmost  liberality  as  regards  family  and  connex* 
ions,  insist  upon  knowing  something  of  the  family  of  the  young 
man.  This  sets  Delbar's  wits  to  work  to  manufacture  him  a 
father  and  mother ;  and  he  consequently  pitches  upon  Casteli* 
ville,  an  old  bachelor,  to  enact  the  part  of  the  father,  and 
upon  Mademoiselle  Dubrosserac  to  play  that  of  the  mother* 
He  works  alternately  upon  their  imagination,  their  feelingSi 
and  their  cupidity,  and  eventually  persuades  them  that  tbay 
are  the  real  father  and  mother.  They  themselves  get  married, 
and  the  young  man  obtains  his  bride.  M.  Regnier  was  the 
soul  of  the  piece,  and,  as  usual  carried  the  house  by  etorm. 
The  scenes  in  which  he  persuades  the  old  bachelor  and  the  old 
maid  that  they  are  the  young  man's  real  parents— mixing  up 
truth  and  invention  in  such  manner  as  to  make  them  dubious 
as  to  whether  the  thing  might  not  be,  after  all,  as  he  states«-«f* 
were  highly  humorous,  and,  although  rather  eccentric,  irre- 
sistibly amusing :  that,  also,  in  which  he  ptrsuadcts  the  two  te 


THE  MUSICAL  WORLD. 


SS'l 


marry,  kept  tbe  house  in  convulsions.  M.  Regnier  was  as 
mercurial  as  ever.  M.  Cartigny  was  admirable  as  tbe  old 
bachelor,  and  drew  largely  upon  the  laughter  of  his  audience. 
Madame  Grassau  deserves  praise  for  her  execution  of  the  old 
maid ;  and  Madlle.  Vall6e  was,  as  usual,  charming  in  the 
small  part  of  Henriette*  Moli^re's  farce  of  Les  Prhieuses 
Ridieulea  has  also  been  played  several  times  this  week,  but 
not  with  that  degree  of  success  which  the  great  name  and 
reputation  of  the  author  would  seem  to  command.  Although 
M.  Regnier  is  the  best  representative  of  the  Scapins,  the 
S^anarelles,  and  the  Mascarilles  now  on  the  French  stage, 
there  is  a  certain  heaviness  in  the  action,  a  tediousness  in  tbe 
language,  which  no  art  can  dispel.  We  are  inclined  to  think, 
that^  the  fault  lies  more  in  tbe  author  than  the  actor ;  for  the 
same  reflections  have  often  been  forced  upon  us,  even  when 
Monrose  was  at  the  apogee  of  his  fame,  than  whom  a  better 
Scapin  or  Crispin  never  trod  the  boards  of  any  theatre.  We 
must  not  be  supposed  to  refer  to  the  more  serious  works  of 
tbe  great  dramatist — they  are  imperishable — but  merely  to  his 
lighter  productions.  The  ridicules  of  Moli^re's  time  have 
undergone  a  total  change: — an  attack  upon  medicine  and 
doctors,  on  blue-stockings  and  pretentious  damsels,  the  fine 
language  of  the  fops  of  the  seventeenth  century,  find  no  echo 
in  our  times ;  even  the  expressions  are  antiquated,  the  excla- 
mations out  of  date  ;  the  manners,  habits,  customs  essentially 
different ;  the  use  of  the  cudgel  is  now  no  longer  tolerated—- 
in  short,  the  dresses  themselves  contribute  a  great  deal  to 
dispel  the  illusion,  and  make  the  actors  seem  to  be  uttering 
sentiments  in  which  they  do  not  participate,  or  at  any  rate  for 
which  we  have  no  sympathy.  Mademoiselle  Denain  took  her 
benefit  on  Wednesday — we  believe  that  M.  Regnier's  takes 
place  next  Wednesday — so  that  we  may  soon  expect  another 
change  of  actors.  M.  Boufi'6  is  announced,  and  we  hail  his 
arrival  with  pleasure. 


MISCELLANEOUS. 

Wb  keoret  to  learn  that  Mr.  Jones  Whitworth,  of  whose 
successful  career  the  Italian  journals  have,  from  time  to  time, 
given  such  favourable  accounts,  has  been  prevented,  by 
illness,  from  accepting  the  engagements  offered  him  at  the 
Philharmonic  and  at  the  Ancient  Concerts  on  the  nights  of 
the  Archbishop  of  York  and  £arl  Howe. 

Ths  Atlas. — In  complaining  of  the  length  of  Rossini's 
Semiramidef  the  musical  critic  of  this  paper  observes : — Some 
castigation  of  the  composer  is  absolutely  necessary  in  the 
performance  of  this  opera."  Does  he  mean  that  Rossini 
should  be  thrashed  on  the  stage  every  night  Semiramide  is 
performed  ?  Or  does  he  intend  to  insinuate  that  the  *'  Swan  of 
Pesaro"  merits  a  whacking  for  having  written  so  long  and 
dull  an  opera.  If  the  latter  be  his  meaning  what  would  this 
severe  writer  award  to  **  Young  Verdi,'*  for  the  composition 
of  Nin§  and  Ernani  ?  We  should  say,  the  cat-o'nine-tails,  at 
the  very  least. 

Herr  Piscbex  has  returned  from  Stuttgard  in  Bavaria 
where  he  went  to  wait  upon  the  Emperor  of  Russia,  who  was 
there  for  a  short  period. 

Dr.  Spohr. — The  arrival  of  Dr.  Spohr,  in  London,  to 
fulfil  his  engagement  with  the  Sacred  Harmonic  Society,  is 
expected  during  the  first  week  in  July.  We  are  not  aware 
what  works  of  this  great  master's  will  be  performed,  but, 
helieve  that  the  Crucifixion  and  the  Fall  of  Babylon  will  be 
amongst  the  number.  We  anticipate  a  more  satisfactory 
performance  of  these  works  than  we  have  hitherto  had  the 
opportunity  of  hearing,  from  the  circumstance  of  the  band 
and  chorus  having  lately  had  such  good  drilling  from  Men- 


delssohn, during  the  getting  up  and  performance  of  the  Elijahs 
We  hope,  and  believe,  that  a  new  spirit  has  been  infused  into 
this  band  of  amateurs,  from  the  exertion  of  that  great  artis^ 
and  it  will  be  the  fault  of  those  in  office  if  this  spirit  is  allowed 
to  retrograde. 

Mr.  French  Flowers.— By  a  letter>  from  Berlin,  we  hear 
that  the  Earl  of  Westmoreland  has  expressed  his  entire  ap« 
proval  of  this  professor's  treatise  on  fugue. 

Miss  Grant. — This  vocalist  has  returned  to  town  after  an 
absence  of  some  time  in  the  Provinces»  where  she  has  been 
singing  with  great  success  in  many  places.  We  hope  to  hear 
her  at  some  of  the  London  Concerts  this  season,  so  that  w« 
may  judge  of  her  progress. 

SiONOR  ScHiRA  has  been  appointed  Professor  of  Singing 
at  the  Royal  Academy  of  Music. 

Mr.  John  Balsir  Chatterton. — We  are  happy  to  inform 
our  readers  that  this  amiable  and  excellent  professor  has  bee^ 
appointed,  by '  royal  command,  harpist  to  Her  Majesty  thf 
Queen. 

Leicester  Square. — The  project  of  erecting  a  new  theatre 
in  this  locale  has  been  abandoned.  The  ground,  which  ha4 
been  fixed  upon,  is  now  let  for  other  purposes. 

BiRMiiiOHAM. — {Extract  from  a  Letter.^  Mendelssohn'f 
Elijah  was,  as  you  know,  performed  in  Birmingham  some 
time  ago.  and  immense  posters  were  stuck  on  the  walls  to  that 
effect ;  since  which  equally  large  bills  have  been  issued  hf 
the  Odd  Fellows,  for  a  Whitsun  Trip  hy  RaiU  to  Worcester, 
Gloucester,  and  Bristol,  and  back  next  day  :  these  have  been 
pasted  on  the  Elijah  bills,  but  not  covering  the  lower  part  of 
them;  it  reads  thus: — "The  Odd  Fellows  of  Birmingham 
will  make  an  extraordinary  Trip  to  Worcester,  Gloucester 
and  Bristol,  returning  next  day.  Leader: — Me.  Willx: 
Conductor  : — Dr.  Mendelssohn." 

New  Music  Hall,  Dublin. — ^A  spacious  Music  Hall  hat 
just  been  built  in  Dublin.  The  proprietor,  Mr.  Drei>iret,  is  de- 
termined to  give  concerts  on  a  grand  scale.  He  has  alread;f 
prevailed  on  Madame  Bishop  to  retard  her  departure  from 
Dublin,  and  has  engaged  her  for  six  concerts.  This  eng^ev 
ment,  and  visits  to  Cork  and  Limerick^  will  delay  the  arrive} 
of  Madame  Bishop  in  London,  for  some  weeks. 

Mr.  Henry  Phillips,  has  been  giving  his  entertainment 
with  great  success,  at  Hull,  Driffield,  Birmingham,  and  Chea- 
ter, at  each  place  he  had  crowded  audiences,  and  was  receive4 
with  the  greatest  favour. 

The  Misses  Kenneth. — These  young  and  rising  vocalisti 
are  rapidly  making  themselves  a  name  in  the  provinces.  At 
Manchester  they  have  been  singing  with  the  greatest  sueeels 
at  the  Alh<Eneum  QonctTt^  and  at  the  concert  of  the  PhHhar-^ 
monic  Institution.  The  Misses  Kenneth  have  also  been 
playing  at  the  Theatre  Royal,  in  Weber's  opera  of  Oberoiu 
in  which  their  performances  have  obtained  the  warm  approval 
of  the  Manchester  press.  The  Manchester  Examinsr,  which 
we  have  before  us,  speaks  in  the  highest  terms  of  tbe  laical 
of  both  these  young  ladies,  whom  we  trust,  ere  long  to  have 
an  opportunity  of  criticising  ourselves — at  the  concerts  or 
theatres  of  the  metropolis. 

CuBious  Law  of  Sound.— The  effect  of  two  or  more  recipro- 
cating bodies  upon  a  sound  is  curious.  An  experiment  occurs  to 
us  which  showed  it  forcibly.  When  one  of  two  ordinary  drinking 
glasses  (each  of  which  emitted  the  note  C  when  a  tuning-fork  wai 
applied  to  them)  was  held  horizontally  and  the  other  perpendicularly 
with  the  lips  of  each  in  contact,  and  a  tuning-fork  was  placed  at  the 
intersection,  the  bound  ceased,  and  when  they  were  held 
perpendicularly  to  the  tuning-rork  (mouth  over  mouth),  the  80un4 
was  doubled.  This  may  involve  the  reason  why  toiniL  c;p8|- 
churches  are  very  bad  for  hearing  in.—  The  BuUder.  ^^  LV- 


353 


THE  MUSICAL  WORLD. 


M.  ViBOXTBMPS,  the  great  violinist,  has  departed  from  London 
being  engaged  on  a  continental  tour. 

Mb.  Robbbt  Sidnbt  P&atten,  the  flautist,  has  arrived  from 
Prague.  The  German  Journals  speak  very  loudly  in  praise  of  his 
powers  on  the  flute. 

CHVA.P  PiAKOFORTB. — Cheapness  is  extending,  like  a  new  sunrise, 
over  all  the  branches  of  the  arts  end  sciences.  We  paid  a  visit,  last 
week,  to  Warren's  Pianoforte  Manufactory,  Leadenball  Street,  and 
were  much  surprised  to  find  a  cajNtal  new  instrument,  purchasoable 
at  twen/y  guineas.  We  also  saw  some  Piccolos,  very  superiorly  made, 
at  eighteen  guineas.  This  is  cheapness  with  a  vengeance,  and 
must  ensure  an  extraordinary  sale.  We  should  like  to  know  whence 
Mr.  Warren's  profits  can  come.  Pianofortes  new,  and  really  good, 
at  the  above  prices,  is  a  tvpe  of  the  present  antimonopolizing  times, 
when  men  will  sacrifice  themselves  to  outdo  their  neighbours.  We 
hope  Mr.  Warren  does  make  a  profit. 

Standabd  Ltbic  Draica.^  a  Prospectus  and  Specimen  Pages  of 
an  intended  new,  cheap,  and  important  musical  pubhcation  professing 
to  give  a  more  perfect,  correct,  and  elegant  edition  of  the  great 
dramatic  works  of  the  great  composers,  than  has  been  hitherto 
pnblished  has  reached  us.  Each  opera  will  t>e  given  with 
the  vocal  score  in  its  integrity,  and  the  pianoforte  adaptation 
arranged  from  the  orchestral  score.  The  size  of  this  work  will  be 
small  quarto f  and  the  specimen  sent  us,  exhibits  an  intention  of 
bestowing  great  care  in  the  £petting  up.  The  projectors  have 
appealed  to  the  public  to  support  them  in  their  undei taking,  and 
are  only  waiting  for  an  adequate  number  of  subscribers  to  com 
menoe  with  the  first  publication.  The  speculation  is  one  entirely 
worthy  the  consideration  of  all  amateurs  and  musicians,  and  we 
therefore  heartily  recommend  such  to  give  it  a  habitation  in  their 
thoughts. 

Nbw  Diatonic  Flute.— In  a  recent  number  we  offered  a  few 
remarks  on  the  Theory  of  the  New  Patent  Diatonic  Fiute,  by  Mr, 
Siccama,  the  inventor  of  that  instrument.  We  eould,  at  that  time, 
only  record  our  testimony  of  the  ability  and  the  scientific  know, 
ledge  evinced  in  the  work.  A  correspondent,  who  is  well-known 
and  regarded  as  a  flute-player,  and  as  a  composer  for  the  instru- 
ment, writes  to  us  in  the  following  words  : — **  The  improvements 
proposed  by  Mr.  Siccama's  invention,  embraces  the  two  points,  tone 
and  tune,  npon  which  all  melodic  effects  depend.  That  these  two 
points  are  obtained,  and  in  a  degree  far  beyond  any  flute  hitherto 
produced,  is  incontestable :  while,  at  the  same  time,  the  fingering 
remains  the  same  as  upon  the  oidinary  flute  ;  only  with  the  ad. 
vantage  of  copious  resources  for  new  fingerings  which  facilitate 
passages  in  the  high  notes  that  are  complicated  and  difficult  on 
other  flutes.  The  harmonies  are  perfectly  in  tune  with  the  open 
or  natural  notes.  The  feeble  and  imperfect  £  and  A  of  the  lower 
octave  are  rendered  full,  and  equal  with  the  other  notes.  The 
medium  and  upper  octRves  are  clear  and  round.  The  flute  is  in 
perfect  tune,  and  does  not  need  those  mutations  of  the  performer's 
embouchure  which  even  an  approach  to  correct  intonation  has 
hitherto  demanded.  £very  flute-plajrer,  whether  in  4he  orchestra 
the  concert-room,  or  in  chamber  music,  must  appreciate  the  value 
of -an  instrument  upon  which  reliance  can  be  placed  in  point  of 
intonation ;  and,  I  am  of  opinion,  that  Mr.  Siccama's  Diatonic 
Flute  only  requires  a  trial  to  have  its  excellence  acknowledged 
in  this  most  important  feature,  as  well  as  lis  claims  to  superiority 
of  tone."  Consistently  with  the  course,  we  have  found  it  expedient 
and  necessary  to  pursue  in  such  matters,  we  must  decline  entering, 
oontroversially,  into  the  question,  or  offering  any  opinion  on  the 
merits  of  the  diversity  of  new  flutes,  which  theur  zealous  inventors 
are  blowing  into  the  ear  of  musical  Europe,  like  a  tube  filled  by 
a  tornado,  each  of  which  can  be  provea  to  be  vastly  superior 
in  tone,  tune,  and  every  other  requisite  to  all  its  compethors. 

Thb  Mblodist's  Club. — There  was  a  brilliant  meeting  of  this 
association  at  the  Freemasons'  Tavern,  on  Tuesday ;  the  gallant 
Lord  Saltoun  in  the  chair,  supported  by  Sir  Andrew  Barnard. 
Several  foreigners  were  present,  among  whom  was  M.  Fiorentino, 
of  Le  ConstitutioneU  They  appeared  much  pleased  with  the  per- 
formance of  *'  Non  nobis  Domine,"  and  other  vocal  compositions  in 
C,  which  were  sung  in  the  course  of  the  evening.  Signer 
-as  sung  *'  Come  Gentil,"  and  another  song,  excellently.  M. 
Godefroid  performed  a  Studio,  followed  by  the  JDanse  des  Sylphes, 
on  the  harp,  in  a  masterly  style,  eliciting  several  rounds  of  applause. 


M.  Godefroid  justifies  all  the  praise  of  M.  Fiorentino  and  liis  Parisia 
friends.  Mr.  Richardson  placed  "  O  dolce  coucento,"  with  new  varia- 
ttotis,  on  the  flute,  in  a  brilliant  manner,  and  was  accompanied  on  the 
piano-forte,  by  Mr.  Lindsay  Sloper,  who  subsequently  performed  a 
solo,  which  was  received,  as  it  deserved,  vrith  the  highest  favor. 
Mr.  Parry,  the  honorary  Secretary,  announced  that  he  expected 
the  Earl  of  Westmoreland  would  arrive  in  London  in  time  to  pre- 
side at  the  last  meeting  of  the  club,  on  the  29th  June,  when  ladies 
will  be  introduced  to  hear  musical  performances. 


CONCERTS. 

Ma.  Fbedbbick  GhaTtbrtom's  Concbrt  took  place  at  the 
Hanover  Square  Rooms  on  Tuesday  morning  before  a  full  and 
fashionable  audience.  Among  the  artists  who  assisted  we  most 
noticed  Mdlle.  Jenny  Lutzer,  whose  singing  of  '<  Der  Erl  Konig," 
was  excellent ;  the  Misses  Williams,  whose  beautiful  voices  blended 
as  usual  most  harmoniously ;  Miss  Bassano,  who  gave  proof  of  the 
good  effects  of  her  Italian  campaign ;  Miss  Sabilla  Novello,  always 
welcome  in  a  concert-room,  and  Mr.  and  Mrs.  W.  H.  Seguin,  and 
Signor  and  Madame  F.  Lablache,  all  right  good  artists.  Among 
the  instrumentalbis,  Mr.  Carte  deserves  especial  mention  for  the 
excellent  and  artistic  style  in  which  he  performed  his  flute  solo, 
and  Miss  Kate  Loder  and  Miss  Day's  brilliant  performance  of 
Wallace's  clever  and  effective  duet,  for  two  pianofortes,  from 
V Eclair,  deserved  all  the  applause  so  liberallv  bestowed  upon 
them.  Three  juvenile  pupils  of  Mr.  F.  Chatterton,  the  eldest 
apparently  not  having  numbered  five  years,  created  a  great  deal  of 
interest  from  the  manner  in  which  they  got  through  their  "  grand 
march  for  three  gothic  harps".  Mr.  F.  Chatterton's  harp  per- 
formances afe  too  well-known  and  appreciated  to  need  comment 
now  \  we  must,  however,  menUon,  tnat  he  played  in  his  usual 
brilliant  and  effective  style  and  received  his  customary  tribute  of 
applause. 

Ma.  Muhlbnfblut's.— Press  of  matter  has  hitherto  prevented 
us  from  attending  to  the  concert  of  this  deserving  and  excellent 
musician.  Mr.  Miihleafeldt  exhibited  his  accustomed  taste  for 
classical  music  in  the  disposition  of  his  programme.  His  best  effort 
was  in  Beethoven's  trio  in  E  flat,  where,  accompanied  b^  MM. 
Sainton  and  Rousselot,  he  sustained  the  pianoforte  part  with  bril- 
liant effect.  Mr.  Miihlenfeldt  also  displayed  his  execution  and. 
taste  as  a  pianist  to  great  advantage  in  a  clever  andante  di  bravura 
of  his  own  composition,  and  in  a  duet  for  harp  and  piano,  wit  h  the 
intelligent  Madame  D'Eichthal,  both  performers  were  entitled  to 
the  highest  approbation.  M .  Sainton  played  an  air  t;artV(Piscbek'8 
popular  '*  Standard  bearer")  on  the  violin  in  first-rate  style.  The 
composition  is  his  own,  ana  is  creditable  to  his  taste  and  acquire- 
ments. Madame  D'Eichthal  was  also  greatly  successful  in  a  solo 
on  the  harp.  This  lady  is  harpist  to  the  Empress  of  Austria  and 
the  Queen  of  the  Belgians,  and  honourably  supports  the  distinction. 
The  vocalists  were  Misses  S.  Novello  and  £.  Nelson,  Madame 
Jenny  Lutzer,  Madame  Santa  Croce,  and  Madame  Macfarren, 
Herr  Brandt,  and  Signor  Salli.  We  have  no  space  for  detail,  but 
must  mention  a  very  nice  song,  *'  Rastlose  liebe,"  sung  by  Herr 
Brandt,  and  a  German  song,  most  expressively  interpreted  by 
Madame  Macfarren,  the  composition  of  her  husband,  Mr.  G.  A. 
Macfarren,  and  quite  a  bit  of  genius.  We  specialise  these,  as  they 
were  novelties.  With  a  word  tor  Mr.  Lockey's  graceful  reading  of  a 
rortdo  from  Spohr's  Jessonda,  we  must  coudude — adding  that 
Mr.  Miihlenfeldt  played  otlier  pieces,  both  in  conjunction  with  his 
clever  instrumental  co-operators,  Saiuton  and  Rousselot,  and  by 
himself.  Mr.  C.  Horsley  conducted  with  his  usual  ability.  The 
concert,  though  intolerably  long,  gave  entire  satisfaction  to  a  very 
full  audience,  who  testified  their  pleasure  by  the  warm  and  repeated 
applause  with  which  they  honoured  Mr.  Muhlenfeldt  and  his 
brother  and  sister  artists. 


NOTICE. 

Ik  consequence  of  press  of  matter  we  are  compelled  to  defer,  till  our 
next.  Reviews  of  the  Concerts  of  Signor  Brizri,  and  others.  A  notice 
of  Mr.  Horn's  DaniePt  Prophecy ;  a  review  of  ScfaulhofPs  Pianoforte 
Works;  Macready  at  the  Princess's;  Mr.  Webster's  Analysis  of 
the  Human  Voice;  and  other  matters,  must  also  stand  over.  These 
are  all  in  type,  but  as  we  are  not  as  big  as  7^  TlifiiM,  oar  readers 
must  kindly  bear  with  the  occasional  disappointment  which  is  neces* 
sitated  by  the  constrained  coropasS|^jj^^  B^^ffllS'f?^  ItT 


THE  MUSICAL  WORLD 


353 


ADVERTISEMENTS. 


Warren's    20   Guinea   Cottage   Piano-Fortes 


ARB  NOW  SELLING  AT  THE 

Mantifiactory,  71,  Xieadenhall  Street 

{Removed from  1  and  2,  Liverpool  Street,  Bishoptgate  Street.) 
Theae  Inttmmentt  are  well  manufactured  of  the  best  Maaooed  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  yean  warranty  given  with  emet  inctro- 
ment.  ESTABLISHED  TWENTY-ONE  YEARS.  The  onlv  honae  in  London 
where  a  good  sonnd  initmment  can  be  obtained  at  the  above  low  price,  (for  cash 
only).  skALL  PROFIT  AND  QUICK  RETURNS! 
JOHN  WABRBN,  71,  LeadtnhaU  St.,  opposito  Ald^ato  Pomp. 

To  the  Q«««n*a  Most  BxcoUent  Mijeaty,  and  the  BritUih 
Armj  and  NwiYj, 

J.  KOHLER'S  NEW  PATENT  LEVER  INSTRUMENTS. 

J.  KoHLBR  having  brought  to  perfection  and  obtained  Her  Haietty'i  Letters 
Patent  for  the  above  invention,  which  he  hat  applied  to  the  CORNOPEAN, 
TRUMPET,  CORNETTO,  TROMBONES,  and  FRENCH  HORNS,  he  can  now 
with  great  conikdence,  after  an  experience  of  Five  yean  in  bringing  the  action  to 
its  present  state  of  perfection,  recommend  them  to  Her  If^^*^'*  Army  and 
Nary,  and  all  Professon  and  Amateurs.  Tlie  advantages  that  this  Patent  gives 
to  these  Instruments  are  :— 

1.  All  the  Tones  and  Semitones  produced  by  the  Patent  Lever  are  qnite  as  per- 
fect as  the  Natunl  Notes  on  the  Instrument. 

2.  The  intervals  on  the  Diatonic  and  Ch  sonatic  Scales  are  perfect,  the  cam- 
pass  greater,  and  the  most  rapid  and  diftcult  passages  may  be  performed  with  a 
precision,  freedom,  and  fulness  of  tone,  end  comparative  ease  to  the  performer. 

S.  Combinations  in  harmony,  which  never  betore  could  be  performed  at  all  by 
any  Brass  Instruments,  may  now  be  executed  with  perfect  ease,  and  Ten  or 
Twehre  Instruments  on  this  principle  can  produce  a  more  rich  and  sonorous 
effect  than  Twenty  Four  could  do  on  the  old  principles.  The  harshness  of  tone  in 
the  former  Brass  Instruments  is  entirely  done  away  with,  and  a  set  of  these 
Instruments  heard  together,  produces  Military  and  harmonious  effects  never 
belSore  heard. 

These  Instruments  are  now  inuae  in  Hxb  Majsstt's  Peitatb  Band.  First 

LiFB    OUABOf,    ROTAL    HoRSN    OUASDS,    OSBNADIBR    GUARDS,    FUSILBBB 

GUABDS,  Royal  Abtillbby,  60th  Rotal  Riflbs,  tic. 

Testimonials,  Drawings,  and  Prices,  forwarded  on  application  to  J.  KOHLBR*S 
ManuCsctory,  S9,  Henrietta-street,  Covent-garden,  London. 

Eoenig's  Journal  for  the  Comet  a  Pistons, 

And  CORNBT  end  PIANOFORTB. 

The  ISth  nunber  of  this  popular  Work  will  appear  on  the  1st  of  June,  being 
liber  of  the  second  year's  subscription,  and  will  contain,  in  addition 


the  first  nuni 

to  a  careltil  selection  of  the  best'works  of  andent  aud  modem  comi 


to  a  carelUl  selection  of  the  best  works  of  anaent  aud  modem  composen,  Auberi 
celebrated  Barcarolle ;  trio  from  Nabuco,  Verdi ;  Jenny  Lind  Walts,  Kosnig,  ftc. 
Terms  of  subscription  for  Cornet  and  Pianoforte  per  annum,  ^2  as. ;  for  Comet 
Solo  per  annum,  jffl  Is. ;  lor  which  eat  h  sobkcriber  will  receive  12  numbers,  one 


of  which  w>ll  be  published  on  the  1st  of  every  month, 

Persons  wishing  to  complete  their  sets  for  the  ' 
Ibr  the  back  numben  without  delay  to 


Persons  wishing  to  complete  their  sets  for  the  first  year,  are  requested  to  spply 


jQlUen'a  Royel  Mnsicel  Conserretoir,  ai4>^  Recent-etreet, 
end  AS,  Klnv-sitreet. 

MR.   &   MRS.  W.  H.  SEQUIN'S 

^O^O^iyi^L    lf^©IRIi^Dli^(§    e®li^(gil^T 

is  fixed  to  take  place 
On  TUB8DAY,  the  8th  of  JUM B, 

At  the  HANOVER  SQUARE  ROOMS,  under  the  immediate  Patronage  of 
BIfl  ROYAL  BIGBNBBS  the  DUKB  Of  CAMBRIDGE. 

at  which  the  following  Artistes  will  appear:— 
Mesdames  Doras  Gras,  Birch,  Dolby,  W.  H.  Sequin,  Clair  Hennelle,  Duvsl, 
F.  Lablache,  Herr  i  ischek,  Signori  F.  Lablaclie,  Brixxi,  Messn.  W.  H.  Segutn, 
Jobn  Parry,  and  Mr.  Wilson  (the  eminent  Scotch  Vocalist,  who  will  sfuf^  two  of 
hia  popular  "  BONGS    OF    SCOTLAND,"    Mr.  J.  Balsin  Uiatterton, 
Mr.  Distin  and  his  Four  Sons,  Messn.  B.  Richards  and  Kiallmark. 
Conduitor,  Mr.  Kiallmark. 
TIdceto,  lOs.  6d.  each;  Reserved  Seats,  19s.,  to  be  had  of  Mr.  and  Mn.  W.  H. 
Sbouin,  48y  Conon-treety  May  Fair. 


I'uonaia  "—"  u,  Jennie  tnere's  neetDing  to  »ar  ye  "•— ■■  umia  o*er 

barUe*'— "Why  weeps  yon  HighUnd  Maid"— Bauldy  Eraser"— 

of  Appin  »-^<The  Skylark '*—<«  When  the  Kye  come  bame><— 

be  boat''— «  Lock  the  door,  Lariston  **   After  which,  *'  Roy's  WUi 


WILSON'S     SCOTTISH     ENTERTAINMENTS, 
First  Vight  of  the  Songs  of  fhe  Ettriek  Shephfird, 

On  MONDAY,  May  SI,  at  Eight  o'clock, 
AT    TBB    MUSIC    HALL,    STORB    8TRBBT. 

*'  Donald  M'Donald  "-"  O,  Jennie  there's  methfaig  to  ftar  ye  "— •«  Coma  o'er 

the  sUeam  Charlie "- -....  j»  ....-<..    - 

"  The  Stuarts  of 

'*  Come  row  the  t ,  ,  

of  A1divaUoch"-.<<Last  May  a  braw  wooer"— "The  waefti'  hear "—** Link 
lindsay. 

Mr.  WIL90N  niU  give  an  Eutertaioment  at  CROSBY  HALL  on  TUESDAY, 
the  ist  of  June. 

Mr.  MOSCHELES.— A  NEW  DOUBLE  DUET, 

For  Bight  Hands  and  Two  Pianofortes,  composed  expressly  by  that  eminent 

artist,  will  be  performed,  for  the  first  time,  by 

Messrs.  WiLLMsat,  Scrvlhopf,  Kuhx,  and  BsifXDicr,  at 

M.   BENEDICT'S    MORNIKG   CONCERT, 

IK  THB  ' 

Great  Concert  Boom  of  Her  Majesty's  Theatre, 

On  MONDAY,  JUNE  14th, 
Where  the  most  celebrated  artistes  of  Her  Mi^^ty's  Theatre  will  also  i 
coi^unction  with  all  the  available  talent  then  in  town.    Immediate  a    ' 
solicited  fbr  Boxes,  and  a  few  remaining  Stalla,  at  all  the  principal  ] 
and  Libraries,  and  of  M.  Bsmbdiot,  2,  Manchester  square. 


GRATIS!    GRATIS  I    GRATIS  I 

Every  Person  who  shall  subscribe  for 

THE    DISPATCH 

During  ike  Month  of  June  next, 

WILL  BE  PRESENTED  WITH   A  FIMELT  EMOmATBD 

PORTRAIT  OF  ELIZA  COOK. 

**  The  Doems  of  Miss  Cook  are  national  property.  There  is  hardly  a 
homestead  in  the  land  where  her  name  and  her  contributions  to  the  Dispatch 
sre  not  familisr  as  household  words.  Apait  from  the  powerful  and  brilliant 
talent  with  which  the  Dispatch  is  conducted,  this  handsbme  and  acceptabk 
present  to  its  fifty  or  sixty  thousand  readers,  cannot  fsil  to  be  japprcciat6d.''-r 
Liverpool  Chronicle,  May  8,  1847. 

The  likeness  of  this  Poetic  Genius,  by  Trantschold,  is  most  striking^  and 
the  Engraving  is  by  Adlard,  in  the  first  stylc^of  the  art. 

An  Edition  of  the  Dispatch  is  published  at  Five  o'clock  erery  Saturday 
morning,  for  transmission  by  the  First  Trains  and  Morning  MaUs,  so  that 
persons  residing  in  towns  250  miles  from  London  may  receive  it  the  sasM 
evening. 

This  Edition  contains  the  London  Markets  of  the  week,  including  thoit 
held  on  Friday ;  also  the  spirited  Letters  of  Publicola,  Caustic,  and 
CKNsoRiua ;  and  frequently  original  Poems  by  Miss  Eliza  Cook. 

Persons  desirous  of  bemg  supplied  with  the  Weekly  Dispatch,  may 
give  their  orders  and  pay  their  subscriptions  to  any  News  Agent ;  or  to 
Mr  Richard  Wood,  at  the  Dispatch  Office,  139,  Flekt-8TRBCT» 
London,  who,  bv  a  remittance  of  2s.,  or  Postage  Stamps  to  that  i 
will  supply  the  Dispatch  throughout  June  next. 

Tho  Terms  for  the  Dispatch  arc,  per  Quarter       •    •    7s. 

Per  Year,  in  Advance     .  .  .  •    £l     6t. 

Ditto  on  Credit,  payable  by  reference  in  London    £l  lOt. 

N.B.— A  beautiful  Frame,  of  an  original  character,  in  imitation  of  oak 
branches  and  foliage,  interspersed  with  medallions  illustrative  of  Miss  Cook*s 
Works,  has  been  prepared  by  an  artist  of  considerable  talent,  and  which  can 
be  had  at  twenty  shillings  each.  ArrangemenU  have  also  been  made  with 
respectable  manu&cturers  to  supply  elegant  Frames,  at  pi  ices  varying  firom 
Ss.  to  95s.,  and  any  Subscriber  to  the  Dispatch  may,  by  transmittlog  to 
Mr.  Wood  tho  sum  for  the  Frame  he  wishes  to  obtain,  be  supplied  with  the 


Od. 
Od. 
Od. 


MR.  HENRY  WYLDE 

RA8  THB  HONOUR  TO  ANNOUNCE  THAT  HIS 

ANNUAL    GRAND    MOBNING   CONCERT 

will  take  place  at  the  HANOVER  SQUARE  ROOMS, 
On  TUESDAY,  the  15th  June, 

to  commence  at  Two  o'clock  precisely,  on  which  occasion  he  will  be  assisted 
by  the  following  eminent  ArUstes—Mesdsmes  Jenny  Lutzer,  and  A.  &  M. 
Williams;  Mr.  John  Parry,  and  Herr  Pischek.  Pianoforte,  Mr. 
Henrt  Wylde  ;  Violin,  Herr  Joachim.  The  Orchestra  will  be  muneroua 
and  complete  in  every  department  Conductor,  Mr.  Lucas. 
Reserved  Seats  and  Tickets  may  be  had  at  all  the  prindpid  Music  Ware- 


Digitized  by  VliUOy  ItT 


a54 


THE  MUSICAL  WORLD. 


MESSRS.  COCKS  $t  CO-'s 

NEW  MUSICAL  PUBLICATIONS. 
HEW  FOEEIGH  PIANO  FOBTE  KU8IC, 

BY    SCHUX.HOFF. 

Pour  MtiurVti,  Op.  5.,  etch  2g. ;  Valse,  Op.  6,  solo,  48. ;  ditto  duet,  Ss.  j 
9m  Penrtet  FogitiTcs,  Op.  16^  Ss-t  Galop  di  Bravum,  Op.  17, 4«.  s  Deux 
Vtyiinmet  Originalea  et  une  M&surka,  Op.  18,  3  books,  each  2*.  j  Nocturne. 
(^  1»»  Sa.  I  sccoad  Valaa,  Op,  20,  3s.  N.B.— This  emineDt  artist  has  jqst 
Arrived  in  London. 

THE    BirSAL   DAHCES, 

BY    XaABITZKY. 

Perforinedat  Her  Majesty's  State  BaU,  Ac. ;  Morgenland  Walzer,  Rusalka 
?TSr  *tr'**'***'JE?***»»  Victoria  Walzer,  Cambridge  WaUer,  Chinese  Galop, 
Mdtbe  Tonnel  Walxcr,  for  the  piano,  each  3a.,  by  Strauss;  Herz  Tone, 
Themis  Klange,  Bonqnet  and  Landlitch  SUtlich  Walzer,  each  Ss.;  Strauss 
HewPolka, and  Eisele and  Beisele  ditto. 

lABE  mrnCAL  PllESBHTS.~OratoriMfor  Wano  ftVoiee. 

pe  Matlah,  freai  Ifeiarfs  aeore^  by  John  Bishop,  Ida.  j  the  Creation,  by 
^ohn  BUhoD^19s.t  the  Seasons,  by  Clementl.  21s. ;  Beethoven's  Mount  of 
?".'«■»  «>y  J;Wafrem  !««.  ;•  Rossini's  Stabat  Mater,  by  ditto,  15s.  The  most 
•mmenc  profeasors  hav«  pronounced  the  above  editions  to  be  ftr  superior  to 
•11  others  exunt.  ^ 

-**««-     '"^  PITITE   SOLOS 

FOMDB'S     BNCYOX.OPADIA    OF    BCBX.ODY. 

3,050,  ain  sele<^ed  from  the  works  of  the  roost  celebrated  authors,  150  books, 
each  Od.;  or  in  six  vols.,  whole  cloth  boards,  12s.  each.  Nicholson's  Beauties, 
complete  in  four  voU.,  half-calf.  price  £3  13s.  6d.  (formeriy  price  £6  6s.) ;  or 
i?J?  **2?"'  ^^^  Clinton's  Essays,  or  New  Instruction  Book  for  the 
Boehm  FlUt^  •».;Drouet's  Method,  15s  ;  Dresslcr's  ditto,  9s. ;  Berbiguier's 
do*,  12a.  I  and  2,000  other  works  for  the  flute.  Catalogues  gratis  &  postage  free. 

HEW   FLXTIE   AVS   PIAEO   KUSIC. 

•^  .      -  yOHaB'!  L'ANIMA  BBLb'  OPERA. 

J*  .n-i\l®^j*^'o!l«^?5.""^"^  *»*^'^  ^^'  Nicholson's  13  Fantasias,  each, 
fi:.!2S.  ,?V  1  5?'*L^*l*=®'j  "*  ^^°^*»  ^^^  5s.— two  flutes  and  piano; 
Forde  s  I  Anima  Trios,  86  books,  each  4j.-trios  for  flute,  piano,  and  liolon- 
edlo;Fordes  Three  Amateurs.  36  books,  each  4s.;  Ressiger's  Eight  Trios 
y..™*®»  e*ch  8s.;  Haydn's  Twelve  Grand  Symphonies  for  plmo,  flute 
violin.andbass,byCtemy.each4s.  .'s.;  Moxari'ssix  do.  fordo.,  by  Clementl, 
iMb 8a.    N.B.~Gratis  and  postage  free.  Catalogue  of  New  Flute  Music. 

TSET  EAST  mrSIC  FOB  SCHOOLS,  FOB  THE  PIAHO. 

Craven's  Musfee  du  Pianfsle,  12  airs,  induding  Die  Elfin,  DueUche  Lust 
?Sf '^  r***®  ^*^''"  !«•*  Waltz,  fifc,  each  ls.j  Craven's  12  Italian  airs. 
S  "»*Jf»«>e;hove,  each  Is.;  Craven's  Two  Friends,  12  Piano  Duets,  each  Is.; 
Hafl^iton's  Piano  Tutor,  with  SO  airs  and  preludes,  figured  by  Csemey,  4s. ; 
Jjto  Dictionary  of2,500  Musical  Terms,  with  their  signification  in  English,  Is. 
^tfke'aCatechlam  of  Music,  Is.  j  Hamilton's  Miniature  Course  of  Harmony 
•fid  Composition,  5  vols.,  2s.  and  8s.  each;  and  Clare's  Psalmody,  40  Psalms 
•bd  Hymns,  with  Chants,  3s. 

VJOLnr  MUSIC.-Tho  VIOLnr,  being  an  Acconnt  of  that 
kading  Instnunent,  and  its  most  eminent  Pro&ssors. 

By  aBORGE   DUBOURG,  Bsq. 

Third  edition,  price  5s.  Contents :— Preface-Origin  of  the  Violin— The 
S'?fP.=^^?**V^?«*"*"*-"T.I?«  Pwnch  School— The  German  School— The 

ion,  &c 
School, 

?5ftSl'i?"«'   ^"^^^  «tto;"llJi'6i;~Hamm^^ 

!J"  !?VJ?*™''  ^"®*  *®"  **°®  P^^  to  50  guineas  each,  and  a  catalogue 

Sfoew  violm  musie,  gratis.  ^ 

^ .    BOTAL   PIAHOPOBTE   SALOH. 

BttFOrlor  PIOCOXiO  *  COTTAOB  PIAMO  FORTB8,  No«.  1  to  7, 
Manu&ctttred  by  R.  Cocks  and  Co.,  6,  Buriington  Street,  London,  Music 
^  _.  ,      .  Sellers  to  the  Queen. 

4^  u  iw?.«  ®"'I^f  f"  remarkable  for  the  beauty  aud  equality  of  their 
toae,  tbe  melltty  ef  their  touch,  and  their  extremely  elegant  exterior.  They 
liave  the  advantage  of  being  firmly  and  compactly  made,  of  the  best  seasoned 
materiaU,  and  of  keeping  well  in  tune  for  an  unusual  length  of  time." 
—Wijsico/  IVorld,  Dec.  1 1,  1845.  « It  is  our  candid  opinion  that  for  work- 
mtnsMp  and  quaHty  throughout,  together  with  the  exireme  reasonableness  of 
S1S11.^!l!  JS  ^1  ??«''*'i?«**"1?^  ***  surpa8scd."-^«»o/ic  and  Musical 
JWW.  Jjn.,  24, 1846.  N.B.  A  list  of  prices  and  other  particulars  to  be  had 
fratis,  postage  free.    Seven  of  Erard's  harps,  and  a  hundred  pianos  for  sale  or 

—-         OOQKa  *  139.,  e,  BwrUactpa  BtrMt,  IMidon. 


JULES    SGHULHOFF'S 

PIANOFORTE  WORKS, 

PUBLISHED  BT 

W ESSEL   &  CO 

229,  REGENT  STREET,  Cobnkr  op  Hanover  Striet. 
No.  ,.  d. 

1 .  "  Prague,"  Allegro  br.  dedicated  to  Chopin,  in  C     . .       . .  Op.  1.      4   0 

2.  <*  Xae  Zephir/*  Romance in  Ah.  Op.  a.       3   0 

8.  «  La  Nsjsule,"  Melodie In  B  mi(|or.  Op.  2.       2   0 

(Performed  by  the  Composer  at  Mr.  Wallacb'8  Concert  with  the  greatest 
success.) 

4.  '<  Blecie,'*  Marcia  fhn^re In  G  minor.  Op.  2. 

5.  <'  Andaate  et  ¥tTid»  d«  Concert.''  in  A  flat.  Op.  8. 

6.  "  Tbplitx-Polka  "  in  A  flat.  Op.  4. 

7.  '*  Carlsibad- Polka/'      in  F  sharp  minor.  Op.  4. 

8.  «  Los  MaadeUo/' Mazurkas Istaet,  Op.  5. 

9.  Idem.  Idem        and  set.  Op.  5. 

10.  "  Victoria/'  Valse  briOanfe       in  A  flat.  Op.  6. 

Idem      as  Piane-Duet      Op.0. 

11.  Premier  Scherzo, ..    in  A  minor.  Op.  7. 

12.  Second     ditto        * inDKOp.7. 

13.  '<  Confldonco/" 1st  Impromptu  in  O  flat.  Op.  8, 

14.  «  Chanson  a  boire/'     ..       ..2nd       ditto     in  B  flat.  Op.  8. 

15.  "  BarcaroUe/'       aid     ,  ditto  in  A,  Op.  8. 

10,  "  Polonia/'  Maxurka No.  8,  in  A  flat.  Op.  0. 

17.  "  Polonia/'  Masurka»  . .  No.  4,  in  A  minor.  Op.  9. 

"•  ^iKhSiJ"..***  .^.  "**«"*•"  *•  }ia  B.  tat,  Op.  10. 
(Perlbrmed  by  the  Composer  at  Madam b  Puzzt's  Concert,  and  enthusiastically 
encored). 

19.  Noctamo  od  Romance,       in  Aflat,  Op.  11. 

90.  *<  !■•  Tonmoi/'  Grande  Etude  ..  in  C  minor,  Op.  12. 

21.  Donse  BtnAofl,  Book  l  -)     ^  ^,    ,  ^  ,       r  Op.  18. 

aa.  Ditto        ditto,    BookaC  «d^*^Je.  )         ..       Op.i8. 

23.  Ditto  ditto.      Book  8  5  ^'l  Op.  18. 

24.  4me.  Impromptu,  "  Jol  Bercouae/'  in  A  flat.  Op.  14. 

25.  4me.  Impromptu,  *<  Xol  BablUardo,  in  C.        Op.  14. 

26.  "Asitato/'        to  A  minor,  Op.  15. 


9  0 

8  6 

1  6 

2  0 
8  0 

8  0 

4  0 

5  0 
2  0 
4  0 
1  • 

9  0 
9  0 

9  e 

2  0 

8  0 


27. 


'  Orertoro  dn  Jevne  Hart/'  de  M^kul, 
(more eanz  de  Concert) 


)inD, 


4   0 
4   6 


The  celebritT  which  theCompotltiona  of  M.  SCHULHOFF  e^Joy  In  France  and 
Germany,  both  as  refnards  originality  and  elegmnce,  eaUtks  theoa  to  tbepartioolar 
notice  of  all  Pianists. 

WESSEL&CO.,    229,    REGENT    STREET, 

(Comer  of  Hanover  Street). 


LA  FIGUA  BEL  BEGGIMENTO. 


*  CUieim  to  dhM^ 

Convlen  partir. 

Sttpplleberol  al  too  pie. 

Chi  na«qa«  al  rimbombo. 

Qui  tntto  MID  da  lietl  smum, 

lo  son  UQ  uom  del  mondo.'* 

And  the  other  vocal  music  in  this  beautifbl  opera  is  jnaft  published  in 

LA  LIRA  dTTALIA, 

Which  contains  all  the  operatic  and  natfonal  gems  of  Italy,  aa  rang  by  Jenny  Und, 
Alboni,  Grisi,  Persiani,  Mario,  Tamburin),  Xablache,  «c.  Hie  whole  carefhlly 
erranrfd  from  the  onginal  scores,  and  protided  with  eiefaot  Bnglish  adaptattoa% 
in  addition  to  the  Italian  words,  by  J.  Wrbt  Mould.  The  songs  to  be  haa 
sf-parate,  or  in  a  volume  elegantly  bonnd,  uniform  with  the  Deotache  Lyra.  Tlie 
Overture,  pianoforte  arrangements,  ftt>m  La  FIglia  del  Rej^mento,  and  a  new 
Folka,  by  Jullibn,  composed  on  the  principal  melodiea  to  the  opera,  are  alio 

pubhahedat 

julilen'a  Royal  Musical  Oonserratorr  ana  CIrctilatInc  Zdlnrarj. 

aiA^  Resent  Street. 


ORIENTAL    BOTANICAL    PREPARATION, 

For  removing  almost  tostantaneoostycntaneona  ersntlDiis,  fteckles,  pimples,  spota, 
and  other  discolorations  of  the  skin.  After  one  appUcatkm  of  the  Botanic  ExtzacU 
which  must  be  used  twice  a  day,  a  wonderAil  change  will  be  perceived,  and  to  the 
course  of  a  few  days  the  complexion  will  assume  a  beautifol  transparent  roaeate 
hue  appearance.  The  extract  to  apply  is  of  the  most  agreeable  nature,  and  the 
flrst  i^pplication  will  prove  its  wonderftil  efficacy.  Prepared  only,  and  sold  whole- 
sale and  retail,  by  the  sole  proprietor, 

GEORGE  H.  J.  COCKBURN,  9,  Aldvate,  Itondonj 
And  Barclay  and  Sons,  Farrincdon-street,  London  -,  to  bottfps  at  2b.  9d.  sod  4s.  6d. 
each;  also  by  Sanger.  150,  Oxford-street;   Keating,  St.  Patti*a  Cbnrch  Yard;. 
Johnson.  68,  CorDhill j  Hannay  and  Co.,  68,  Oxford-  street ;   Butler  and  Co..  4, 

Cheapside;  Bdwards,St.  Paul's  Churchyard}  P«wit,2»,f^     '        

Cbemift*  and  Pertomen  to  the  ktogdom.  D ig itizea  by 


reet ;   Butler  and  Co^  4, 


THE  MUSICAL  WORLD. 


865 


HER    MAJESTY'S    THEATRE. 


Tbe  NobOttsTt  Sabtcribwi,  ind  the  Pablic  are  rcspdctftillr  iiiA»nMd,  thftt 
A  GRAND  BXTRA  NIGHT 

will  Ulu  ptacc 

On  THUBSDAY  NEXT,  June  8, 

on  whick  occuion 

HIAsixE.  J  E  N  N  Y   LIND 

Hill  appear  in  one  of  her  Fa.To«rit«  Obumetem. 
T»1)e  iWIOfred  byvarioos BnterUinmentain  the  BALLBT  DBPARTMBNT. 
combininir    the  talenta  of  Mdlle.  Carlotta  Onist,  Mdlle.  Lucilb  Orahit, 
Xdlle.  RoiATi,  and  Madlle.  Cbrito,  H.  Pbhrot  and  M.  9t.  Lboiv. 

Th$  Fret  LUi  it  tutptnded,  (Mt  Puhlk  Prett  tteepUeL 

V  Pit  Tickets  RHiy  be  ohtafned  •>  vena)  at  the  Theatre,  price  10a.  6d.  each. 

Application!  for  Boxes,  Pit  Stalls  and  Tickets,  to  be  made  at  the  Box-Office  at 

the  Theatre.— Doors  open  at  Seven  o'clock  j  the  Opera  to  commence  at  Half-past 


FIBST  WALPITBGIS  ITIGHT 

AMD  

HAHBEL'S  ALEXANDER'S  EEAST 

tnil  be  pcrAtmed  «t 

EXETER    HALL; 

On  MONDAY    BVBNIlfO    NBXT^    MAT  8l0t, 

At  Eight  o'clock. 
Prindpal'VoGal  performers  t~Miss  Birch,  Hiss  DutrI,  Mr.  VanTers.  and 
Mr.  H.  Phillips.    The  C3ioni8  will  consitt  of  wwards  of  Fiwe  Hundred 
Members  of  Mr.  Hdllah's  Upper  Schools.   The  Orchestra  will  be  complete  in 
t?ery  department.     Leader,  Mr.  Willy. 

Oondnetor,      ...      Kr.  JOHN  HULIiAB, 

Tlckets-«-Keeer?ed  Seats  in  Arena,  5s.;  Reserved  Seats  in  Western  Gallery,  8s.  j 

Area,  Ss.  |  mny  be  had  of  Mr.  Parkbr,  Publisher,  445,  West  Strand;  of  the 

principal  Mnsic  Sellers,  and  at  Bxeter  Hall. 

I     I  ,m  

WEDMBSDAY    BYBNINO,    JUNB  •, 

VaiiraMimraediateFatronareof  HER  MAJESTY  THR  QUEEN  DOWAGER, 

H.  R.  H.  THE  DUKE  OF  CAMBRIDGE,  and 

H.  R.  H.  THE  DUCHESS  OF  GLOUCESTER,  will  take  place  at  the 

HANOVER    8QUARB    ROOMS, 

At  which  Herr  Pischek.  Mr.  John  Parry,    Misa  Birth,   Miss  Rainforth, 

Miss  Bassano,  the  Mines  Williams,  Sisr.  Marrai,  Mr.  H.  Phillips,  Made.  Dulcken, 

Mr.  R.  Biagrove,  and  Mr.  Blagrove  wiu  perform. 

Tkb  OrehMtra  wiU  be  eondaoted  by  Xr.  LUCAS. 
Ticketa  7s.,  or  fonr  for  OaeGnioea:  Stalls  10s. 6d.,  or  four  tar  One  Ooinea 
aada  half;  to  be  had  of  Mr.  Blagrove,  8,  Store  street,  and  at  the  Moaio  Shops. 


ROYAL 


«LA    FIGLIA   DEL   REGQIMENTO," 

AfffaDged  for  the  Pianoforte  (in  Two  Books)  by  DiABiLLr,  and  as  Pianofsrte 
Dmu  (in  T#o  Books)  by  W.  Watts.  Alio  correct  editions  of  the  Tocal  Music, 
and  a  Faotasia  on  the  favourite  airs,  by  C.  Oxbrny.  Published  by  R.  Mills, 
flste  Bifthall),  140,  New  Bond-street. 

JOHH  BAL8XR  CHATT2RT0N, 

f^atpist  (bs  appointment)  to^x  i^afests  ^z  (Rmn, 

Has  jost  published  for  the  HARP  the  foUowins  new  pieces  i— 
** A  Saered  Serenade,"  «  RecoUectiona of  CsmbridM,"  "Souvenir  de  Pischek," 
fSoBveBV^de  I'Openu"  on  airs  from  «<  Beatrice  dlTenda,"  "Gems  of  Natiimat 
M^odr/l  \^S^^^^, "«  Persiani,"  "  The  Soldier's  Dream,"  intrododar  the  air  of 
^^Pestal,"  •'  Souvenir  de  Mario/'  "A  Brilliant  Fantasia  on  subjecU  byBeethoven 
«nd  Ifendelssohn.''  "Useftil  Daily  Practice,  with  Preludes."--For  the  HARP 
ttd  PIANOrORTB^  <«  Grand  Hungarian  March,"  «Dnssek's  celebrated 
Sonata  in  B  flat."— Addison  and  Hodson,  210,  Regent  Street. 


D.  ALBERTS  dXTEEN  of  fhe  BALL  WALTZ, 

As  performed  at  Her  Miaesty 's  SUte  Ball,with  a  beautifiil  lUostration  by  Bnndard. 
'*  Thia  waits  promises  to  rival  in  popularitjr  the  best  of  Stransa  and  Jnliien.  It 
is  MrUcolarly  adapted  to  the  Valse  k  Deux-tems."  Also  the  **  Helena  Polka," 
!G*^ih»  H!*I°lrif*J^  *}»«■«»«  Author'a  ceUbrated  Bridal  Polka,  Two  Mtt  ef 
(iMMttliftW  Robert  leDiableb"  price  Ss.  each. 

QHAPELL,  50,  NEW  BOND  STRBfiT. 


ITALIAN 


OPERA, 


COVENT  ^S^af»^        GARDEN. 

The  NobiUty,  Gentry,  and  Subscriben  are  respectfoUy  infonnad  that  a 
GRAND  EXTRA  NIGHT     . 
Will  take  place 

On  THUBgDAY  NEXT,  June  8rd, 

Oil  wUch  oecaalon  will  be  peribnned  (in  consequence  of  the  Booieioaa  mipSrie^ 
for  the  third  time,  Mozart's  Opera, 

"II    DOir    GIOVAITHI," 

Combining  a  TRIPLB    ORCHESTRA  and  a  DOUBLE  CHORUS.       fhB 
prindpat  Characters  by 
MateBM  •rtai,  Kfttem*  PbtsI«r1.  Mti 

Kurlo.  Elipsor  Tanlmrtiii,  

Signor  TairUAfleo,   RnA  BIgaor  L«f« 

To  render  as  perfect  an  ensemble  ss  possible  in  the  opcr^  _ 

Madlle  FRanj  Blssler  fr  MadUe  DiunUatre  will  dance  La  the  MittuH. 

Conducted  by  M.  COSTA. 

To  eoBctade  with  the  new  Graad  BaBal^  eitillad 

''LA    SALAMANDBINK'' 

Principal  characters  by  MadUe  FANNY  ELSSLER  and  Madlle  DUMOATBlt  ( 
Also  Madlle  Bbrtiit,  Madlle  Nbodot,  MesdUes  Db  Mblissb,  Dblacaavx, 

O'Ebvan,  and  M.  PiriPA. 
%*  Tleketa,  Stalls,  and  Boies,  fcr  Oe  Night  or  Sensoii,  to  bo  obfiained  at  fhe 

Box  Oftee,  Bow  Street,  and  at  Messrs.  Cramer,  Beale.  and  Go.'a,  »l,  Ragool  BU 
The  doors  wiU  be  OTcned  at  half-past  Seven,  and  tbe  parlonnaiico  commtiwt 

at  Bight  o'clock. 

GRAin)  MOBNDrO  PBBFOBHAirC& 
ROYAL  ITALIAN   OPERA ,  COVENT  OARDEN. 

On  FBIDAT,  nnSTE  ISfh, 

when  will  be  parftomed 
ROSSINI'S      ••STABAT     MATBR." 

On  which  occasion  Madame  Grxsx,  Madame  Pbbszani,  Signora  Gorbabi,  anA 
Mdlle.  Alboni,  Signor  Mario,  Siraor  Salvi.  Signor^AMBURXKi,  SigiMt 
RoNCONi,  Signor  Taoliavxco,  and  Signor  Marini  will  sing 

>  A    MISCELLANEOUS   CONCERT, 

In  the  course  of  the  Morning,  ROSSINI'S  ''liA^OARITA,'*  bv  the 
whole  strength  of  the  Compauy.-BBKTUOVRN'S  GRAND  f  ATTUI 
SINFoMnk,  wia  be  performed  by  the  OrcheUra,  under  the  direction  of 
M.  COSTA. 

Prices  of 'admission.  Pit  and  First  Amphitheatre  Tickets,  7s. :  Pit  StaUa,  111.  i 
First  Amphitheatre  Stalla,  10s.  «d.)  Second  Amphitheatre  StaUs,  fa  i  Grand 
Tier  Boxi,  iff4  4s. :  Pit  and  First  Tier  Boxes.  ^  las,  «d.  i  Second  liorj^oxe^ 
^n  las,  «d. ;  Third  Tier  Boxes,  jrt  2s. ;  Fouith  Tier  Boxes,  ^l  lis.  6d.  j  r 
Amphitheatre  Tickets,  8s.  6d.  j  Gallery  Ticketa,  fc- «. 

V«  Tickets,  SUlis,  and  Boxee,  at  Craaaer,  Beale,  and  Co.'a,  SOI,  Rcgeat 
and  at  the  Box  Ofloe,  Bow  Street. 


MADAME 


DULCKEIT'S 

©  ©©iNi©g|RT, 


On  FRIDAY,  June  11, 
At  the  ITALIAN   OPBRA   BOUBB, 

The  fbHowing  Artistes  wUl  •Pp«wi  — MMJbmes^  Cwtella^ 

couSuf 


________  If  Jwu^IL. 

Knispel,  De  Mendf.  Hennelle,  FTLablache,  Brisri,  Rainforth,jBirch,  Williams, 


iD»»raiuriiuu  renurmcrB^-Miuuiv.  4/uiw*vu.  jhcb«««.  ByChulhOiT,  Rjhe,  JOSepB  ana 

George  Helimesberger,  Sainton,  and  Joachim ;  Signor  Ciardi  and  M.  Godeiroid. 
M.  Distina  and  his  sons.  Condnctws,  Mesara.  Benedict,  Kube,  and  Wtflae^i 
Other  engag  ^menu  with  aeveral  distin  i  uished  Artistes  are  pa» dingv 

MadameDulcken  solicits  timely  application  for  Boxea  Bnd  Stalls,  ot  lUthe 
principal  Musicsdlers  and  Librariea,  as  weU  aa  at  Mdme.  Dukken>B  reaidtnea^ 
80,  Harley-street,  Cavendi8h.s4nare. 

i^ontron  ^simxmtt  Corjporation, 

LIFE,  FIBE,  and  MARINE  ASSVEANCES, 

BSTABUSHEO  BY  ROYAL  CHARTEll,  17S0. 
OficBsi,  7,  Royal  Bzthance,  Corahill,  and  10,  Ravtat  Streat. 

Tt>  is  lont-establisbed  body  has  recently  issued  a  new  Life  Prospectus,  embradng 
a  variety  of  very  eligible  phms  §or  LM  Assoranca.   The  expenses  ot  nanaging  i  he 


Life  Department  are  defrayed  by  the  Corporation,  and  not  taken  from  ihe  preudwn 
betedbfapfrraaalorwrtitea^ppUcatioa. 

JOHX  lAURBNCE,  Swutart. 


land.  Ptovpfctwaiiiiayi 


438 


THE  MUSICAL  WOELD. 


.    JULLIEN'S 

Annnal  Mnsical  Presentation 


COIfBINBD. 

M.  JULX.IEN  hit  the  honour  to  submit  to  the  Musical  Public  of  Great 
Britain  and  Ireland,  an  entirely  NEW  SYST£&i  for  supplying  their  Musical 
requirements. 

it  has  long  been  a  subject  of  just  complaint  in  the  Profession,  as  well 
as  amongst  Amateurs,  that  in  ordf  r  to  become  possessed  of  a  moderate 
proportion  of  the  Musical  Novelties  of  the  day,  it  is  necessary  to  purchase, 
at  a  very  considerable,  and  in  many  cases,  at  an  inconvenient  cost,  a 
quantity  of  Music,  which,  if  it  do  not  prove  utterly  worthless,  is  very 
frequently  found  on  trial,  to  be  unsuited  to,  or  unwished  for  by,  the  pur- 
chaser, who  thus  becomes  burdened  with  a  considerable  expense,  while 
the  object  he  has  been  seeking  remains  uuattained. 

A  Musical  Circulatmg  Library 

would  appear  in  a  great  measure  to  obviate  these  inconveniences  •  yet 
there  are  many  who  object,  and  naturally  so»  to  pay  a  considerable  sum 
annually  for  the  mere  loan  of  Music,  not  having  the  power  to  retain  as 
their  own  property  any  one  piece  which  they  may  wish  to  possess,  with- 
out making  further  payments  in  addition  to  their  annual  subscription. 

To  meet  both  these  difficulties,  M.  Jullikn  brings  forward  this  New 
System,  which,  supported  as  it  will  be  by  the  great  resources  of  his 
extensive  London  establishment,  as  well  as  by  his  numerous  Continental 
connections,  will,  he  hopes,  afford  advantages  and  fadlitiet  to  his  sub- 
scribers, to  which  no  other  plan  hitherto  brought  forward  has  ever  laid 
claim. 

M.  JuLLiBN  has  formed  a  complete  Circulating  Library,  and  intends 
every  year  to  establish 

A   GRAND   MUSICAL   PRESENTATION, 

in  which  every  subscriber  will  become  interested  to  the  full  amount  of 
their  Annual  Subscription — ^that  is  to  say,  M.  Jullien  will  present 
GRATIS  to  each  subscriber  Music  to  the  foll  amount  of  his  or 
RBR  SaascKiPTioi^  to  the  Library— such  Music  to  be  chosen  by  the  sub- 
scribers themselves,  and  to  become  their  sole  property. 

For  Three  Guineas,  therefore,  a  subscriber  will  be  supplied,  on  loam, 
with  any  Music  he  may  wish  for,  and  at  the  end  of  the  year  will  be  prb> 
SKNTBD  with  THREE  GUINEAS'  WORTH,  to  become  his  own  exclusive 
property. 

In  order  to  facilitate  the  Subscribers'  Selection,  M.  Julliin  will 
furnish  a  list  of  the  roost  fashionable  and  popular  Pieces,  with  the  prices 
attached.  This  list  having  been  marked  and  sent  into  the  library,  the 
Subscriber  will  immediately  receive  the  pieces  chosen. 

In  brinsing  forward  this  system,  (new  to  this  country,)  M.  JulUbn 
has  the  satisfaction  to  reflect  that  on  the  continent,  where  it  has  been 
some  years  in  operation,  it  has  had  the  effect  of  advancing  the  interest  of 
the  Musical  Art  in  the  highest  degree. 

M.  Jullibn's  Library,  which  is  the  most  extensive  to  be  found  in 
England  at  the  present  time,  possesses  the  COMPLETE  known  WORKS 
of  the  English,  German,  lUlian,  and  French  Authors,  all  of  which  will  be 
at  the  disposal  of  the  Subscribers. 

TERMS  OF  SUBSCRIPTION : 

1.— The  Subscription  to  be  always  paid  at  the  time  of  subscribing  and 

at  the  renewal  of  every  subsequent  term. 
2. — Subscribers  resident  in  London,  to  be  entitled  to  Six  Pieces  of 

Music  Snd  one  Score  at  a  time;  Country  Subscribers  to  Twelve 

Pieces  and  Two  Scores  at  a  time. 
S. — To  each  Subscriber  will  be  presented  gratis,  at  the  time  of  subscribing, 

a  Portfolio,  for  the  protection  of  the  Library  Music ;  and  at  no 

time,  on  any  consideration,  will  Music  be  received,  or  sent  back, 

unless  enclosed  In  the  Portfolio. 
4.— Should  any  Music  be  retained  beyond  the  time  subscribed  for,  the 

Subscription  will  continue  open^  and  must  be  paid  for  until  such 

Music  is  returned. 
6.— All  expences  attending  Carriage,  PosUge,  &c.,  to  be  dcfipayed  by  the 

Subscribers. 

ROYAL   CONSERVATORY   OF    MUSIC, 

21i,  Rsa£NT-STR££T,  AND  45,  EiNO-StB££T. 


SOVJBRKIfSN 


No.  5,  St.  JAMES'S  STREET,  LONDON. 


7yifff/tfsf< 

Sir  A.  Brydgea  Henniker,  Bart.  | 

B.  Bond  CabbeU,  Esq.,  M.P.  |        Claw 

Chairman,  Lieutenant  Colonel  Lord 

Arthur  Lennox. 
Dbputy-Chairmak,  T.  C.  Granger, 

£mi.,  M.P. 
John  Athbumer.  Esq.,  M.D. 
T.  M.  B.  BaUrd,  Esq. 
Philip  P.  Blyth,  ^ 


Henry  Pownall, 
ide  Edward 


Esq. 


Henry  Broadwood,  Esq..  M.P. 

Sir  James  Oannichael,  Bart. 

Charles  Farebrother,  Esq.,  Aldennan. 

William  Tulloh  Fraser,  Esq. 

John  Gardiner,  Esq. 


Aaron  Aaher  Gbldsmtd.  Esq. 
Henry  William  Pownall,  Esq. 


Assurances  on  the  lives  of  persons  in  every  sUtion  of  life  and  every  part  of  the 
world,  irranted  on  a  plan  which  combines  the  utmost  amoant  of  beneflc  to  the 
families  of  the  assured  mt  demtk,  with  every  attainable  advantage  dmrin§  Uft, 
which  the  system  of  Life  Assurance  is  capable  of  affording. 

Persons  wishing  to  borrow  money  to  enable  them  to  complete  the  porebaae  of 


Sroperty,  or  desiring  to  pay  off  existing  charges  thereon,  can,  by  assnring  wK 
ills  Company,  obtain  the  advance  of  the  fall  amount  of  the  Policy,  repayable  by 
instalments,  extended  over  a  period  of  years,  on  the  advantageous  terms  explained 
in  the  Prospectus. 

In  case  the  assured  dies  during  the  limited  number  of  years  agreed  upon,  lie 
will  not  leave  his  property  encambered  with  a  debt;  but,,  on  the  contrary,  his 
representatives  will  be  entitled  to  receive  the  amoant  secured  by  the  Policy,  after 
deducting  the  sums  then  remaining  unpaid.  Or,  he  may,  at  any  time,  anticipate 
the  payment  of  the  sums  still  remaining  unpaid  on  favourable  terms,  and  conti- 
Bue  the  Policy,  if  he  pleases,  as  an  ordinary  Life  Policy. 
Annuitibb  and  Enoowmbnts  on  liberal  terms. 
The  usual  commission  to  Solicitors  and  Agents. 

H.  D.  PAVBNFOBT,  Stertt^Ty, 


335  3UtosaI 


letters  ^tent 


THE  NEW  DIATONIC  FLUTE. 

Fingered  Like  the  Ordinary  Fhite* 

This  Instmment  can  be  procured  only  of  the  Patentee,  Ifamflictory,  $,  Bell 
Yard,  Gracechnrch  Street. 


All  who  have  adopted  this  Flute  pronounce  it  superior  to  any  other  in  conect- 
—  of  TuNB,  and  power  and  brilliancy  of  Tone. 

Just  published,  by  CRAMER,  BKALE,  &  Co.,  901,  Regent  Street, 


THBORY  OF  THB  PATENT  DIATONIC  FI.UTB. 

By  A.  SiccAUA,  B.A.,  Inventor  and  Patentee. 

Ur.  WILLIAmT  FOSDE. 

Author  of  <<  L*  Anlma  delP  Opera,'*  (Flute  and  Pianoforte),  Forty^elght  Trios 
(3  Flutes  and  Iianoforte),  Ace.  &c. 
Begs  to  inform  his  Pupils  and  Flute  Players  in  general,  that  after  a  caieftil 
investigation  of  SICOAMA'S  PATBNT  DIATONIC  FItUTBy  he  has 
adopted  that  Instrument  with  the  conviction  of  the  Inventor's  daim  to  the  pro* 
duction  of  Pbrfbct  Tune  in  every  Key,  with  improved  volume,  beauty,  aad 
equality  of  Tone.  Address— 3,  Bell  Yard,  Gracecburch  Street. 

Mr,  FREDERICK  HILL 

Begs  to  inform  his  pupils  and  amateurs  of  the  Flute,  that  he  has  adopted  the 
VBW  PATBNT  DIATONIC  TImVTB,  invented  by  A.  Siccama.  B.A., 
and  gives  INSTRUCTIONS  daily  at  the  Patent  Flute  Manuflurtory,  3.  Bell  Yard, 
Grscechmrch  St. ;  and  at  his  own  residence,  2,  Scholfleld  Places  Fulham  Road* 

MR-  KINO 

Begs  to  announce  to  his  Pupils  and  Amatmrs  of  the  Flute,  that  be  gives  instrae- 
tions  on  the  NBW  PATENT  DIATONIC  FIiUTB,  invented  by 
A.  SICCAMA,  B.A.  This  instrument  reUlns  the  Old  FiNOBaxNO,  with  several 
additions,  which  arive  facility.  Being  convinced  of  its  decided  superiority,  he  ia 
desirous  of  introducing  it  to  the  notice  of  his  friends. 

Address,  Mr.  King,  2,  Westminster  Road,  near  the  ObeUek. 


Just  published,  prigs  One  Shilling, 

B&AVB    3BaBBB€IBBB, 

Being  a  Series  of  progressive  TIME  EXERCISES,  written  without  the  i 
Bar  Lines,  and  designed  for  the  purpose  of  instructing-  Pupils  in  that  most 
important  Branch  or  a  Musical  Education,  the  just  appreciation  of  the  exsct 
value  of  the  different  notes. 

BY    W.    H.    ItONOBURST. 
London:  Published  by  J.  A.  NoreUo,  €9,  Dean  Str««t,  Bo'ho,  and 
a4>,  Potdtrir  i  to  be  had  of  the  Authob,  83,  Broad  Street,  Gsnterbory  I  end 
all  Music  and  Booksellers. 

N.B.— Key  to  tht  abOT^i  Price  One  Shilling. 


Printed  and  Publishe«l,  for  the  Proprietors,  at  the  "Nassau  Steam  Press.*' 
by  William  Spbncbr  Johnson,  60,  St.  Martin's  Lane,  in  the  parish  of  SIU 
Martin's  in  the  Fields,  in  the  County  of  Middlesex:  where  all  communications 
for  the  Editor  are  to  be  addressed  post  paid.  To  ha  had  of  G.  Purkees.  Oram 
Street,  Sobo;  Strange,  Paternoster  Row ;  Wisebeart,  Dublin;  and  all  Bookseileay 
City  Agent,  Mr.  G.F.  Denning,  2,  Bueklersbury, --Saturday,  June  90Ui,  1847JL^ 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

T«nui  of  8«bseriptloii,  p«r  Aii&Tim,  16«.  Stamped ;  Ifis.  Unatamped)  to  bo  forwarded  by  Money  Order  or  Vostace  BtaMps 
to  tbe  PnbUaber,  W.  8.  Jobnaon,  <<Maaaa«  Steam  Preaa/'  60,  St.  Martln'a  Xiaae,  Cbarlnv  Oroaai 
.  SabscHbers  only  (wboae  aamea  are  reclatered  at  tbe  Ofiee)  are  entitled  to  an  AdmUaion  to  tbe  Conoert,  and 
a  Pieoe  of  M naio^  (resnlar  Mnaio  also)  Montbly. 


No.  24.— Vol.  XXII. 


SATURDAY,  JUNE  12,  1847. 


5  PRICE   THREEPENCE. 
1  STAMPED,  FOURPENCX. 


TO  OUR  READERS. 
Annual  Snbaerlbera  Wboae  namea  are  entered  in  tbe  Boob 
at  onr  Ofiee,  and  wboae  Bnbaerlptiona  are  paid  in  adranee 
to  Obriatmaa  next,  are  AIK>MB  entitled  to  an  Admiaaion  to 
tbe  fortboominr  Anwnal  Concert,  wbicb  will  be  ffiTen  m  Jnne 
or  Jnly  next. 

JENNY  LIND   AND  HER  INFLUENCE. 

(Harmonia,    Chap,  UL) 

What  will  be  the  end  of  all  this  excitement  ?  When  the 
Lind  fever  subsides,  what  will  be  the  state  of  the  patient — 
the  public  ?  What  stimulus  will  be  required  to  restore  the 
patient  to  a  strong  and  healtliy  condition,  with  the  pulse  not 
above  74*? 

There  surely  never  was  such  a  fass  about  any  one  io^ivi- 
dual  iu  the  world  of  art.  The  Catalani  fever  was  nothing  to 
It— -the  Sontag  fever  nothing  to  it — the  Malibran  fever  no- 
thing to  it — even  the  Paganini  fever  was  a  fool  to  it.  So 
great  is  the  turmoil,  so  terrible  the  confusion,  so  furious  the 
whirlwind,  so  plentiful  the  dust,  that  not  a  critic  but  is  blind 
as  the  public,  and  gropes  about  in  the  dark  chamber  of 
sophism,  dealing  buffets  right  and  left,  sometimes  hitting  upon 
the  wall  of  truth,  but  as  often  stumbling  against  the  chairs 
and  tables  of  chicanery,  We  own  that,  like  our  brethren  of 
the  goose-quill,  we  have  been  strangely  bothered.  Something 
has  given  our  judgment  a  sprain,  and  it  is,  for  the  nonce, 
incapable  of  exercising  its  functions.  And  so  w^  have  fallen 
in  with  the  crowd  ;  but,  for  the  life  of  us,  we  cannot  under- 
take to  swear  whether  we  be  in  the  right,  or  whether  we  be  in 
the  wrong.  We  have  made  tail  at  the  Opera  with  the  mob 
that  waits  at  the  doors,  in  eager  expectation  of  an  excite- 
ment which  it  often  fails  to  get.  We  have  made  tail  with 
the  mob,  and  have  fancied  we  shared  its  curiosity.  But  the 
doors  once  open,  ourselves  once  carried  to  our  standing-places 
in  the  pit,  and  the  excitement  has  given  way  to  astonishment 
at  our  own  folly.  It  was  not  to  hear  an  orator — it  was  not  to 
see  a  warrior — it  was  not  to  admire  a  statesman— -it  was  not 
to  converse  with  a  poet,  that  we  went  thus  eagerly,  at  the  risk 
of  broken  bones.  It  was  to  hear  a  little  maiden  sing — ^and 
to  sing  what  ? — to  sing  music  that  never  greatly  moved  us, 
even  in  our  youngest  days,  when  the  world  was  full  of  green 
boughs  and  opening  buds. 

The  curtain  went  up,  the  opera  began,  the  cheers  resounded, 
deep  silence  followed,  and  the  cause  of  all  excitement  was 
before  us.  It  opened  its  lips,  and  emitted  sounds.  The 
sounds  it  emitted  were  right  pleasapt,  honey-sweet,  and  silver- 
toned.  With  this  there  was,  besides,  a  quietude  that  we  had 
not  marked  before^  and  a  something  that  hovered  about  the 
object,  as  an  unseen  grace  that  was  attiring  it  in  a  veil  of 
innocence,  transparent  as  the  thin  surface  of  a  bubble,  disclosing 
all,  and  making  its  own  {>reseDce  rather  felt  than  seen.     We 


looked  and  caught  the  infection  ;  we  were  charmed  like  the 
rest ;  we  were  Lind-bitten.  We  went  home,  and  took  a 
strong  restorative,  and  the  next  morning  awoke  free  from 
fever.    Reason  once  more  assumed  its  sway. 

But  again  we  were  attracted  to  the  theatre,  and  again  we 
caught  the  fever.  The  same  remedy  applied  at  night  found 
us  whole  in  the  morning  as  before. 

Fevers,  plagues,  epidemics  wear  themselves  out.  Time 
deals  them  scurvy  buffets,  till  at  length  they  have  no  longer 
force  to  drag  themselves  along.  This  is  a  fact  established  in 
philosophy,  and  has  taken  its  place  among  the  truths  that, 
springing  from  observation  of  the  nature  of  things,  are  eter- 
nal. There  be  aonse^who — like  Professor  Porson,  when  he 
came  home  drunk,  and  tumbled  against  the  various  pieces  of 
furniture  that  adorned  his  bed-room — exclaim,  "  Confound 
the  nature  of  things," — since  the  nature  of  things  is  such  at 
to  consort  ill  with  their  own  projects,  or  only  to  serve  them 
for  a  time,  and  then  give  them  a  shove  the  reverse  way  :  for 
they  walk  with  their  eyes  bandaged,  and  are  drunk  with  ego- 
tism. These  accept  the  doctrine  of  necessity,  and  yield  to 
the  despotism  of  circumstance,  d  rebrousse  poiL  Standing 
upright  in  the  sea  of  human  events,  if  they  behold  an  impe- 
tuous wave  travelling  towards  them  on  the  speed  of  unseen 
feet,  instead  of  holding  firm  and  allowing  it  to  break  upon 
them  harmlessly,  they  duck,  and  let  it  pass  over  their 
heads,  blind  to  its  future  course,  unconscious  how  they  may 
be  injured  or  benefited  by  its  influence.  The  fine  line  of  the 
poet, 

**  Coming  events  cast  their  shadowa  before," 

is  lost  upon  them.  Closing  their  eyes,  they  are  blind  to  the 
prophetic  shadow,  and  so  see  not  the  circumstance  on  the 
horizon,  which,  when  it  arrives,  crushes  them,  and  leaves  them 
helpless.  Whom  the  cap  fits  let  him  wear  it.  "  Harmonia" 
speaks  the  words  of  truth,  and,  as  the  oracle,  is  deaf  to  argu- 
ment and  persuasion. 

,  Seven  times  have  we  had  the  fever — seven  times  have  we 
been  Lind-bitten.  Afler  the  first  we  were  rabid,  after  the 
second  we  were  enthusiastic,  afler  the  third  eloquent,  after 
the  fourth  melancholy,  after  the  fifth  demonstrative,  after  the 
sixth  logical,  after  the  seventh  indifferent.  But  still  we  were 
undecided.  Meyerbeer  had  botliered  us,  Mendelssohn  had 
puzzled  us,  Germany  had  sophisticated  us.  Was  Jenny  Lind 
the  phoenix  of  phoenixes — or  was  she  an  ordinary  person  ? 
We  could  not  say.  The  fever  was  one  thing,  which  had  sub- 
sided ;  the  sprained  judgment  was  another,  which  rested 
uncured.  It  remained  to  apply  leeches,  bandages,  and  lotions, 
so  that  at  the  end  reason  might  get  upon  its  feet  again,  and 
walk  straight  forward. 

En  attendant  this  much  to-be- wished- for  result,  let  us  chat 
I  a  bit  with  the  reader ;  for  in  conversation  we  gain  facts,  and 
'  Digitized  by  ^^OUy  It: 


438 


THE  MUSICAL  WORLD. 


the  music  of  a  voice,  the  queendotn  of  a  brow,  the  grandeur 
dl  a  ttkis  and  the  brightness  of  an  intellect,  that  ha«e  wo 
where  a  parallel  on  earth,  shall  have  ceased  to  make  your  very 
heart  quake  with  emotion. 

It  is  not  for  us  to  criticise  the  CamiUe  of  Rachel ;  that  is 
done  elsewhere  by  an  abler  hand  than  ours.  And,  indeed, 
were  we  critics,  the  pen  would  fail  us  in  the  attempt  to  analyse 
so  transcendant  a  performance.  In  all  our  memory  of  dra- 
matic events  we  can  find  nothing,  absolutely  nothing,  that  is 
in  any  Way  comparable  to  it.  It  is  not  acting — it  is  inspiration ; 
it  is  not  Rachel,  the  actress,  but  the  soul  of  Corneille,  the 
poet,  which  makes  her  the  oracle  of  its  thoughts.  In  the 
hands  of  Rachel,  the  part  of  Camille  is  a  growth  from  an 
opening  bud  of  innocence  to  a  full-blown  flower  of  passion. 
Who,  in  the  quiet  pensive  maiden,  remarkable  only  for  the 
deep*meaning  eye  and  the  eloquent  grace  of  gesture  and 
notion,  would  suspect  the  impetuous  nature  that  erupts  at  the 
end,  with  the  fierceness  and  fury  of  an  ^tna?  Who  in  that  soft 
voice  would  dream  of  the  terrible  discord  of  hate  and  rage 
and  scorn,  the  ofispring  of  a  broken  love,  that  afterwards 
assails  the  ear  and  wrings  the  heart  ? 

But  enough ;  when  we  have  said  that  Rachel  is  once  more 
amongst  ns,  we  have  announced  the  presence  of  the  greatest 
dramatic  genius  in  the  world.  No  worshipper  of  one  of  the 
noblest,  most  intellectual,  and  most  refined  of  arts  will  lose 
this  opportunity — which,  for  aught  we  know  may  be  the  last 
— of  witnessing  her  performances  and  paying  homage  at  the 
ihrine  of  her  incomparable  talent.  D. 

FLOWERS   AND   WOMEN. 

No.  I. 

•'  We  are  the  tweet  fiowen, 
Bom  of  sunny  showers: 
Think,  whene'er  you  see  us,  what  our  beauty  saith.*' 

Lbiqh  Hunt. 

Utologue. 

Fai*  reader,  have  we  not  chosen  a  charming  subject  for  the 
season  of  the  year  ?     Will  not  you— 

;*  Who  h>se  the  deepening  twilights  of  the  spring 
In  ball-rooms  and  hot  theatres." 

cordially  thank  us  for  quieting  your  gentle  consciences  for  such 
treason  against  Nature,  by  providing  you  with  a  kind  of  literary 
**rus  in  urbef  It  has  occured  to  ut  that  the  language  and  true 
ngnificance  of  flowers  have  never  yet  been  really  comprehended. 
Arbitrary  senses  have  been  attributed  to  different  blossoms  ;  each 
one  has  been  regarded  as  a  word,  whereby  a  pretty,  fanciful 
phraseology  has  been  constructed,  for  the  use  of  lukewarm  love- 
makers  ;  but  the  significance  which  we  propose  to  develope  is  not 
arbitrary  and  fanciful,  but  real  and  philosophical.  It  is  now  an 
eitablished  fact  with  metaphysicians,  that  the  material  world  is,  in 
lis  whole  and  in  all  its  parts,  strictly  analogous  to,  and  symbolical 
of,  the  spiritual  universe.  Every  low  desjree  of  life,  say  the 
metophysicians,  shadows  forth  the  next  degree  above  it.  We 
purpdto,  in  the  succeeding  sketches,  to  show  how  accurately  this 

goposuion  applies  to  flowers  as  symbolizing  feminine  beauty, 
very  one  who  has  studied  the  sul^ect  of  female  loveliness— aud 
who  has  not  done  so  ?— must  have  remarked  that  there  are 
certain  distinct  classes  of  beauty.  The  world  of  beauty  is  divided 
into  various  orders,  among  the  members  of  each  of  which  there 
^k  *  ™wk«d  family  likeness.  Now  we  propose  to  show  that 
eaeh  order  of  beauty  has  its  manifest  prototype  in  some  one  species 
of  flower  ;  and  in  order  to  the  attainment  of  this  object,  we  shall 
select  some  half  dozen,  or  so,  of  the  commonest  favoulkes,  with 
Mam  names,  and  draw  the  parallel  between  them  and  the  orders  of 
beauty  they  symbolize.     How  much   more   attractive  must  this 

jKi  k  2?**"^.^'^*'^®'^'*'*"  ^^^  miserable  material  science  which 
mights  in  tearing  blossoms  to  bits,  to  find  out  how  they  are  made ! 
How  mneh  more  in  harmony  with  this  season  of  sweet  promise, 

'*  When  proud-pied  April,  diess'd  in  all  his  trim. 
Hath  put  a  spirit  of  youth  in  every  thing  !*' 


ii-^€tHf  Violth 

We  are  to  describe  the  human  pafallel  to  tiie  violet.  Oiir  task 
has  been  partially  anticipated  by  the  poets,  who,  from  time 
immemorial,  have  flattered  this  little  flower  above  all  others. 
Hear  what  the  sprighly  poet  of  <*  Rimini  declareth  of  these 
blue*eyed  pets  :~- 

«  We  are  the  violeU  blue, 

For  oar  sweetness  f  oond 
Careless  in  the  mossy  shades, 
Looking  on  the  ground.** 

Perdita  prattleth  of 

<' Violets  dim. 
But  sweeter  than  the  lids  of  Juno's  eyei. 
Or  Cytherea*s  breath ;" 

and  a  dozen  others  have  unconsciously  attempted,  with  regard  to 
the  violet,  the  task  which  we  propose  to  ourselves,  of  indicatiiig 
the  analogies  of  flowers  aud  fair  faces.  These,  then,  are  the 
human  violet : — Her  modesty  is  much,  and  yet  unconscious ;  she 
is  thoughtful  and  self-centred,  but  quite  unselfish ;  she  is  careless 
of,  and  indeed,  seems  scarcely  to  comprehend  laudation  when 
she  is  the  object  of  it ;  her  love  is  great,  and  she  has  few  words  to 
tell  it  in ;  but  what  of  that  ?  her  eye  discourses  more  eloquent 
language  than  that  of  **  lovers'  tongues  by  night."  Her  beauty  is 
not  striking,  but  its  presence  makes  you  happy,  and  its  absence  is 
grief.  You  lovo  the  world  more  for  loving  nor— perhaps  because 
you  feel  that  she  will  love  you  more  for  loving  the  world.  You 
dare  sit  in  her  presence  and  say  nothing,  and  yon  long  to  call  her 
by  her  Christian  name  the  first  time  yon  see  her.  Her  manners 
and  her  voice  are  very  simple,  feminine,  aud  quiet,  and  utterly  dis- 
tance  all  spoken  applause ;  if  jf  ou  wish  to  praise  her  to  vonr  friend, you 
will  mention  her  name,  look  in  his  eyes,  and  keep  silence.  If  yon 
value  your  peace,  beware  of  loving  her  too  much,  tor,  although 
she  knows  not  her  own  worth,  she  will  never  give  herself  to  one 
who  is  not  woi  thy  of  her.  If  you  think  that  you  are  worthy  of  her, 
yon  will  surely  fail,  for  your  thought  proves  plainly  that  you  are 
not  so.  You  cannot  quarrel  with  her.  If  you  do  ill,  or  are  harsh 
to  her,  she  will  make  no  reply,  but  will  weep  tears  that  seem 
sharper  to  your  heart  than  the  strokes  of  daggers.  If  you  do  well, 
she  will  reward  you  with  smiles  that  make  you  forget  any  oUier 
heaven. 


PISCATORY  NIU8IC. 

Aquatic  animals  are  generally  supposed  to  be  destitute  of  the 
means  of  making  themselves  heard  ;  and  if  they  communicate  with 
each  other,  it  is  usually  supposed  that  it  must  be  otherwise 
than  by  sound.  The  seal  has,  it  is  believed,  a  peculiar  and 
distinct  cry  ;  and  the  grampus  snorts  as  it  attains  the  surface. 
Frogs  and  other  amphibious  animals  croak  long  and  loud  enough, 
but  in  all  these  cases  the  sounds  are  emitted,  not  under,  but  above 
the  water,  and  by  creatures  rarely  more  than  half  aquatic  The 
cetaceous  races  have  warm  blood,  and  suckle  their  young  ;  and 
fishes,  properly  so  called,  are  considered,  as  we  shall  presently 
show,  erroneously,  a  silent  race.  The  long-eared  Balaamite  is 
justly  reckoned  the  strangest  ass  mentioned  in  history,  and  a  scalr 
creature  emitting  sounds  may  truly  be  reckoned  a  very  odd  fish 
indeed.  A  party  lately  crossing  from  the  promontory  in  Salsette, 
called  the  Neafs  Tongue,  to  near  Sewree,  were,  about  sunset, 
struck  by  distinct  sounds,  like  the  protracted  booming  of  a  distant 
bell,  the  dying  cadence  of  an  iSolian  harp,  the  note  of  a  pitchpipe 
orfitchfork,  or  any  other  lon^-drawn-out  musical  note.  It  was 
at  first  supposed  to  be  music  from  Parell,  floating  at  intervals  on 
the  breeze ;  then  it  was  perceived  to  come  from  all  directions 
almost  in  equal  strength,  and  to  arise  from  the  surface  of  the  water 
all  around  the  vessel.  The  boatmen  at  once  intimated  that  the 
sounds  were  produced  by  fish  abounding  in  the  muddy  creeks  and 
shoals  around  Bombay  and  Salsette ;  they  were  perfectly  well 
known,  and  very  often  heard.  Accordingly,  on  inclining  the  ear 
towards  the  surface  of  the  water — or,  better  still,  by  placing  it 
close  to  the  planks  of  the  vessel— the  notes  appeared  loud  and 
distinct,  and  followed  each  other  in  constant  succession.  The 
boatmen  next  day  produced  specimens  of  the  fish^-a  creature 
closely  resembling  in  size  and  shape  the  fresk-watmr  perch  of  the 
north  of  Europe,  and  spoke  of  them  as  plentiful,  an4  peifeetly  well 
known.    It  is  hoped  that  they  may  be  procured  aliye,  and  the 


Digitized  by  \^OOy  ItT 


THE  MUSICAL  WORLD. 


419 


Bieans  afforded  of  determiniog  bow  the  musical  sounds  are  produced 
and  emitted,  with  other  particulars  of  interest  supposed  now  in 
icbthjlogy.  We  shall  be  glad  to  receiyo  from  our  readers  any 
information  they  can  give  us  in  regard  to  a  phenomenon  which  does 
Bot  appear  to  have  been  hitherto  noticed*  and  which  cannot  fail  to 
attract  the  attention  of  the  naturalist  Of  the  perfect  accuracy 
with  which  the  singular  facts  above  related  have  been  given,  no 
doubt  will  be  entertained  when  it  is  mentioned  that  the  writer 
was  one  of  a  party  of  five  intelligent  persons,  by  all  of  whom  they 
were  most  carefully  observed,  and  the  impressions  of  all  of  whom 
in  regard  to  them  were  uniform.  It  b  supposed  that  the  fish  are 
confined  to  particular  localities -shallows,  estuaries,  and  muddy 
creeks,  rarely  visited  by  Europeans  ;  and  that  this  is  the  reason 
why  hitherto  no  mention,  so  far  as  we  know,  has  been  made  of  the 
peculiarity  in  any  work  on  natural  history. 

ft  ettatiw  on  t^t  '^ftfltnitiM^^  of   tkot^t,. 

IN    ITS  WORLD-HISTORICAL  SIGNIFICANCE, 
DXTXLOPBD  ADCOVDISQ  TO   ITB  HOXAL  AliD  ABTI6TICAI.  TALTO, 

JVaiulated  from  the  Germans  of  Dr,   Seinrich  Theodor  JEUftwheTt 
Professor  at  the  Rojrsl  Gymnsamn  at  Bimnberg. 

CHAPTER  I.— SECTION   III.  {eonHwud  from  pag4  4315), 
THE  IDEA   OW^VaU    *' AFnMITIEa"   IN   ITS    OEOANIZATION. 

But  even  in  the  form  last  described,  we  must  not  overlook  an 
Internal  distinction.  The  common  feature  certainlv  rests,  as  we 
have  shewn,  on  the  moral  idea  trinmphing  over  the  downfall  of  the 
individual ;  but  within  this  common  result  (so  to  call  it)  is  opened 
ft  perfi»ctly  diflbrent  development  of  the  struggle,  by  which  the  true 
concrete  vitality  of  this  relation  is  first  produced. 

The  foundation  of  this  internal  distinction,  we  discern  in  the 
opposition  of  the  male  and  female  natures.  The  first  lias,  with 
self  conscionsness,  to  elevate  itself  to  its  destination,  and,  both 
thinking  and  acting,  to  engage  in  the  struggle  with  itself  and  the 
world,  that  it  may  work  itself  out  into  a  moral  characC«*.  Womao» 
on  the  other  hand,  Kves  essentially  in  the  feelings,  and  attains  her 
highest  destination  in  marriage,  when  the  empire  of  the  feeling^ 
preserves  its  highest  acknowledgment  and  purest  value.  But  man, 
uy  his  very  nature,  stands  farther  from  the  feelings  ;  the  affinity 
with  nature  is,  in  him,  weaker  than  in  woman.  He  cannot  obtain 
bis  existence  and  his  position  without  a  struggle.  But  oh  this  very 
account,  we  require  from  him  a  battle  with  the  stubborn  opposition 
of  passion  and  reality.  If  we  find  ourselves  deceived  in  this — if  he 
is  consigned  to  the  natural  force  of  the  feelings — if  he  is  no  more 
able  to  free  liimself  from  their  abyss,  we  designate  it  weakness  and 
impotence,  and  we  turn  from  it,  as  from  a  missed  destination,  with  a 
sense  of  pty  and  depression,  without  l>eing  again  elevaled  b^  a 
eounteipoise.  If  we  further  consider  that  this  victory  of  the  passion 
ever  the  moral  idea,  has  been  fought  for  on  a  soil,  which  is  not 
extended  over  the  whole  domain  of  the  masculine  mind ;  that 
iODuch  more  the  consciousness  of  his  distinction  of  the  problem  be 
should  solve,  carries  man  far  beyond  the  circle  of  marriage,  which 
only  moves  in  the  feelings  ;  his  succumbmg  appears  as  a  fHghtfhl 
evidence  of  an  internal  want  of  firmness.  It  is  no  traffical  fate,  in 
the  highest  sense,  which  seizes  him,  and  the  individual  has,  for  the 
jpoetry  of  the  moral  spirit  of  marriage,  profited  the  right  of  occupy- 
ing the  centre,  since  a  mere  weakling  is  unable  to  gain  from  us  the 
alworbing  psiinful  interest  of  a  deeply  shaken  soul. 

This  interest  we  retain  alone  for  a  truly  tragic  history.  If,  on 
the  other  hand,  a  female  being,  living  quite  in  the  feelings,  as 
incapable  of  struggle  as  a  plant,  consuming  the  elements  of  her  own 
existence,  announces  herself  as  a  rich  heart  (Gemuth),  by  her  mys- 
terious  affinity  with  the  macrocosm,  which  extends  even  to  the 
inmost  nerves, — ^if  such  a  being,  we  say,  is  seized  by  a  feeling, 
which  fills  her  own  existence,  and  to  which  she  involuntarily 
resigns  herself,  as  if  compelled,  then  do  we  behold  the  shatterii^ 
enei^  of  a  natural  force,  to  which  we  behold  the  tender  creature 
irrevocably  boond.  Being  magically  touched  by  a  feeling,  which 
no  more  changes,  but  increases  with  gigantic  growth,  she  falls,  and 
must  certainly  ML  into  guilt,  not  being  able  to  tranquilliase  her 
tfMoMing  heart  for  him,  who,  as  the  husband  of  another,  ought 
only  to  inspire  her  with  passionless  sympathy.    If,  now^  a  woman, 


T»ho  certainly  manifests  the  deepest  nature  of  her  s^— if  this 
being  is  entangled  in  an  unhappy  feeling,  which  rules  her  as  a 
natural  force,  and  with  every  movement,  nnoonsdously  makes  the 
bonds  firmer  and  more  indissoluble,— if  this  being,  we  say,  cannot 
make  her  heart  the  grave  of  her  heart,  then  we  are  not  seized,  as 
in  the  case  of  the  man's  fall,  with  the  feeling  that  the  problem  of 
life  has  been  missed,  through  weakness  and  want  of  firmness  on 
the  part  of  the  individual,  but  an  infinite  pain,  as  at  an  unalterable, 
unconquerable  existence,  overwhelms  us.  Here  b  first  produced 
the  genuine  tragic  tone.  But  this  tone  has  not  reached  its  highest 
intensity  and  purity,  until  it  rests,  not  only  upon  the  painful  sense 
of  an  involuntary  resignation  to  the  feelings,  and  on  that  mysterious 
affinity,  which  determines  the  whole  nature  of  the  iudividual,  but 
also  morally  steels  itself  by  that  consciousness  of  guih,  which  rises 
upon  the  loving  creature  like  a  star  which  lights  her  night  and  her 
destiny.  This  consciousness  of  wrong  has,  in  a  deeply-feeling 
creature,  who  represents,  quite  unadulterated,  the  feminine  nature, 
the  sam^  u\finite  certainty  as  her  l&ve.  Thus  do  both  iTides  stand 
opposed  to  each  other,  in  their  whole  unbroken  strength  of  absohito 
certdnty.  The  act  of  the  moral  consciousness  is  renunciation,  an 
unalterable  resolution,  which  also  appears  as  a  revelation  exalted 
above  all  reflection,  from  which,  moreover,  nothing  can  be  eztotted ; 
the  act  of  the  natural  force  of  the  feelings,  is  the  destruction  of  the 
earthly  vessel,  which  was  too  weak  for  what  was  planted  in  it,  and 
was  burst  by  the  developed  power  of  the  growth.  There  is  not  a 
more  tragical  pain  than  that  wnich  is  product  out  of  such  elements 
of  absolute  opposition.  But  even  here— and  this  first  completely 
justifies  the  predicate — the  victory  of  the  moral  substance  brealu 
forth,  in  the  power  of  which  over  the  consciousness  of  the  indivi- 
dual, death  first  had  its  absolute  power  and  truth. 

From  the  region  in  which  the  op{>osites  move,  it  necessarily 
follows  that  a  woman  must  be  the  heroine  of  our  work  of  art,  and 
that  in  her,  both  the  tragedy  of  a  great,  najr,  monstrous  fate,  and 
the  victory  of  the  moral  idea,  is  manifested  in  the  highest  poetical 
fulness  and  purity.* 

In  the  three  mommtOf  which  we  have  thus  pointed  out,  inde- 
pendently of  the  work  of  art,  is  organically  completed  the  circle  of 
the  posiuons  and  conflicts  of  which  this  substance  is  capable.  One 
either  stands  on  the  step  of  the  ^ssolvingf  understanding,  and, 
therefore,  external  to,  or  rather  beneath  all  collision^  in  this  region  ; 
or  one  regains  peace  within  the  struggle,  by  means  of  moral  free- 
dom, and  thus  seeks  to  secure  oneself  firam  the  guilt  which  is 
already  comprised  in  the  very  struggle  ;  or,  lastly,  one  is  ruined  by 
this  contradiction  to  the  natural  force  of  feeling,  because  one  can 
neither  throw  off'  the  power  of  the  ftoral  idea,  nor  render  oneself 
independent  of  one's  feelings.  The  Count  and  the  Baroness,  the 
Captain  and  Charlotte,  Edward  and  Ottilia,t  ««  the  bearers  of 
these  completely  developed  elements. 

It  is  obvious,  from  what  has  been  said,  that  those  figures  which 
are  not  placed  in  such  relations  and  conflicts,  with  respect  to  the 
moral  idea  of  marriage,  important  as  their  individuality  may  other- 
wise be,  can  only  occupy  tne  second  rank  in  the  work  of  art.  Bit, 
independent  as  they  may  at  first  sight  appear  of  this  kernel  of  the 
whole,  we  must  not  look  upon  them  as  only  an  external  ornament, 
or  as  a  mere  lever  for  the  development,  but  they  must  be  attracted 
by  the  substance  of  the  kernel  itself,  and  kept  in  tension  by  its 
power.  They  must,  therefore,  through  their  individuality,  awaken 
an  intuition  (or  view),'which  unveils  a  moral  relation  to  the  idea  of 
the  work.     We  will  endeavour  to  find  this. 

It  will  not  be  denied,  that  our  mind,  whjBu  it  has  once  taken  a 
determined  direction,  when  it  has  once  lived  itself  into  a  particular 
region,  brings  everything  into  a  relation,  into  some  private  connec- 


•  Solger,  too,  in  liisremMltt  of  the  "AffliiWe^»'iecognMW  Ottilia  as  ^ 
ferBonofiewhole,by5wiiig,  "Sheii^  •*i^."^«**™S,***i!!5,fi?i!3**5j 
Scrifice  of  n»tare7  VlK  these  t^o  wonU  »  exprwMd  «f ^n^lgS.  8J«^  ,*»? 
great  that  a^  be  said  of  woman.  And  liow  infinite  and  in«*;«^We  "^ '  <^ 
Soman  mu^  necenaiily  be  the  chief  penon.''  To  ground  the  neoeaaityof  thia 
claim  did  not  lie  in  Solger'8plan.-I>r.iWI*c*«r'*iy«/<.  «*i^««. 

t  That  ia  to  aay,  dlsaolving  the  tie  recogniaed  as  absolnte  by  the  morrieoii- 

1  This  claaaificatlon  of  the  three  pairs,  so  as  to  make  then  np^ien^ihe  tbree 
poesible  colUaions  of  marriage,  is  a  masterly  display  of  acuteness.  The  tot  pair, 
ttough  they  are  comparatively  minor  peraonagea  in  the  romance,  fi]B-»>|C7r? 
pera^natioii  of  a  contented  state  of  immoraUiy,  while  (^ariotte  »*  jj«  W«^« 
iwresent  the  triumph  of  moraUty  over  passion,  and  Ottilia  and  EJjird,  the 
destruction  oftbeindividiuds  in  ths  struggte  between  th«  two.— wwMwar. 


449 


THE  MUSICAL  WORLD. 


tion  with  thai  region.  Thus,  with  respect  to  «  work  of  art,  which 
conjures  us  into  the  circle  of  marriage,  and  its  collisions,  we  ask 
involuntarilv,  what  sort  of  keeping  Xhaltering)  would  these  forms, 
which  stand  eiternally  to  these  positions,  deveiope,  if  placed  in 
them? — what  solution  should  we  have  to  expect  from  them? 
More  closely  considered,  the  question  might  change  itself  into 
this :— *'  Wh^  are  these  forms  brought  by  the  poet  into  no  position, 
in  which  their  strength  or  their  weakness — in  short,  their  whole 
individuality  might  be  manifested  ?  Does  it  not  lie  in  their  very 
nature  not  to  be  so  placed,  because,  as  they  are  organized,  this 
species  of  collinion  is  and  must  remain  to  them  a  foreign  element  ?'* 

But  what  individualities  will  represent  to  us  a  nature  standing 
external  to  such  collisions  ?  Since  the  woman's  element  is  feeling, 
so  on  the  depth  of  feeling,  of  which  she  is  capable,  will  also  depend 
the  importance  and  force  of  the  collision  into  which  she  can  fall. 
The  more  her  essential  being  is  directed  to  mere  outward  show, 
the  more  she  is  charmed  by  momentary  gratification,  by  the  bril- 
liancy of  variety ;  the  more  she  is  cast  into  a  varying  worldly  course, 
so  much  the  less  will  be  the  capability  of  depth.  Whoever  appears 
to  us  engaged  in  a  pursuit  so  worldly,  so  calculated  for  the  attain- 
ment of  transient  triumphs,  so  rioting  in  an  abundance  of  vain 
homages,  such  a  person  may  display  many  a  brilliant  trait  of  good- 
ness  of  heart,  perform  many  noble  deeds  in  the  excitement  of  the 
moment ;  but  we  shall  scarcely  believe  that  a  deep  feeline  and 
inclination  will  permanently  take  possession  of  the  whole  heart, 
and  plunge  it  for  a  length  of  time  into  sorrow  and  joy^into  pain 
and  delight  In  this  luxurious  flower-growth,  which,  on  its  level 
ground,  is  so  pleasing  to  the  eye,  no  precipices  and  volcanic  erup. 
tions  are  opened.  A  female  individuality,  like  the  one  described, 
therefore,  just  as  decidedly  rejects  the  representation  of  a  state  of 
mind  shattered  bv  struggling  feelings,  as,  from  its  very  nature,  it 
presents  itself  as  the  (opposite)  pole  to  a  pure  internal  personality, 
visited  by  the  force  of  a  tragic  fate.f 

A  man  creates  for  himself  a  sphere  of  activity  which  lies  bevond 
the  feelings.  The  more  cultivated  he  is,  the  more  he  is  satisfied 
with  an  exalted  calline,  which  fills  his  inmost  nature,  so  much  the 
further  is  he  removed  beyond  the  natural  force  of  the  feelings,  so 


much  the  more  decidedly  does  he  give  us  the  picture  of  an  indi- 
viduality,  which    is  sound,  and  through   its  own  self-conscious 


billows  of  passionate  feeling  and  heart-storms,  rather,  bv  a  happy 
organization,  transforms  the  impressions  from  men  and  things  into 
advancing  elements  of  life. 

But  here,  also,  in  spite  of  the  common  foundation,  a  distinction 
can  arise.  The  individual,  namely,  with  a  moral  eaniestness,  with 
a  thoroughly  cultivated  aptitude  for  his  calling,  with  a  circumspect 
under8tanding,~qualities  which  give  him  a  worthy  tone,  and 
secure  his  heart  from  the  natural  force  of  feelings,  and  their  col- 
lisions with  moral  power, — with  all  this,  we  say,  he  can  lack  that 
mild  fire  which  first  gives  an  ideal  life  to  all  these  sides,  he  can  be 
far  removed  from  tliat  grace  of  the  heart,  by  which  is  first  dissolved 
any  appearance  of  a  certain  prosaic  insipidity  and  pedantic  stiffness, 
from  which  (grace),  in  a  word,  beautiful  plastic  individuality  is  first 
produced.  Much,  therefore,  as  such  a  form  offers  to  us  the  spec 
tacle  of  a  personality  exalted  above  the  collisions  between  the 
feelings  and  morality,  it  nevertheless,  from  the  want  of  ideality, 
does  not  elevate  us  into  the  region  of  contented  existence  in  which 
there  is  not  a  breath  of  prosaic  or  insipid  sense. 

In  the  truly  plastic  form,  on  the  other  hand,  the  moral  modo  of 
thought,  the  animation  for  a  noble  calling  has  come  to  beautiful 
equilibrium  with  the  warmth  of  feeling,  so  that  at  the  sight  of  it, 
we  feel  just  as  much  satisfied,  and  carried  away  beyond  the  storms 
of  passion,  as  we  also  feel  at  the  same  time  streamed  through  by  a 
mild  fire,  which  gives  us  the  beneficial  certainty,  that  on  this 
ground  of  the  heart  also,  the  feelings  can  deeply  oast  their  anchor. 
Here  dwells  that  security  which  the  moral  cultivation  preserves, 
united  to  the  secret  satisfaction  at  the  internal  fire,  which,  accord- 
ing to  its  integritv,  can  strike  out  at  every  moment,  but  is  controlled 
by  another  invisible  force,  without  being  held  down  with  exertion. 

-.tJ-^L  w  antidprte  Dr.  R0t«cher*8  statement  that  ttiii  ranfrsph  refers  to 
ClaTiotte>s  daughter,  Lodau.  ^ 


For  in  the  amiable  individuality  this  very  union  of  senses  and  mind 
has  become,  as  it  were,  an  immediate  natural  determination,  in 
which  man  moves  with  equal  freedom  and  grace.  But  certainly  no 
calling,  no  activity  will  be  more  favourable  to  the  cultivation  we 
have  sketched  than  that  of  the  artist ;  for  in  it  lies  especially  tho 
uninterrupted  elevation  and  transfiguration  of  the  natural  and  the 
sensual,  which  now  even  in  the  individual  is,  as  it  were,  called  to 
become  the  virtuosity  of  the  character,— a  plastic  individuality. 

Here  also  a  trilogy  of  forms  has  presented  itself,  the  common 
union  of  which  we  recognised  iu  that  view  produced  by  them,  that, 
hj  their  organisation,  they  are  beyond  the  developed  conflict; 
either  from  want  of  depth,  and  because  the  soul  has  quite  lost  itself 
in  the  surface  beneath  it,  or  by  its  moral  weight  and  grace  has 
raised  itself  above  it  The  bearers  of  these  thoughts  arc  Lueiana, 
the  school-assistant,  and  the  architect.  In  observing  this  trilogy, 
it  lies  near  our  purpose  also  to  recognise  their  corresponding  rela- 
tion to  the  groups  already  developed  by  us.  Lueiana  oorresponds 
to  the  first  sphere  of  the  Count  and  Baron,  who  are  removed 
from  the  collision  through  the  stand-point  of  the  frivolous  and 
decomposing  understanding;  the  assistant  to  the  second  group, 
Charlotte  and  the  captain,  who,  through  their  moral  freedom  free 
themselves  from  the  guilt  to  recover  themselves  again — finally,  the 
architect  to  the  tragic  group,  Edward  and  Ottilia.  The  prosde 
element  in  the  individuality  of  the  assistant  naturally  places  him  in 
this  comparison,  on  the  side  of  less  poetical  depth  and  fulness  ;  and 
of  that  more  prosaical  solution  which  is  presented  in  the  fate  of 
Charlotte  and  the  captain ;  while  the  plastic  and  poetical  figuie  of 
the  architect  finda  its  necessary  counterpart  in  the  third  group,  and 
more  especially  in  that  of  Ottilia,  who  falls  a  victim  to  the  violent 
force  of  her  own  beautiful  individuality.* 

We  have,  by  our  own  statement,  recognised,  and  brought  to  con* 
sciousness,  the  members  of  a  perfect  life.  Scarcely  could  another 
new  chord  be  struck  in  this  spnere,  the  tones  of  which  would  lack 
harmony.  But  completely  as  all  the  positions  and  thought-relations 
of  this  moral  substance  are  manifested,  the  thinking  mind  might 
still  look  round  for  an  element  which,  in  these  collisions  and  oppo- 
sitions of  feeling,  should  enter  pacifying  and  mediating.  The 
individualities  at  last  revealed  indeed  free  the  siffht,  and  deliver 
the  soul  from  the  pun,  which  the  destiny  of  the  individuality  forces 
upon  it,  but  it  does  not  lie  in  their  nature  to  penetrate  into  the  mys- 
teries of  this  heart- world,  and  there  to  wish  to  settle  themselves. 
The  more  ideal  the  personality,  the  more  removed  is  it  from  the 
design  of  wishing  to  make  that  good  or  level,  which  man  can  per- 
form only  in  himself  and  through  himself.  It  is  therefore  obvious, 
that  such  an  attempt  to  stalk  along,  and  pacify  by  a  mediating  word* 
does  not  settle  the  conflict  The  deeper  the  seat  of  the  maUdy,  so 
much  the  more  inaccessible  is  it  to  an  external  cure.  The  w'ord 
never  overcomes  the  strife  of  a  wounded  heart— thb  is  a  region  into 
which  it  does  not  penetrate,  from  which,  on  the  contrary,  it  dully 
reverberates.  The  psssions  unfold  themselves,  as  it  were  deriding 
the  appeasing  word,  which  ventures  down  these  precipices.  Only 
the  storm  of  destiny  plucks  out  the  roots,  while  the  ^  light 
and  mild  breezes  of  speeches  rustle  round  the  tree,  without 
penetratbg  into  its  birtn-place.  But  the  word,  which  ventures 
on  the  attempt  to  soothe  matters,  because  it  would  honestly 
effect  a  reconciliation  everywhere,  has  really  no  thorough 
knowledge  of  the  enemy  with  whom  it  has  to  deal.  Hence 
it  always  experiences  anew  the  impotence  of  its  weapons.^  If 
these  weapons  were  all  to  help «— if,  in  general,  the  sensible^ 
well-meant  word  of  another,  were  all  to  afford  assistance  to 
the  torture  of  hearty  it  would  not  indeed  stand  in  need  of  this 
foreign  ally^ ;  the  workshop  for  this  armoury,  the  man,  has  just  as 
much  in  himself  as  he  has  also  experienced  the  inequality  of  this 
contest  But  the  importance  of  the  advice  increases  with  the 
depth  of  the  heart  ana  the  intensity  of  the  feeling.  Both  stand 
in  an  inverse  ratio  to  each  other— the  growth  of  the  last  condi- 

*  Solnr  also  suspected  somethiog  of  tbe  sort  with  respect  to  the  tignillcatioaof 
the  arcfiitect.  dnce  he  layt  of  him  :— <'I  cannot  help  internally  laughing,  when 
it  is  Mdd  of  htm,  how  woald  he  shew  Umielf  if  he  came  into  this  or  that  sitoatioa? 
But  he  does  not  come  into  it,  and  that  pnnperly  helonffi  to  him.  TTwrefoie,  this 
quiet  intenial  greatness  of  a  yonthml  liero,  usomethinyvery  hri|rht,even  throqith 
the  ftct  that  it  ia  not  tested  by  drcumnances.  Only  he  does  net  elude  the  test 
by  voluntary  limitation,  but  by  his  nature."  In  this,  indeed,  there  is  recognised 
neither  his  true  relation  to  the  whole,  nor  h|s  position  with  reqMct  to  the  others. 

Digitized  by  V^nOOy  It^ 


THE  MUSICAL  WORLD. 


441 


tioM,  at  the  same  time  the  ineffectireneas  of  the  fint.  The  busy 
attempt  of  the  man  to  press  into  the  roost  private  paths  of  haman 
feeling,  to  disentangle  the  tenderest  knots  which  has  formed  them- 
selves unobserved  in  the  moral  relation  of  marriage,  ends  for  us 
with  the  certainty  that  a  vain  endeavour  is  made  that  the  cure  is 
only  to  be  left  to  the  heart  itself,  and  that  the  day  of  fate  can 
thereby  be  neither  pushed  back  nor  hastened. 

In  a  work  which  descends  into  the  depth  of  a  heart-world,  and 
describes  the  contest  which  is  kindled  from  the  opposition  of  the 
immediate  and  moral  feelings,  the  manifestation  of  the  insufficiency 
of  the  eloquent  and  sensible  word  cannot  be  wanting.  The  incon- 
gruity of  these  elements  must  exhibit  itself  as  an  opposition  of 
two  organs  entirely  different  from  each  other. 

But  the  word  and  the  advice  address  themselves  to  the  thinking 
consciousness.  They  therefore  presuppose  an  insight  into  the 
essence  of  the  positions  and  of  the  substance  in  w  hicn  they  move 
themselves  for  the  purpose  of  soothing.  Only  to  this  figure 
therefore  belongs  the  expression  of  the  absolute  significance  of  the 
moral  worth  of  marriage,  in  which  it  liAs  itself  up,  like  the  antique 
chorus,  to  the  intuition  of  the  total  Idea,  but  is  also  like  it  in  this, 
that  it  is  just  as  little  able  to  keep  off  the  pathos  of  the  individuals 
in  its  crushing  power.  Therefore  in  Mittler  the  idea  of  the  whole 
first  gains  its  internal  completion  ;  this  word,  which  still  belongs  to 
the  prosaic  kingdom  of  reflection,  becomes^e^A  through  the  creative 

genius  in  its  artistical  self-development,  and  thus  first  gains  the 
ighest  truth,  for  by  it  the  word  first  produces  its  energetic  reality — 
the  mind  forms  for  itself  its  transparent  organic  body. 

The  words  of  Miltler :  *'  marriage  is  the  beginning  and  summit 
of  all  civilization.  It  makes  the  savage  gentle,  and  the  most 
cultivated  man  has  no  better  meaps  for  the  display  of  his  gentle- 
ness.  It  must  be  indissoluble  ;  for  it  brings  so  much  happiness 
that  no  single  case  of  unhappiness  must  be  allowed  to  weigh  against 
it.  For  separation  there  can  be  no  sufficient  reason.  The  position 
of  man,  both  in  joy  and  sorrow,  is  so  high,  that  it  is  impossible  to 
calculate  what  a  married  pair  owe  to  each  other.  It  is  an  infinite 
debt  which  can  only  be  discharged  by  eternity."  These  words  are 
the  gospel  of  marriage  ;  the  work  of  art  is  the  world  of  actuality, 
which  has  founded  and  proved  this  by  its  truth  and  depth. 

The  first  part  of  onr  problem  is  solved.  The  choice  of  the 
sulgect- matter,  its  relation  to  reality,  its  world- historical  importance, 
are  brought  into  consciousness — the  idea  of  which  is  comprehended 
in  the  element  of  the  thought,  its  moments  are  unveiled.  But  the 
life  organized  in  the  bosom  of  the  unsensual  eternal  thought  must 
also  detach  itself  from  its  base,  and  gain  external  [existence,  and 
by  this  the  evidence  of  its  life.  The  loffos  of  the  world  of  thought 
has  therefore — so  to  speak — to  transform  itself  into  nature  and 
concrete  life.  The  living  intuition  of  the  hitherto  only  abstractedly 
designated  characters,  the  comprehension  of  their  concrete  indivi* 
duality  and  the  understanding  of  the  composition  of  the  whole  are 
the  movements  in  which  the  knowledge  of  the  work  is  first  com- 
as it  were,  returns  into  its  beginning. 

END  OF  CHAPTER   I. 

*«*  To  prevent  misunderstanding,  it  may  be  stated  that  the  copyrif  bt  of  this 
'  translatioB  belODg^  solely  to  the  translator. 

(To  be  continued.) 


SONNET. 

No.  XLI. 

The  One  that  searcheth  hearts  1— only  that  One, 
"Who  knows  my  sufferings,  intense  and  long,^- 
Wbo  koowf  how  cares  have  press'd  me  in  a  throng,—* 

Can  rightly  judge  the  act  which  I  have  done. 

I  can  stand  up  before  the  judgment-throne 

Of  God— and  though  all  men  may  deem  me  wrong- 
Can  dare  affirm,  with  resolution  strong. 

My  course  was  right — aye,  and  that  course  alone. 

Sweetest  1  for  thee  these  words  no  meaning  have ; 
The  thing  which  they  express  thou  knowest  not. 
Enough! — 1  have  done  all  to  set  thee  free 

From  ev'ry  foe — e^en  from  my«e//— to  save 
Enquire  not  how ; — but  be  it  ne'er  forgot, 
That  all  which  I  have  done,  was  done  for  thee.«»N.  D. 


HER   MAJESTY'S  THEATRE. 

On  Saturday,  La  Sonnambula  was  repeated,  in  presence  of 
Her  Majesty,  Prince  Albert,  and  the  usual  crowd.  Madlle. 
Lind  received,  at  the  end  of  both  acts,  the  stereotyped  "  ova- 
tions" to  which,  no  doubt,  by  this  time  she  must  have  be- 
come pretty  well  hlasee.  However,  she  was  in  excellent  voice, 
and  deserved  it  all,  and  twice  over.  Cento  being  indisposedt 
Les  Elemens  was  postponed,  and  a  tableau  from  La  Esmeralda 
was  danced  by  Carlotta  Grisi  and  Perrot,  with  some  selections 
from  Theay  by  Rosati,  Petit  Stephan,  and  D'Or. 

On  Tuesday,  Verdi's  /  Z/om6flr(]?i  was  produced,  with  an  im- 
portant alteration  from  the  cast  of  1846.  Castellan  and  Gar- 
doni  replaced  Grisi  and  Mario,  while  Coletti  assumed  the  part 
originally  played  by  Fornasari.  As  a  matter  of  history,  it 
may  be  as  well  to  give  the  story  of  this  opera,  which  lies  be- 
fore us  in  the  pages  of  the  authorised  programme,  nightly 
distributed  in  the  pit  and  boxes. 

•*  Two  gentlemen  of  Milan,  brothers,  named  Psgano  and  Arvino,  are 
atUched  to  the  fair  Viclinda,  but  her  heart  is  Arvino 's,  whom  she 
espouses.  Maddened  by  jealousy.  Pagano  stabs  his  brother  In  the  cathe- 
dral of  Ambroise,  but  only  wounds  him.  He  then  flies  his  country,  and 
becomes  a  chief  of  a  band  of  robbers.  A  long  period  has  elapsed; 
Giselda,  the  child  of  Arvino  and  Viclinda,  has  grown  up,  and  Pagano 
returns  to  his  country,  to  solicit  from  his  brother  a  pardon,  which  is 
granted  him  in  that  very  cathedral  in  which  he  formerly  sUbbed  him. 
The  evil  passions  of  Pagano  are  aroused,  and  by  the  aid  of  Pirro,  a  t>an> 
dit  chief,  he  makes  an  unsuccessful  attempt  to  carry  off  Viclinda,  and 
assassinate  his  brother.  But,  in  the  confusion  occasioned  by  a  confla- 
gration kindled  by  his  own  hand,  he  kiUs  his  father,  and,  after  this  fresh 
crime,  disappears.  A  great  crusade  is  preparing  to  redeem  the  Holy  Land 
from  the  infldels.  Arvino  seta  forth  at  the  head  of  the  Knights  of  Lom- 
hardy,  followed  by  his  daughter,  Giselda,  whose  mother  is  dead.  Sha  is 
carried  off  by  a  band  of  Saracens,  and  conducted  to  the  palace  of  the 
king,  Accianus,  at  Antioch.  The  king's  son,  Oronte,  falls  in  love  ^iih 
her,  and  she  returns  his  affection.  The  city  is  governed  by  Pirro,  who 
has  become  a  renegade,  but,  stung  by  remorse,  he  seeks  a  Christian  her- 
mit, and  confesses  his  crimes  and  repentance.  The  hermit  promises  bim 
absolution,  on  condition  that  he  introduces  the  Crusaders  into  the  city. 
To  this  he  consents;  Antioch  is  taken,  Accianus  slain,  and  Oronte 
wounded,  and  Arvino  finds  his  daughter  lamenting  the  loss  of  her  lover. 
But  Oronte  is  not  dead ;  he  flies  to  Jerusalem,  and  is  concealed  in  a 
cavern.  The  Crusaders,  led  by  the  hermit,  appear  to  besiege  the  dty, 
whilst  Giselda  discovers  her  lover,  and  is  about  to  fly  with  him,  when 
Arvino  arrives.  Oronte  is  mortally  wounded,  and  dies  in  his  mother's 
arms,  after  abjuring  his  faith.  Giselda  mourns  over  him,  but  is  con- 
soled by  a  divine  vision,  representing  Oronte  in  Paradise  surrounded  by 
angels  and  saints.  Jerusalem  is  captured.  The  hermit,  who  has  per- 
formed prodigies  of  valour,  and  saved  the  life  of  Arvino,  is  himself  mor- 
taUy  hurt.  This  hermit  is  Pagano,  who,  before  he  espires,  obtains 
forgiveness  fVom  his  brother." 

There  is  very  little  interest  in  the  plot,  and  the  manner  in 
which  it  is  conducted  by  the  poet  has  not  helped  to  throw 
light  on  its  obscurity.  In  respect  to  the  music,  with  every 
wish  to  be  lenient  to  Signor  Verdi,  whom  we  have  been  fre- 
quently taxed  with  underrating,  we  positively  can  discover 
nothing  in  it  worthy  of  criticism.  There  is  a  pretty  air  for 
the  tenor,  "  Ah !  mia  letizia,"  which  Gardoni,  who  was  in 
fine  voice,  sang  with  exquisite  taste,  receiving  an  encore ;  but 
even  this  is  spoiled  by  the  vulgarity  of  the  cabaleiia,  A  great 
fuss  is  made  about  the  ••  Eastern"  character  of  some  of  the 
incidental  melodramatic  pieces  in  1  Lombardi,  to  which  we 
can  only  reply,  that  if  such  be  the  style  that  obtains  in  the 
Orient,  it  merits  even  a  worse  reputation  in  musical  matters 
than  it  enjoys — and  that  is  barely  possible.  But  we  are^tho- 
roughly  satiated  with  Verdi,  and  are  not  disposed  to  waste 
more  words  upon  him,  until  it  shall  be  our  duty  to  analyse 
his  new  opera,  /  Masnadierit  which  is  now  in  rehearsal  at 
Her  Majesty's  Theatre,  which  duty  we  shall  endeavour  to  fulfil 
as  conscientiously  as  lies  in  the  power  of  human  fallibility. 
Those  who  desire  to  know  more  about  the  music  of  /  Lom- 
Digitized  by  V^OOy  It: 


^ — 
442 


THE  MUSICAL  WORLD. 


.  hardi,  we  refer  to  The  Daily  News,  which  has  recently  come 
out  rather  strongly  in  re  Verdi. 

Much  more  agreeable  is  our  task  when  we  come  to  speak 
of  the  artists  who  endeavoured  to  instil  something  like 
vitality  into  this  caput  mortuum.  To  compare  Castellan  with 
Grisi  would  be  unfair,  and  we  are  too  entirely  the  well- 
wishers  of  the  modest  and  amiable  artist  to  serve  her  so 
unhandsomely.  But  Castellan  bus  qualities  of  her  own. 
which  will  serve  her  well  enough  without  the  aid  of  extra- 
vagant comparisons.  She  has  a  lovely  voice,  an  earnest 
manner,  a  graceful  delivery,  and  a  large  share  of  vocal  art. 
With  these  she  did  all  that  lay  in  her  power  to  lift  the  dull 
muse  of  Guiseppe  Verdi  out  of  the  mire  of  mediocrity  and  that 
she  failed  to  effect  it  must  he  laid  to  the  heaviness  of  the 
muse,  and  not  to  want  of  zeal  and  talent  on  her  part.  What 
Grisi  can  do,  with  her  wonderful  power  of  electrizing  masses 
by  a  single  word  or  look,  Castellan,  with  her  gentle  quiet 
bearing,  has  not  the  means  of  compassing.  But  the  charming 
artist  deserves  praise  for  her  perseverance,  even  in  a  cause  so 
unworthy  of  it,  and  this  we  accord  her  avec  empressement, 

Gardoni  waa  lucky  in  having  music  to  sing  something  less 
unendurable,  and  consequently  his  success  was  greater.  We 
have  not  heard  this  graceful  artist  sing  with  more  judgment 
and  effect  since  his  first  appearance  in  La  Favorita^  when  he 
made  so  great  a  sensation.  Gardoni  is  evidently  not  satisfied 
with  his  statu  quo,  favourable  as  that  may  be.  To  use  a 
happy  expression  of  the  Chronicle ^  **  he  has  hoisted  the 
standard  of  progress/' — and  to  add  a  happier  figure  of  our 
own,  **  he  is  determined  to  go-a-head."  Moreover,  as  an 
actor,  Gardoni  makes  daily  and  visible  advance,  and  we  have 
very  little  doubt  that  he  will  eventually  turn  out  one  of  the 
most  brilliant  ornaments  of  the  lyric  stage. 

Coletti,  in  the  part  of  Pagano,  was  an  immense  improve^ 
ment  on  Fomasari  in  the  vocal  requisites,  although  his  acting 
may  have  lacked  a  shade  of  the  energy  which  was  the  dis* 
tinguishing  characteristic  of  his  predecessor  s  talent.  For 
power  and  quality  of  voice  this  young  baritone  has  no 
superior,  and  there  is  a  certain  earnest  manliness  in  his  de- 
portment, which  united  to  a  great  degree  of  sensibility  in  his 
acting,  carries  with  it  an  irresistible  charm.  Coletti  is 
certainly  one  of  the  most  valuable  of  the  recent  acquisitions 
of  the  establishment.  Bouch^  was  excellent  in  the  small  part 
of  Pirro,  and  the  still  smaller  parts  of  Arvino  and  Viclinda 
were  extremely  well  sustained  by  Signer  Correlli  and  Mad. 
Solan.  A  word  in  praise  of  the  invariable  efficiency  of  Mad. 
Solan  in  whatever  falls  to  her  lot,  may  fairly  be  added  here. 
Although  of  secondary  importance,  the  careful  artist  in  these 
subordinate  departments  of  the.  lyric  stage  is  highly  essential. 

Balfe  is  deserving  of  unqualified  praise  ibr  the  style  in 
which  he  conducted  the  orchestra,  which  was  spirited,  intelli- 
gent, clear,  and  decided.  The  oftener  we  find  occasion  to 
reflect  on  the  position  of  our  gifted  countryman  in  Her 
Majesty's  Theatre,  the  more  do  we  feel  disposed  to  congra- 
tulate Mr.  Lumley  on  the  possession  of  so  zealous  and 
admirable  an  officer.  Since  the  opening  of  the  season  Balfe'a 
duties  have  been  arduous  and  unremitting,  but  his  determi- 
nation to  uphold  the  credit  of  the  establishment  to  which  he 
belongs,  has  helped  him  over  all  his  difficulties,  and  he  has  come 
out  from  the  ordeal  with  credit  to  himself  and  benefit  to  his 
employer.  ^  It  is  pretty  nearly  certain  that  vrithout  Balfe  the 
artistic  business  of  the  theatre  could  not  possibly  have  been 
carried  on  this  season.  Can  we  then,  who  wish  well  to  the 
establishment,  be  too  earnest  or  too  frequent  in  praising  him 
for  what  he  has  already  done,  and  urging  him  to  go  on  and 
still  ftirther  prosper.    The  European  name  which  Balfe  has 


deservedly  won  by  his  numerous  dramatic  compositions 
confers  lustre  on  any  establishment  with  which  he  may  be 
connected,  while  his  industry  and  devotion  to  the  cause  which 
he  has  made  his  own,  if  they  cannot  add  to  his  great 
musical  reputation,  doable,  nay  quadruple  his  value  in  the 
honourable  and  distinguished  post  he  has  now  so  worthily 
filled  for  two  long  and  perplexing  seasons. 

The  performances  concluded  with  Perrot's  Lcs  Elemens, 
which  excited  the  usual  furore.  Rosati  was  encored  in  her 
pas,  and  Carlotta  Gnsi,  who  danced  more  exquisitely  than 
we  have  known  even  her  incomparable  sdf  to  dance,  created 
an  enthusiasm  almost  unparalleled  in  the  annals  of  this  greatest 
of  choregraphic  establishments.  The  encore  accorded  to 
Carlotta,  which  she  long  hesitated  to  accept  from  a  most 
worthy  and  comrade-like  motive  (which  Rosati  overlooked, 
and  which  will  be  explained  immediately)  but  at  last  was 
forced  to  accede  to,  was  something  '*  Lindish"  if  not  altogether 
unprecedented.  Poor  Cento,  who  regardless  of  her  yetuncured 
foot  (which  she  hurt  on  the  previous  Thursday)  danced  with 
all  her  wonted  spirit  and  grace,  was  also  encored  in  her 
paSf  and  though  her  accident  was  very  generally  published, 
and  the  pain  she  suffered  waa  evident  to  all  observers*  the 
brutal  public,  disregarding  her  imploring  looks  and  suppli- 
cating gestures,  insisted  on  its  being  repeated ;  the  result  of 
which  was  that  she  was  compelled  to  retire  before  the  end  of 
the  divertissement,  leaving  the  resolution  of  the  elemental 
problem  to  Fire,  Water,  and  Earth — Carlotta,  Rosati,  and  the 
four  principal  coryphees,  Cassan,  Thevenot,  James,  and 
Honor^.  It  was  the  knowledge  of  this  that  made  the  kindly 
Carlotto  backward  to  accept  the  encore  which  Rosati  responded 
to  (perhaps  involuntarily — we  are  too  glad  to  find  a  verdict  in 
favor  of  so  charming  an  artist)  so  readily.  Carlotta  knew 
that  Cerito  could  not,  without  pain,  go  through  her  difficult 
pas  twice  in  succession,  and,  sister-like,  sh#  was  loth  to 
glorify  herself  at  the  expense  of  her  suffering  comrade.  It  is 
this  amiable  and  unjealous  disposition  that  adds  three-fold 
lustre  to  the  incomparable  talent  of  Carlotta  Grisi,  and  makes 
her  personally  liked  as  much  as  she  is  artistically  worshipped. 

Nothing  remains  to  say,  but  that  Roberto  il  Diavolo  was  re- 
peated on  Thurday,  with  Mdlle.  Lind  as  Alice,  one  of  her  best 
characters  ;  that  Lea  Elemens  followed ;  and  that  the  house 
was  crowded  to  the  ceiling. 

Taglioni  has  arrived — Marie  Taglioni,  the  great  star,  not 
Marie  Taglioni,  the  little  angel — and  now  Perrot  will  doubt* 
less  set  his  inventive  genius  to  work  upon  a  Fas  de  Cinq^  for 
Taglioni,  Carlotta,  Cerito»  Rosati,  and  Grahn,  the  like  of 
which  shall  have  never  been  seen,  and  will  probably  never  be 
seen  again.  Va  Perrot ! — do  your  best — and  if  possible  out- 
shine yourself.  D- 


ROYAL  ITALIAN    OPERA. 

The  managers  of  the  Jloyal  Italian  Opera  appear  to  us  to 
have  the  same  idea  of  prime  donne,  as  regards  the  required 
number  at  a  theatre,  as  Figaro,  in  the  Barbiere  de  Seville  has 
of  love  ;  '*  En  fait  d^amour^  trop^mdme  n* est  pas  assez/*  and 
which  they  might  justly  paraphrase  into ;  '*  Respecting 
prime  donne,  even  too  many  are  not  sufficient  for  such  a  house 
as  ours."  In  the  same  theatre  with  Grisi,  Persiani,  Alboni, 
Corbari,  and  Madame  Ronconi,  we  were  present  last  Saturday 
evening  at  the  debdt  of  a  new  prima  donna^  in  the  person  of 
Mademoiselle  Steffanoni,  who  made  her  first  appearance  in 
this  country,  and  was  heralded  by  a  great  continental  repu- 
tation. For  what  purpose  the  management  engaged  her  with 
their  present  unprecedented  strength  of  soprani  we  have  not 
mental  scope  to  fathom :  it  is  cert^  s^e^^M^cs^gije^ 


THE  MUSICAL  WORLD. 


44d 


commencement  of  the  season,  and  we  suppose  they  had  no 
opportunity  to  bring  her  forward  before  Saturday  This  is 
feaiBible^  in  as  much  as  the  Royal  Italian  Opera  programme 
numbered  Mdlle.  Steifanoni's  among  its  promised  debutantes  ; 
and  assured  the  directors)  up  to  the  present  moment,  have 
been  rigidly  adherent  to  the  expectations  held  out.  It  was 
no  small  risk  on  the  part  of  the  new  company,  after  Grisi's 
repeated  triumphs  and  Alboui's  immense  success,  to  put  for- 
ward another  candidate  for  further  approval,  and  expect 
another  ovation.  But  the  management  felt  they  submitted 
themselves  to  no  terrible  ordeal  by  testing  the  new  prima 
donna  before  their  audience,  and  the  result  proved  their  judg- 
ment correct,  for  Mdlle.  StefTanoni  achieved  one  of  the  most 
brilliant  of  their  numerous  successes  of  the  season.  Verdi's 
tragic  opera  of  Ernani  was  produced  especially  for  the  debtki 
of  the  fair  caniatricet  the  part  of  Elvira  being  one  in  which 
she  had  won  the  highest  repute  in  several  continental  theatres. 
Mdlle.  Steffanoni's  voice  is  a  pure  soprano  of  the  most 
brilliant  quality^  combining  sweetness  and  power  in  the  upper 
register,  but  like  most  voices  of  the  class,  possessing  no 
extraordinary  power  in  the  lower  tones.  To  this  splendid 
organ  the  singer  unites  the  most  irreproachable  taste  and 
consummate  art.  Her  method  of  vocalization  is  entirely 
original,  her  broderies  exhibiting  with  a  perfect  mastery  over 
the  voice  the  most  surprising  difficulties.  Her  sustained  trillo 
is  quite  astonishing,  and  might  vie  even  with  Grisi's,  while  her 
intonation  is  almost  faultless.  Before  alluding  further  lo  the 
new  prima  donna  we  deem  it  necessary  to  say  a  few  words 
concerning  the  production  of  Ernani  at  the  Royal  Italian 
Opera  on  Saturday.  The  cast  of  characters,  as  usual  in  all 
performances  at  this  theatre,  was  as  efficient  as  it  could  pos- 
sibly be.    It  was  as  follows  : — 

Bnual,  •  •  •  •  SignorSalvi. 

Don  Carlos,        ....  Madbmoiskllb  Auiomi. 

Don  Ruy  Gomez  de  Silva,  .  .  Siqnor  Marini. 

Don  Rlccardo,  .  .  ,  Sionor  Piacbntimi. 

iag<s  .        •  •  .  •  Sionor  Polonini. 

Klvinu         •        ;  .  .  .  Mdllk.  Stbpfanoni. 

GioTtnna,  •  .  ...  Madamb  Bsllimi. 

We  were  much  surprised  at  perceiving  Alboni  cast  for  a 
bartftoue  part,  and  could  not  refrain  from  surmising  that  the 
extraordinary  capabilities  of  the  great  artistie  would  be  some- 
what unwisely  tested  by  giving  her  a  part  written  entirely  for 
a  man.  But,  however  much  there  might  have  been  lost  in 
this  curious  transposition  of  parts,  Alboni's  exquisite  singing, 
and  her  excellent  acting,  made  the  auditors  feel  too  delight^ 
to  discern  any  difference,  or  find  any  £iult  in  the  substitution. 
The  music^of  Ernani  pleases  us  less  than  any  opera  we  have 
heard  from  the  pen  of  Verdi.  None  of  the  situations 
betray  a  glimpse  of  dramatic  power.  The  finale  to  the  first 
act  requires  but  a  little  less  musical  depth,  and  a  more 
thorough  non-comprehension  of  orchestral  effects,  to  ren- 
der it  quite  contemptible.  The  unisons,  are  as  lavishly 
made  use  of  as  usual  in  the  composer's  score  and  Verdi's 
poverty  is  as  eonspicuous  in  the  music  of  Ernani,  as  in  any 
opera  of  his  we  have  heard.  The  same  mawkishness,  the 
same  ultm-sentimentality,  the  same  inanity  of  melody,  or  tune 
prevails  throughout.  We  might*  perhaps,  allow  some  melodic 
merit  to  Elvira's  scenat  **  Bmani,  involami,"  which  has  a 
Faciniish  flavour  in  it,  but  further  concession  we  could  not 
oonscientiously  make.  The  performance  of  the  opera  from 
begining  to  end  was  magnificent,  and  created  an  absolute 
fwrw.  The  chorus,  which  appears  to  us  to  get  better  every 
night,  was  splendid  in  the  opening  Bacchanalian  song, 
**  Alkgri !  beviamo."  Emani's  andanio^^ 
"  Come  ragiada  al  cesptte,*' 


was  beautifully  vocalised  by  Signer  Salvi ;  but  the  com* 
position  is  unworthy  the  efforts  ot  the  great  artist.  After  the 
first  scene,  Mademoiselle  Steffanoni  made  her  appearance,  and 
was  welcomed  with  repeated  rounds  of  applause.  The  fair 
debutante  is  most  prepossessing  in  looks  and  manners,  and 
won  the  audience  at  the  first  glance.  In  form  she  inclines  to 
the  embonpoint.  Her  face,  without  being  remarkably  hand- 
some, is  exceedingly  expressive,  and  her  whole  deportment  is 
characterised  by  grace  and  ease.     Her  opening  recitative — 

"  ForU  h  la  notte,  e  Silra  non  retoma !" 
set  the  mind  at  once  at  rest  as  to  her  vocal  capabilities.  It 
was  in  reality  a  splendid  display  of  artistic  singing.  Mdlle. 
Steffanoni  executed  some  cadenzas,  which  exhibited  the  bril- 
liancy of  her  voice  and  the  purity  and  novelty  of  her  style  in 
such  a  manner  as  to  draw  down  a  loud  and  long  continued 
cheer.  The  cavatina  was  still  more  splendid  and  obtained  for 
the  cantairice  a  unanimous  re-call,  The  triumph  of  the  sin^ 
was  now  complete.  In  the  first  finale  she  came  out  with 
great  power,  her  voice  being  heard  distinctly  above  thq 
immense  chorus.  Her  acting  also  was  very  expressive  an4 
good.  In  her  scene  with  Don  Carlos,  when  she  snatched 
the  dagger  from  his  side  and  threatens  to  kill  him,  she  dis- 
played considerable  energy,  as  she  did  also  in  the  subsequent 
scene  when  Ernani  enters,  and  deadly  defiance  passes  between 
him  and  the  king.     She  gave  the  passage  commencing—* 

*'  No,  ciudeli,  d'amor  non  m'e  pegno  " 
with  immense  fire  and  abandonment.  We  are,  however, 
compelled  to  admit  that  her  want  of  power  in  the  lower 
register  of  her  voice  is  somewhat  inimical  to  the  interpretation 
of  the  strongest  passion,  and  that,  though  she  appears  to  havA 
intellect  equal  to  the  highest  efforts,  this  want  must,  to  a 
certain  extent,  militate  against  her  attempts  in  the  loftiest 
school  of  tragic  acting.  We  need  not  remind  our  readers 
that  all  the  grand  artistes  in  the  tragic  line  were^  or  are,  en-i 
dowed  with  great  power  in  the  middle  voice,  such  as  Pasta* 
Malibran,  Grisi,  and  Pauline  Garcia;  and,  indeed,  without 
this  power  it  appears  to  us  that  the  artistes,  however  otherwise 
splendidly  favoured  with  the  gifts  of  nature,  are  but  performing 
the  task  of  other  Sisyphuses,  when  they  essay  the  lordliest 
school  of  passion.  Mdlle.  Steflfenoni's  voice  is  a  soprano 
sfogato^  the  very  nature  of  which  precludes,  in  gener^,  the 
embodiment  of  tragic  power  in  its  grandest  aim.  In  a  few 
instances,  and  a  few  only  we  must  say,  this  deficiency  warre4 
against  the  efforts  of  the  splendid  artiste ;  but,  with  Uiese  few 
exceptions,  which  justice  wrings  from  us,  we  are  bound  to 
aver,  that  Mdlle.  Steffanoni's  performance  and  singing 
throughout  were  really  splendid.  We  are  inclined  to  think 
that  other  characters,  which  do  not  involve  the  interpretation 
of  violent  feelings,  will  be  found  to  suit  better  tl.e  capabilitiea 
of  the  singer.  But  of  this  we  shall  have  opportunities  enough 
to  judge  anon.  After  the  first  act,  a  general  call  was  made  iot 
Steffanoni,  and  all  the  artistes  appeared,  when  bouquets  were 
thrown  on  the  stage  in  profusion,  and  after  their  departure 
the  audience  would  not  be  satisfied  till  they  had  them  on  a 
second  time.  We  cannot  omit  noticing  the  singing  of  Marjni 
in  this  act.  We  had  no  .idea  before  of  the  great  vocal 
powers  of  this  artist.  His  scene  with  Ernani  and  chorus  was 
exceedingly  fine,  and  he  gave  the  scena — 
'<  InfeUcel  e  tao  oredevl " 
with  immense  fire  and  power,  though  his  acting  certainly 
lacked  refinement.  Salvi's  acting  and  singing  was  admirabl«b 
Nor  can  we  pass  over  the  exquisite  feeling  and  beauty  Alboni 
infused  into  the  aria  andante^^ 

"  Da  quel  a  ebe  t'  ho  vedat^  t 

Digitized  by  V^OOQlC 


Il4 


THE   MUSICAL  WORLD. 


in  which  she  obtained  a  rapturous  encore. 

Act  the  second  opens  with  a  simple  and  pretty  chorus, 
excellently  sang.  We  cannot  specify  all  the  morceavx  of  this 
act.  The  duet  for  Elvira  and  Ernani,  involving  much  pathetic 
singing  and  some  fine  acting,  was  splendidly  given  by  Salvi 
and  Steffanoni.     The  ensemble-^ 

*•  Ah !  morri  potessl  adesso  I" 
was  exquisitely  vocalised  by  the  two  artistes,  albeit  the  com- 
position itself  belongs  to  the  genus  bombastic.     The  trio 

following — 

"  Invite  invoco  or  io  da  te," 

Was  finely  rendered  by  Salvi,  Marini,  and  Steffanoni.  There 
is  much  bustle  and  some  good  dramatic  situations  towards  the 
end  of  this  act,  but  the  music  is  all  moonshine  behind  a  cloudy 
and  the  duo  finale  is  worse  than  nonsense. 

Act  the  third  takes  place  in  the  Catacombs  of  Acquisgrana. 
The  conspirators  assemble  and  doom  the  King  to  death.  The 
King  is  pre-advised  of  the  treason  and  lays  plans  to  receive 
the  traitors.  At  a  signal  they  are  surrounded  by  the  royal 
troops :  Don  Carlos  enters  and  the  conspirators  await  their 
doom.  Elvira  entreats  for  them,  the  King  is  moved  to  com- 
passion, pardons  his  would-be -butchers,  and  hands  over 
Elvira  to  Emani.  We  remember  little  of  the  music  of  this 
act  with  gratification.  Alboni  has  a  second  andante^  which 
she  gave  far  better  than  the  composition  merited,  receiving 
another  encore,  and  Mdlle.  Steffanoni,  in  the  appeal  to  Don 
Carlos— 

•'  Ah  I  Signer,  le  1^  concesso/' 

exhibited  the  tenderness  and  expression  of  her  style  which 
won  her  more  admirera  than  any  previous  effort  of  the  evening. 
A  noisy,  but  somewhat  dramatic  chorus  concludes  the  act,  the 
singers  being  again  called  for  with  enthusiasm.  It  might 
naturally  be  supposed  that  the  opera  would  end  here,  all  the 
persons  of  the  drama  being  made  happy  by  the  gracious 
pardon  of  his  majesty  Charles  the  Fifth.  But  no— there  is 
a  strange  and  unlooked-for  denouement,  Don  Silva  is  a  rare 
melo-dramatic  personage.  He  is  an  odd  compound  of  love, 
old  age,  hospitality,  patriotism,  and  cruelty.  He  is  enraged 
at  Emani,  a  proscribed  bandit,  aiming  at  the  hand  of  Elvira, 
his  intended  bride,  and  still  more  enraged  that  Elvira  should 
return  the  robber's  love.  He  persuades  Elvira  that  Ernani  is 
dead  and  she  consents  to  wed  him.  Emani  returns  alive  just 
as  the  nuptials  are  about  to  be  celebrated.  The  King  surrounds 
the  castle  of  Don  Silva  at  the  same  moment,  having  followed 
close  on  the  heels  of  Ernani.  Silva,  though  furious,  is  on 
hospitable  thoughts  intent  and  will  not  betray  Emani.  Ernani 
h  concealed  in  a  hiding-place  and,  on  the  departure  of  the 
King,  he  is  released,  but  Don  Silva  will  not  be  satisfied  until 
Ernani  fights  a  duel  with  him.  Ernani  refuses,  stating  that 
he  cannot  die  easy  until  he  joins  Silva  in  his  plots  against  the 
King's  life,  and  has  some  hand  in  his  death.  He  gives  his 
horn  to  Silva  and  swears,  when  he  blows  upon  it  thrice,  he 
will  kill  himself,  no  matter  what  may  be  the  time,  or  place. 
Don  Silva  accepts  the  compromise.  It  is  upon  this  strange 
bond  that  the  tragedy  of  the  opera  depends.  In  the  last  act 
the  scene  opens  with  the  bridal  festivities  of  Ernani  and 
Elvira.  The  wedded  pair,  just  newly  twinM,  are  breathing 
their  honey  vows  of  affection ;  but,  oh,  and  alas !  the  fell 
demon  is  at  hand.  Eraani  hears  the  fatal  horn  that  dooms 
him  to  bid  farewell  to  love  and  the  world ;  Silva  enters  and 
sternly  demands  the  fulfilment  of  his  lethal  bond ;  Elvira 
pleads*  but  tears  silver-shedded,  and  lily  cheeks  and  white 
hands  uplifted^  and  melting  tones  that  might  move  a  forest, 
are  alike  univailable.    The  fiend  demands  his  prey— and 


Emani,  true  to  his  oath,  stabs  himself  and  dies,  Elvira  fainting 
oh  his  body.  The  act  involves  some  dramatic  situations, 
which  afforded  fine  scope  to  display  the  powers  of  the  artists, 
fiut  the  music  is  unequal  to  the  situations,  and  were  it  not  for 
the  admirable  acting  of  Salvi,  Marini,  and  Steffanoni,  would 
pass  by  us  as  the  idle  winds  which  we  respect  not.  Steffanoni's 
appeal  to  Silva  was  extremely  beautiful  and  her  acting, 
throughout,  designated  by  intensity  and  much  feeling.  Her 
bewilderment,  when  she  finds  that  all  hope  is  lost,  was  finely 
pourtrayed,  and  her  agony,  when  she  sees  Eraani  dying,  was 
deliciously  natural.  Salvi's  death  was  managed  with  con- 
summate art,  and  the  doggedness  of  Marini  was  finely  con* 
trasted  with  the  despair  of  the  unfortunate  lovers.  AH  the 
artistes  were  twice  summoned,  vociferously,  at  the  fall  of  the 
curtain,  and  bouquets  were  again  showered  on  the  stage  in 
honoiur  of  the  fair  debutante.  Thus  concluded  another  proud 
night  for  the  management  of  the  Royal  Italian  Opera :  but 
the  triumph  of  the  night  did  not  end  with  Steffanoni.  Another 
debutante  had  yet  to  brave  the  critical  inspection  of  the 
audience,  in  the  person  of  the  charming  danseuse,  Mdlle. 
Plunkett,  who  made  her  first  appearance  in  London  for  three 
seasons.  But  we  must  devote  a  separate  paragraph  to  the 
fair  daughter  of  Terpsichore. 

Our  readers  must  be  aware  that  some  few  seasons  sines 
Mdlle.  Plunkett  figured  as  a  seconde  danseusetkt  Her  Majesty's 
Theatre.  She  was  then  very  young,  and  had  hardly  completed 
her  noj^iciate  in  the  profession.  Subsequently,  a  year  later, 
we  believe,  Mdlle.  Plunkett  appeared  at  Drary  Lane  as 
premiere  dan^euee^  having,  in  the  mean  time,  studied  hard  and 
made  wonderful  progress.  She  was  in  immense  £svour  at 
Drury  Lane.  She  was  next  engaged  as  premiere  danseuse  at 
the  Academic  Royah  of  Paris,  where,  for  the  last  few  years, 
she  has  been  considered,  afler  Carlotta  Grisi,  their  best  terp- 
sichorean  artiste.  Mdlle.  Plunkett  has,  consequently,  come  to 
London  a  very  different  artiste  from  what  she  was  when  she  was 
here  last*  The  new  divertissement,  in  which  she  appeared  on 
Saturday  evening,  is  little  more  than  a  succession  of  dances 
introduced  into  a  brilliant  bal  masqu^  given  in  a  grand  saloon. 
The  entree  of  Mdlle.  Plunkett  was  the  signal  for  a  cheering 
burst  of  applause  from  the  whole  house ;  and  we  could  not 
forbear  from  cogitating  on  the  causes  that  led  the  visitors  of 
the  Royal  Italian  Opera  to  receive  the  fair  danseuse  with  ten- 
fold the  enthusiasm  they  did  Fanny  Eissler  on  her  first  ap- 
pearance. What  a  sphinx  a  theatrical  audience  is !  In  her  first 
pas  it  was  evident  that  Mdlle.  Plunkett  was  a  close  follower 
in  the  steps  of  Fanny  Eissler  and  Carlotta  Grisi.  Some  of 
her  twinkling  steps  were  really  worthy  the  great  originator 
herself,  while  her  sylph-like  bounds  and  graceful  poses  proved 
her  the  best  disciple  of  the  charming  Carlotta.  Mdlle.  Plunkett 
obtained  immense  applause  in  her  preliminary  essay.  In  the 
pas  de  deux  with  Mabille,  her  art  was  more  completely  ex- 
hibited, and  her  dancing  was  extremely  brilliant  and  elegant. 
Her  evolutions  and  tours  de  force  were  performed  with  a 
facility  and  accuracy  that  could  not  be  surpassed,  while  her 
attitudes  were  highly  graceful  and  striking.  In  this  pas  she 
reminded  us  forcibly  of  the  inimitable  Carlotta,  in  whose 
school,  we  were  more  assured  than  before,  she  had 
grounded  her  style.  The  applause  consequent  on  this  splendid 
effort,  was  most  enthusiastic.  In  the  VAndalusia,  a  version 
of  the  cachoucha,  she  displayed  her  talents  in  the  Elsslerian 
school,  and  danced  with  immense  effect  In  this  pas,  which 
exhibits  to  perfection  the  graces  and  attitudes  of  a  danseuse, 
she  was,  perhaps,  more  striking  than  in  any  previous  effort. 
Her  poses  were  extremely  beautiful  and  commanding*  while 
the  mechanism  of  her  steps  were  the  admiration  of  every 

Digitized  by  ^^UOg It: 


THE  MUSICAL  WORLD 


445 


beholder.  The  V Andalusia  was  the  great  tiiumph  of  the 
night  for  Mdlle.  Plunkett.  A  more  successful  first  appearance 
could  not  be  witnessed,  and  the  managers  have  to  congratulate 
themselves  in  obtaining  the  services  of  a  most  elegant  and 
accomplished  artiste.  It  is  not  necessary  to  allude  to  the  le- 
maining  dancers  of  the  entertainment.  We  must  not,  however, 
omit  mentioning  our  favourite  Baderna,  who  performed  two 
pas^  La  Bayonnaise,  and  La  Viletta^  in  her  customary  neat 
and  finishe.!  style. 

The  success  of  Mdlle.  Steffanoni  caused  the  proprietors  to 
announce  Ernani  for  Tuesday  evening  ;  but  Salvi  being  taken 
suddenly  ill,  the  Barhiere  was  substituted,  Mario  taking  the 
Count's  part,  and  we  lost  the  opportunity  of  hearing  the  fair 
debutanU  in  her  second  essay.  Mario*s  performance  of  Count 
Alroaviva  was  as  capital  as  ever  and  his  singing  beautiful 
exceedingly.  He  was  welcomed  back  to  his  old  part  with 
enthusiasm.  On  Thursday  Anna  Bolena  was  produced  (first 
time)  for  Grisi's  benefit.  The  cast  embraced,  Tamburini  in 
Henry  the  Eighth  ;  Mario  in  Percy  ;  Tagliafico  in  Rochfort ; 
Alboni  in  Smeaton ;  Corbari  in  Jane  Seymour ;  and  Grisi  in 
Anna.  As  we  have  not  space  iti  our  columns  this  week  to 
give  the  lengthened  account  we  intend  of  the  performance  of 
Anna  Bolena^  we  have  extracted  two  notices  f^om  the  morning 
journals,  which  coincide  as  closely  as  possible  with  our  own 
opinions.  The  learned  critic  in  the  Daily  News  thus  alludes 
to  the  performance  :•* 

*'  Annm  Bof^na  wis  performed  at  Covent  Garden  last  CTening,  for  the  first 
tfme^  at  that  theatre.  The  peHmviance  was  for  the  beneflt  of  Grisi,  and  the 
fair  prima  datma  |>robablir  never  achieved  a  grater  triunph.  The  opera  ia 
certainly  Donizetti's  ekef  tTceuvre;  and  the  English  queen  is  one  of  the 
characters  in  which  QrisPs  genius  shines  with  the  greatest  lustre.  Familiar 
as  her  representation  of  it  is  to  tiie  public,  the  audience,  last  evening,  seeaned 
to  regard  it  ahnost  as  a  noveltv  ;  tMir  bursu  of  vehement  applause  appear- 
ing to  express  surprise  ss  well  as  pleasure  at  iu  splendour.  It  was,  from 
beginniq^  to  end,  a  wonderful  exnibition  of  vocal  power,  but  its  musical 
excellenaes  were  mada  siibeervient  to  its  troth,  energy,  and  pathos,  as  a 
dramatic  representation.  In  the  great  scene  which  closes  the  first  act,  her 
exclamation,  'Guidici!— ad  Anna!'  was  worthy  of  a  Siddons;  and  her  dying 
accents,  in  the  final  air,  *  Cielo,  a  mid  langi  spasimi,'  were  inexpressibly 
sweet  and  moumfuL  Her  reception  throughout  the  evening  was  entbusiastic 
When  she  first  appeared  she  was  loudly  welcomed  ;  she  was  called  for  at  the 
end  of  the  first  act;  and  at  the  end  of  the  opera,  after  she  had  appeared 
before  the  curtain  along  with  the  other  principal  performers,  she  was  again 
called  for,  the  audience  not  b«ing  satisfied  till  sne  had  presented  bene  If 
twice,  to  receive  showers  of  bouquets  and  wreaths  from  the  boxes,  and  cheers 
and  acclamations  from  every  part  of  the  house.  Af  adame  Grisi  well  deserves 
auch  a  reception,  not  only  trom  her  transcendant  powers,  but  from  her 
strenuous  and  never-failing  exertions  in  the  discharge  of  her  duty  to  the 
public.  Tamburini's  performance  ot  King  Henry  was  not  inferior  to  that  of 
Lablache ;  in  aspect,  costume,  and  action,  he  was  a  perfect  picture  of  the 
terrible  monarch ;  and  his  fine  voice  and  energy  of  expression  gave  immense 
eflTect  to  the  music  of  his  part.  Mdlle.  Alboni  was  Smeai&n,  a  part  quite  fitted 
for  her,  and  which  she  performed  beautifully.  She  looked  the  youthful  page 
to  adasiralion,  and  Iter  singing  waa  delicious.  In  tlie  romance,  which  SmeaioH 
aings  by  tbc  queen's  comaund,  in  the  first  scene,  her  charming  contralto 
tones,  and  exquisitely  smooth  and  araceful  execution,  had  such  an  effect  that 
the  air  was  encored  with  acclamations,  and  almost  encored  a  second  time. 
Mdlle.  CorlMiri  wis  the  best  repr^entative  of  Jam€  Heifmour  that  we  have 
seen ;  her  action  was  natural  and  intelligent,  and  she  sang  with  elegance  and 
sweetness.  We  cannot  omit  to  notice  the  singular  beauty  of  the  scenery,  and 
the  riehness  and  magnificence  of  the  manner  in  which  this  opera  has  been 
put  upon  the  stage.  As  much  rare  was  bestowed  in  this  respect  as  if  it  had 
oeen  the  first  production  of  a  new  opera.    The  theatre  was  crowded  in  every 

We  take  leave  respectfully   to  correct  the  critic  in  two 

instances.     Grisi  was  called  for  twice  afler  the  first  act ;  and 

three  times  at  the  end.     The  accomplished    writer  in   the 

Morning  Herald  is  no  less  enthusiasUc  in  his  remarks  : — 

**  Last  night,  Grisi  appeared  in  her  famous  part  of  Anna  Bolena.  This 
opera,  one  of  the  best  of  Donisetti's,  was  highly  popular  in  the  days  of  Pasts, 
who  first  gave  it  importance  b^  the  tragic  grandeur  of  her  acting.  The 
celcbriljr  of  this  ^reat  artute  in  it  has,  however,  been  thrown  into  shadow  by 
the  genius  of  Grisi,  whose  execution  of  tlie  heroine  has  long  been  one  of  her 
most  remarkable  ck^s  i^etwre.  It  is,  in  short,  a  part  in  which,  as  in  otlier 
casesy  she  is  not  ttkdy  to  meet  with  rivalry,  for  no  singer  of  the  dav  eonals 
her  in  the  demonstrations  of  insulted  pride  and  resentful  passion,  like  those 
which  here  abound.'  She  again  gave  vitality  to  many  inefiRiceable  remem- 


brances. Her  collision  with  the  King  in  the  finale  to  the  first  act,  when 
frensied  by  his  jealous  imputations,  she  now  beseeches  his  forbearance,  and 
now  impetuously  proclaims  her  innocence,  were  the  fine  strokes  of  histrionic 
power  they  ever  were.  The  scene,  too,  in  which  she  learns  from  Jane  Sey- 
mour the  cruel  intentions  of  the  monarch,  with  its  bunts  of  surprise,  wounded 
feeling,  and  angry  apostrophe,  is  another  of  the  deeply-oolourod  pictures  of 
womanlv  irritation,  unrivslled  in  its  developments  of  afflronted  bitterness,  not 
unmingfed  n^ith  the  graces  of  pity,  which  Grisi  alone  can  paint  Nor  is  the 
whole  of  the  denMiemeni  less  entitled  to  the  admiration  it  meets  with,  although 
berelt  of  those  exhausting  expositions  of  indignation,  to  which  the  miseries  of 
utter  and  overwhelming  liopelessness  present  so  strong  a  contrast.  In  all 
these  situations.  Grist  exhibited  the  force  of  olden  times,  and  filled  up  the 
dramatic  outline  with  a  breadth  surpassed  upon  no  former  occasion  {  while 
her  singingwas  an  unbroken  fiood  of  masteny  and  lirilliant  vocalism— the 
cavatina,  'Dolce goidami,"  in  the  last  scene,  being,  as  usual,  the  most  fasci- 
nating of  her  solos.  She  was  called  for  twice  after  each  act,  and  absorbed  all 
the  bouquets  that  were  thrown  upon  the  stage.  Mdlle.  Aiboni,  being 
entrusted  with  the  little  part  of  Smeaton,  gave  it  the  interest  it  would  natu- 
rally derive  from  so  pure  and  winning  a  vocalist  as  hers«  It.  She  sang  all  the 
music  beautifully  >  obtaining  a  loud  encore  for  her  first  air.  Notwithstanding 
an  apology  was  made  for  Mario  on  tlie  plea  of  hoarsences,  there  seemed  to  be 
but  little  real  necessity  for  it,  that  admirable  artiste  execating  the  character  of 
Percy  with  his  accustomed  sweetnen  and  finish.  His  **  Vivi  tu,"  Rubini's 
pet  triumph,  was  given  with  the  nicest  taste,  and  would  have  been  encored, 
liad  not  the  intimation  of  the  apologist  been  remembered.  Corbari,  as  Jane 
Seymour,  got  through  her  two  duets— neither  of  them  matten  of  insignifi- 
cance—with  further  accumulations  of  credit ;  and  Tamburini  is  second  to 
no  one  as  the  personator  of  the  relentlew  Henry.  The  open  vras,  in  every 
respect,  broadiv  and  etftetiwly  represented,  the  choius  singers  exhibiting  the 

Sieatest  precision  and  vigour,  while  the  orchestra  was  literally  superb.  The 
resses  and  decorations  were  also  rich  and  costly ;  one  of  the  scenes,  the 
vestibule  of  the  King's  council  room,  with  iu  vista  of  perforated  arches,  iu 
lanthoms,  trophies,  and  royal  yeomen,  meriting  a  separate  and  spedal  word 
of  praise." 

En  attendant  oar  own  notice,  the  above  articles  on 
the  Royal  Italian  Opera  will  conrey  some  notion  of  the  en- 
thnsiasm  created  by  the  whole  peidTorroance  in  general,  and 
of  Grisi's  in  particular.  D.  R. 

LEIGH   HUNT. 

We  have  read  no  notice  in  the  public  journals  for  a  long 
while  that  gave  us  more  real  pleasure  than  the  following 
announcement :—  '*  Lord  John  Russell  has  intimated  to  Mr. 
Leigh  Hunt,  in  the  handsomest  manner,  that  it  has  pleased 
Her  Majesty  to  confer  upon  him  a  pension  of  two  hundred  a 
year  I"  The  old  saying,  **  better  late  than  never,"  is  here 
happily  exemplified  ;  but  it  is  a  matter  of  no  small  wonder, 
indeed,  that  the  grace  should  have  been  so  long  deferred. 
Nothing  could  be  more  invidious,  or  more  unworthy  of  any 
government  than  the  ni-itholding  a  pension  from  a  person,  in 
every  respect  entitled  to  it  from  the  Literary  Fund,  on  no 
other  grounds  than  simply  because  he  was  their  opponent  in 
politics.  The  object  of  the  Literary  Fund,  we  take  it,  is  to 
provide  for  the  necessities  of  those  who  have  advanced  the 
literature  of  their  country,  and  who,  by  their  writings,  have 
tended  to  humanize  and  elevate  the  social  feelings,  indepen- 
dent of  all  bias  from,  party  motives,  or  sectarian  opinions. 
With  this  fact  staring  us  in  the  face,  it  is  amazing  how  any 
government  could  have  overlooked  the  amiable  and  accom- 
plished writer,  whose  name  stands  at  the  head  of  our  article. 
Leigh  Hunt  was  one  of  the  most  conscientious  writers  of  his 
day,  and  whether  his  principles  were  right,  or  wrong,  ho 
laboured  zealously  and  manfully  in  the  cause  of  humanity. 
With  a  dignified  sense  of  the  cause  iu  which  he  wrought ; 
stooping  to  no  power,  nor  ever,  "crooking  the  pregnant  hinges 
of  the  knee,  where  thrift  might  follow  fawning;"  devoting  his 
mind  and  his  pen  to  the  ^vancement  of  morality  and  the 
best  interests  of  man,  he  went  forward  unshrinking  determined, 
and  never  swerved  from  the  rigid  line  his  conscience  dictated. 
That  he  had  many  and  powerful  enemies  was  the  natural 
consequence  of  his  unflinching  spirit,  and  his  detestation  of 
subserviency.  The  friend  of  Shelley — the  apostle  of  good  and 
the  hardy  regenerator  of  mnn^Leigh  Hunt  proved  himself  one, 

who,  if  he  had  power,  would  use  it  lo  render  (he  world  belter 

•  ^  Digitized  by  vriOO^lC 


446 


THE  MUSICAL  WORLD. 


§nd  wiser.  If  his  efforts  failed,  it  must  be  attributed  to  the 
world  that  would  not  be  ameliorated,  not  to  the  writer  who 
expended  his  time  and  talents  in  showing  vice  in  its  true 
colours,  and  virtue  in  its  own  fair  light.  As  a  poet,  if  Leigh 
Hunt  shine  among  the  lesser  luminaries  of  that  brilliant  con- 
stellation which  dazzled  Europe  at  the  beginning  of  the  present 
century,  he  acknowledges  no  borrowed  radiance,  and  rejoices 
in  a  lustre  more  pure  and  unsullied  than  issues  from  many  a 
more  glorified  orb.  His  writings  are  characterised  by  great 
simplicity  and  kindly  feeling,  are  imbued  with  exceeding 
grace,  and  have  a  turn  of  natural  sentiment  quite  captivating. 
His  Rimini  is  a  poem  of  stalling  worth.  His  best  work,  in 
our  opinion,  is  **  Lord  Byron  and  some  of  his  Cotemporaries." 
In  this  work  he  defends  himself  most  manfully  from  the  as- 
persions of  his  enemies,  and  gives  us  a  picture  of  his  domestic 
feelings  that  makes  the  heart  yearn  towards  him  as  a  husband 
and  a  father.  His  critical  notes  of  Shelley  and  Keats  are 
inimitable  specimens  of  analytic  writing,  Leigh  Huut  has 
also  wrought  successfully  as  a  dramatic  poet.  Previous  to 
the  bestowal  of  the  pension,  two  dramatic  performances  were 
announced  as  about  to  take  place  at  the  Royal  Italian  Opera, 
Mr.  Beale,  the  director,  with  his  usual  liberality,  having 
granted  the  use  of  the  theatre  gratuitously.  These  perform- 
ances were  to  be  given  by  the  Gentlemen  Amateurs,  who  have 
figured  on  the  boards  of  Miss  Kelly's  and  the  St.  James's 
Theatres.  An  address  was  written  by  Sir  Edward  Lytton 
Bulwcr,  to  be  spoken  at  the  first  representation,  and  another 
by  Sergeant  Talfourd»  to  be  delivered  on  the  second  evening. 
After  the  announcement  of  the  pension  it  was  thought 
advisable  to  forego  the  performances  altogether  ;  a  mode  of 
proceeding  we  consider  questionable,  as  it  hinders  many 
admirers  of  Leigh  Hunt  from  paying  their  homage  to  his 
worth  and  talents.  We  have  little  doubt  that  the  friendly 
committee  who  projected  the  getting  up  of  the  performances, 
have  been  guided  in  their  withdrawal  by  Mr.  Leigh  Hunt 
himself.  It  is,  however,  determined  that  a  dramatic  per- 
formance, by  the  same  gentlemen,  shall  take  place,  in  behalf 
of  the  poet,  at  Liverpool,  to  be  followed  by  another  at  Man- 
chester. It  cannot  be  doubted,  with  such  an  object  in  view, 
that  the  entertainment  will  meet  with  hearty  and  universal 
support* 

DRAMATIC   INTELLIGENCE. 

Haymarket. — Mrs.  Glover's  benefit  took  place  on  Friday 
week.  We  are  glad  to  announce  that  the  theatre  was  crowded 
on  the  occasion,  and  that  the  greatest  homage  was  paid  to  the 
incomparable  artist  by  a  most  critical  audience.  Her  per- 
formances of  the  Widow  Green,  in  The  Lave  Chase,  and 
Miss  Biffin,  in  Popping  the  Questiont  are  too  well-known  to 
call  for  any  remarks  now.  Cheer  after  cheer  followed  her 
entrance,  and  the  applause  she  received  throughout  the  evening 
was  enough  to  satisfy  a  very  gourmand  ofpmse.  May  she  live 
many  years  to  receive  the  same  great  tribute  to  her  unsurpassable 
abilities.  Murphy's  stale  comedy  of  All  in  ihe  Wrong,  has 
been  revived  with  great  completeness,  but,  we  fear,  to  little 
purpose.  Splendidly  as  it  is  put  on  the  stage,  and  finely  as 
it  is  interpreted  by  the  actors,  especially  by  Mr.  Webster  and 
Mrs.  Nisbett,  in  Sir  John  and  Lady  Restless,  we  think  the 
comedy  cannot  outlive  a  few  performances.  Nevertheless, 
to  those  who  would  like  to  see  a  comedy  of  a  certain  class, 
such  as  enchained  our  forefathers,  and  tended  nearly  to 
extinguish  the  glowing  lights  of  Congreve,  and  which  was 
considered  the  climacteric  of  witty  writing  in  its  time.  Ml  in 
the  Wrong  will  prove  a  source  of  great  entertainment,  and 
give  rise  to  much  speculation. .  The  greatest  possible  care  has 


been  expended  in  its  production  at  the  Haymarket.  Tho 
dresses  are  splendid  and  correct,  and  the  scenery  painted  with 
th^  finest  possible  effect.  Mr.  Webster  cannot  be  praised  too 
highly  for  his  endeavours  to  provide  novelty  and  entertain- 
ment for  his  visitors. 

French  Plays. — The  queen  of  tragedy  is  again  among  us, 
she  who  wears  the  mantle  and  the  diadem  as  no  real  queen 
ever  wore  them  ;  who  has  in  a  single  infiexion  of  her  voicCi 
grief,  rage,  remorse,  and  the  most  teuder|and  devoted  love ; 
Mademoiselle  Rachel,  the  divine  interpretress  of  the  great 
poets,  the  incarnation  of  their  sublimest  conceptions  and  aspi- 
rations. Unfortunately  her  genius  is  so  dazzling,  that  the 
other  luminaries  are  cast  into  utter  darkness  by  her  presence, 
and  fittingly,  or  at  least  coldly  listened  to,  when  she  is  away. 
This  interrupts,  in  a  measure,  the  action  of  the  story,  and 
would  almost  induce  authors  to  imitate  musical  composers, 
who  fit  their  scores  to  the  voices  with  which  they  have  to  deal, 
and  compose  their  music  to  measure.  Neither  can  we  blame 
them,  although  art  suffers  and  languislies,  and  is  thereby 
stunted  in  its  development.  The  piece  chosen  for  Madlle. 
Rachel's  dibut  was  Les  Horaces^  by  Corneille,  in  which  her 
part,  a  mere  episode  in  itself,  is  rendered  by  h^r  the  most 
prominent  of  all.  We  last  year  entered  into  a  minute  ana- 
lysis of  the  principal  and  most  salient  points  of  her  conceptions 
we  shall  not  therefore  tire  our  readers  by  repeating  them^ 
suffice  it  to  say,  that  she  stood  forth  in  succession  the  retiring, 
modest  maiden,  the  loving  sister,  the  devoted  lover,  surpassing 
even  herself  as  she  threw  off  the  old,  and  took  up  a  new  phasis 
of  the  character.  The  curse  on  her  brother  was  electrical, 
and  there  was  a  sort  of  savagensss  in  her  anathema  on  Rome. 
which  made  the  blood  run  cold.  None  can  forget  the  burst  of 
ferocity  given  in  that  full-toned,  deep,  hollow  voice,  which 
commences  with — 

'*  Rome  I'uniqae  otjet  de  men  resientlmentr' 
and  finishes  in  a  paroxysm  of  rage,  in   which  she  identifies 
herself  with  the  vengeance  she  calls  down  on  the  cause  of  her 
sorrows,  and  winds  up  with— - 

"Puias^— je 

Mqi  leule  en  6tre  cause,  et  monrir  de  pUisir  I" 

On  Wednesday  we  witnessed  the  performance  of  Marie 
Stuart,  adapted  from  the  German  of  Schiller,  or,  we  should 
rather  say,  mutilated  to  suit  the  exigencies  of  the  classical 
mania,  which,  however  omnipotent  in  the  minds  of  exclusively 
scholastic  students,  and  however  admirable  in  the  great  Greek 
dramatists,  and  in  some  few  of  our  modem  copyists,  beoome 
supremely  ludicrous  when  applied  to  modern  subjects  and 
ideas,  inasmuch  as  the  pith  and  marrow  of  the  subject  matter 
are  sacrificed  to  mere  forms  and  conventualities,  formal  and 
freezing  as  the  Roman  toga,  or  the  Greek  tunic,  on  the 
shoulders  of  the  northern  barbarian.  In  the  present  version 
of  Marie  Sfuart,  there  is  none  of  that  variety  of  character 
which  forms  the  great  interest  of  CamilUp  PhSdre,  and  Roxelane^ 
and  which  progressing  onwards  to  a  grand  climax,  interests  in 
its  development,  and  eventually  winds  up  the  tale  by  a  grand 
and  striking  d^ouement ;  we  have  here  but  one  side  of  the 
character  of  the  heroine,  a  very  incomplete  history  of  her  trials 
and  misfortunes,  and  the  plot  marred  by  an  almost  universal 
sameness  of  colouring.  There  is,  however,  one  great  scene, 
which  redeems  all  imperfections,  that  of  the  meeting  of  the 
two  queens.  This  is  taken  almost  verbatim  from  theGerman^ 
and  displays  a  wonderful  knowledge  of  the  human  passion* 
and  of  stage  effect.  In  this  scene  Mademoiselle  Rachel  threw 
all  her  energies,  and  displayed  such  virulent  and  withering 
hate  towards  her  sister-queen,  as  amounted  to  absolate  fero- 
city.   The  sudden  transition  from  prayer  and  supplioalipn 

D^itizedby^  ^^ 


THE  MUSICAL  WORLD. 


447 


intense  hatred — her  hnmility  subjected  to  the  moat  severe 
ordeal— her  bye-play,  when  taunted  with  the  fate  of  her  lovers, 
was  admirable.  The  whole  of  this  scene  was  listened  to  with 
breathless  and  intense  earnestness,  and  will  bear  our  entering 
into  more  minute  details.  Marie  throws  herself  at  the  feet  of 
Elizabeth,  she  exclaims-^ 

"  Reine,  ne  laiasez  pas  yotre  sceur  malheareuse, 
Tjemblante  h,  vos  genoux  vous  supplier  en  vain ; 
£t,  pour  la  relever,  tendez-lui  votre  main." 
The  position  of  the  actress  is  admirably  descriptive  of  the  once 
proud  and  haughty  queen,  now  a  suppliant  at  the  feet  of  her 
rivali  she  extends  her  hand,  but  when  Elizabeth  answers — 

"  Le  ciel»  juste  entre  nous,  vous  met  k  votre  place," 
she  starts  to  her  feet,  a  sudden  thrill  pervades  her  whole 
frame,  and  the  spirit  of  revenge,  although  subdued,  begins  to 
rise  within  her ;  she  continues,  however,  in  her  endeavours, 
and  in  answer  to  the  queen's  threat — 

*'  II  menagait  ma  tftte,  U  va  frapper  )a  vAtre." 
she  answers — 

"Je  tuis  Boumise  kDleu;  mais  j'en  garde  Tespoir, 
Vous  n'abuserez  pas  d'un  semblable  pouvoir." 

her  anger  seems  to  have  vanquished,  to  give  way  to  the  pro- 
foundest  humility,  until  Elizabeth  again  launches  forth  into 
vituperations  on  the  amours  of  her  captive,  then  the  whole 
current  of  her  anger,  dammed  up  for  a  time,  bursts  forth  with 
irresistible  impetuosity,  and  she  exclaims— 

"Ah  1  je  ne  voudrals  pas  au  prix  d'une  couronne; 
Au  prlx  de  tons  ces  bords  que  la  mer  environne. 
Pour  les  tr^sors  du  roonde,  ^chflngeant  mes  liens, 
Etre  telle  i  vos  yeux  que  voux  le  seriez  aux  miens." 

Her  cry,  "  OA,  ma  soeur  /"  was  full  of  indignation ,  and  spoke 
volumes  of  undisguised  contempt  and  abhorrence.  Her  vehe- 
mence can  no  longer  be  restrained— she  stands  erect  and  ilrm 
before  her  haughty  jailer — she  proudly  asserts  her  claims  to 
the  throne,  and  crushes  her  rival,  who  writhes  in  agony  under 
the  infliction— 

•*  U  fruit  de  radultire. 
Profane  inao]emment  le  trdne  de  TAngleterre. 
•  •  •  • 

Si  le  del  ^tait  juste,  indlgne  souveraine, 

Vous  seriez  i  mes  pieds,  car  je  suis  votre  reine." 

This  was  given  with  wonderful  and  startling  ferocity;  her 
exaltation  is  at  its  height — she  is  repaid  for  all  her  humilia- 
tions—she has  trampled  her  under  her  feet  before  her  lover — 
she  knows  her  fate,  and  embraces  it  with  ardour,  for  she  is 
revenged  beyond  her  most  sanguine  hopes — 

"  Oui  devant  Leicester.    II  doublait  men  courage, 
Je  lisais  mon  triompbe  ^rit  sur  son  visage. 
Oui,  quand  j'bumiliais  des  cbarmes  orgueilleux, 
Leicester  ^tait  U :    J'^tais  reine  A  ses  yeux." 

We  h^ve  never  seen  such  an  effect  as  that  produced  by  this 
scene ;  it  was  indeed  the  triumph  of  histrionic  art.  The  fifth 
act  has  nothing  striking  about  it,  and  is  much  too  long,  even 
when  Mademoiselle  Rachael  is  on  the  stage ;  there  is  a  heavi- 
ness, a  tediousness,  which  makes  the  fall  of  the  curtain  desirable. 
Th]9  is  the  author's  fault,  and  we  should  suggest  a  few  curtail- 
ments absolutely  necessary.  The  part  of  Mortimer  was  played 
by  M.  Raphael  F^lix  with  much  tact  and  discrimination. 
Helas  !  for  a  worthy  Leicester.  We  have  seen  Talma  in  the 
party  and  M.  Marins  must  suffer  from  the  comparison.  This 
gendeman  is,  however,  better  than  he  was  last  year ;  he  has 
evidently  been  at  some  pains  to  restrain  his  too  powerful 
lungs  within  proper  limits.  Madlle  Rabut  was  the  Queen, 
and  read  the  part  tolerably,  rather  too  amiably  and  graciously 
to  come  np  to  our  idea  of  the  daughter  of  Bluff  King  Hal, 
We  musty  however,  do  Madlle.  Rabut  the  justice  to  say,  that 


we  were  pleased  with  her  performance  of  Valerie.  Madlle. 
Valine,  in  the  part  of  Calorine,  was  exceedingly  pleasing  and 
lady-liico.  M.  Rhozevil  also  deserves  a  werd  of  commenda- 
tion.    Of  Tancr}!de  we  shall  speak  in  our  next. 

J.  de  C e. 

CONCERTS. 

Miss  Dolbv  and  Ma.  Lindsay  Slopeb. — It  is  not  necessary  to 
tell  the  readers  of  the  Musical  World  who  is  Miss  Dolbv,  or  who 
Mr.  Lindsay  Sloper,  or  to  remind  them  of  the  high  posftion  they 
both  hold  in  their  profession,  and  in  the  esteem  of  the  public  The 
concert  given  by  them  in  conjunction,  on  Wednesday  evening,  the 
2drd  ult.,  in  the  Hanover  Square  Rooms,  was  one  of  the  best  of 
the  whole  season.  The  programme  was  highly  interesting  and 
varied  with  judgment.  Mr.  Willy's  efficient  little  concert  band 
attended,  and  performed  Beethoven's  overture  to  CorioUmus,  and 
Stemdale  Bennett's  overture  to  the  Naiads:  the  former  under 
the  conduct  of  Mr.  Benedict,  the  latter  under  that  of  the  com- 
poser. Af^er  tendering  our  acknowledgments  to  Miss  Dolby  and 
Mr.  Lindsay  Sloper  for  their  good  taste  and  artist-like  spirit  in 
supplying  their  friends  with  an  orchestra  (a  fashion,  by  the  way, 
which  appears,  happily,  to  be  coming  into  vogue  aeain,  if  wo  may 
judge  by  the  present  season),  we  must  express  the  pleasure  we 
experienced  at  hearing  the  overture  to  CoriolctnuSt  wnich,  though 
one  of  the  masterpieces  of  Beethoven,  is  rarely  heard  in  public* 
and  is  treated  with  marked  neglect  by  the  Philharmonic  Society, 
notwithstanding  the  encore  it  received  at  its  last  performance,  five 
years  ago,  under  the  direction  of  Mendelssohn.  But  let  us  hasten 
to  speak  of  the  performances  of  the  excellent  concert-givers. 
Miss  Dolby  first  sang  Mozart's  lovely  recitative  and  air,  **  Resta 
O  Cara."  Of  this  beautiful  composition,  and  of  the  exquisite  stvle 
in  which  Miss  Dolby  renders  it,  we  have  so  often  spoken,  that 
it  is  enough  to  say  she  sang  it  as  well  as  ever,  and  thereby 
thoroughly  delighted  every  true  amateur  and  musician  in  the 
room.  Her  next  essay  was  the  florid  cavatina  from  Semiramid^ 
**  Ah  quel  giomo,"  which  Miss  Dolby  vocalised  in  a  style  of 
perfection  that  would  have  charmed  Grisi  herself,  and  evidently 
much  pleased  Mdlle.  Jenny  Lind,  who  was  in  the  room,  and 
applauded  our  clever  English  **  nightingale"  as  heartily  as  any  one 
of  the  audience.  Miss  Dolby  last  demonstrated  her  talent  in  a 
couple  of  ballads,  '*  Forget  thee,"  bv  G.  £.  Hay,  and  **  Primroses 
deck  the  banks,"  by  T.  Linley,  both  of  which  she  rendered  with 
infinite  taste  and  feeling.  The  former  is  an  elegant  specimen  of 
the  sentimental  school,  which  now  obtains  among  our  English 
ballad-makers,  so  different  from  the  *'  Chevy-Chace,"  "  Nut-browne 
May  des,*'  and  "  Gawaine-and-Golograses/'  that  delighted  our 
fathers.  The  second  is  a  favourable  specimen  of  the  elder  Linley^s 
stylo.  Mr.  Lindsay  Sloper  performed  thrice.  His  first  essay  was 
in  Mendelssohn's  rondo  brillante  in  B  minor,  one  of  the  early 
works  of  that  great  master  and  at  the  same  time  one  of  his  most 
beautiful.  This  was  the  first  opportunity  we  have  bad  of  hearii^ 
the  admirable  young  pianist  in  conjunction  with  an  orchestra.  It 
b  one  thing  to  play  solos  and  another  thing  to  play  concertos.  For 
our  own  parts,  m  opposition  to  existing  prejudices,  we  hold  the 
latter  to  be  by  far  the  most  difficult  and  by  far  the  most  honourable. 
It  was,  therefore,  with  double  pleasure  that  we  listened  to  Mr. 
Sloper  on  this  occasion.  The  masterly  ease  with  which  ho  played 
proved  him  to  possess,  beyond  a  question,  that  experience  without 
which  a  pianist  may  be  a  very  good  piapist  but  still  only  a  pianist 
and  not  a  musician,  Mr.  Sloper*s  reading  of  Mendelssohn's  rondo 
was  quite  in  the  spirit  of  the  author,  and  the  great  rapidity  with 
which  he  took  tho  time  of  the  allegro  was  justified  by  the  unerring 
precision  with  which  he  executed  it.,  It  was  altogether  a  very 
finished  and  musician-like  performance,  Mr.  V/illv  and  his  orchestra 
contributing  their  share  of  the  general  effect.  Mr.  Sloper's  next 
performance  was,  in  company  with  Mr.  Benedict,  a  MS  duet 
lor  two  pianofortes,  composed  expressly  for  this  occasion.  The 
duet  is  a  work  of  too  much  thought  and  elaboration  to  be  critically 
dismissed  after  a  single  hearing.  We  shall,  therefore,  merely  say 
that  vie  listened  to  it  with  that  attention  which  was  due  to  the 
merits  and  reputation  of  its  young  and  rising  composer,  and  were 
enabled  to  discern  clearness  of  design,  beautiful  ana  well  contrasted 
themes,  and  careful  and  consistent  elaborationi  moreover,  as  a 


448 


THE  MUSICAL  WORLD. 


display  for  the  qualifications  of  two  first-rate  pianists  it  n  highly 
effective  and  brilliant,  and  this  was  strikingly  demonstrated  by  Mr. 
Benedict  and  Mr.  Sloper,  who  played  it  in  the  most  finished  and 
admirable  style.  Stephen  Heller*s  characteristic  study.  La  Chasse, 
was  the  last  piece  executed  by  Mr.  Slopcr.  This  short  sketch  is  as 
difficult  as  It  is  beautiful.  Mr.  Sloper  took  it  at  an  immensely 
rapid  pace,  but  sustained  it  to  the  cna  with  unflagging  power.  We 
must  dismiss  the  rest  of  the  ccncert  in  a  few  lines.  The  other 
instrumental  performances  consisted  of  a  concertino  for  two  violins, 
composed  by  Fiicbs,  a  Viennese  professor,  and  performed  with  pro- 
digious neatness  and  brilliancy  by  the  clever  brothers,  Joseph  and 
Geot^e  Hellmesberger;  and  i  he  Wedding  March,  from  Mendels- 
sohn's A  Midsummer  NighVs  Dream,  rendered  with  great  spirit  by 
Mr.  Willy's  orchestra.  The  vocal  music  offered  a  large  variety  of 
popular  and  classical  morcf.aux,  the  former  claiming  the  prepon- 
derance. Mr.  H.  Phillips  gave  his  scena,  (MS.)  **  On  Lena's 
gloomy  heath/  which  Mendelssohn  composed  expressly  for  him, 
and  which  he  originally  intro-iuced  at  the  nrst  Philharmonic  concert 
of  the  present  season;  and  Miss  Rainforth  contributed  an  exceedingly 
pretty  ballad  from  Tully's  opera  of  The  Forest  Maiden  (recently 
produced  with  great  success  at  the  Surrey  Theatre);  Madame  Dorus 
Gra^  treated  us  to  her  air,  "  Des  renfance,"  from  Anber's  Le 
Sermenf,  Panofka's  charming  romanza  and  mazurka,  '*  II  mal  di 
paeso  d*una  Polacca,"  and  Clemenceau's  romance,  *'  La  bouqueti^re 
du  roi  ;*•  The  Misses  Pyne  gave  the  duet  "  The  ties  of  friendship," 
from  Benedict's  Crusaders;  Miss  L.  Pyne  displayed  her  great 
progress  as  a  florid  vocalist  in  the  aria,  **  O  luce  di  quest  anima," 
flAnda  di  Chamouni) ;  Mdlle.  Vera  and  Miss  Dolby  sang  the 
duet,  "  Divisi  noi, '  from  Rossini's  Bianco  e  Faliero ;  Signors 
Brizzi  and  Ciabatta  contributed  the  duet,  **  Parlar  spiegar,"  from 
the  same  composer's  Mosi  in  Egitto,  and  Signor  Ciabatta  sans;  the 
barcarole  of  Tadolini,  "  Se  la  vita  ;"  Madame  Dorus  Gras,  Mdllo. 
Vera,    Miss   Pyne,  and  Miss  Dolby,  interpreted  a  sparkling  and 

Srctty  quartet  of  Gabussi,  "  La  rivolta  ael  seraglio ;"  Madame 
lacntrren  again  delighted  us  wiih  the  beiutiful  air  from  Mozart's 
//  curioso  indiscreto,  which  she  has  so  opportunely  rescued  from 
oblivion  ;  and  lastly,  John  Parry  introduced  his  **  Lai  la  Rookh," 
which  being  encored  he  replaced  by  another  of  the  }o\ni  facetim  of 
himself  and  the  prolific  Albert  Smith.  Mr.  Willy  was.  of  course, 
the  leader  of  his  own  band,  and  Messrs*  Benedict,  Sloper,  and 
Kiihe  officiated  as  accompanists  at  the  piano.  Mr.  John  Parry, 
however,  bo  it  understood,  accompanied  himself— we  should  like  to 
know  who  could  accompany  him — and  Miss  Dolby  followed  his 
example  in  her  two  ballads.  The  room  was  crammed  to  overflowing, 
and  the  programme  afforded  unanimous  satisfaction.  We  have 
little  douot  that  Miss  Dolby  and  Mr.  Lindsay  Sloper  divided  a  good 
£300,  net  profit,  between  them — an  event  which,  in  the  present 
dearth  of  public  encouragement,  is  an  indisputable  proof  of  their 
high  and  deserving  popularity. 

Mr.  Stephen  Chambcks,  gave  a  matinee  musicale  on  Tuesday 
last,  at  16,  Berners  Street,  Oxford  Street.  Tho  vocalists  comprised, 
Mesdames  C.  E.  Horn  and  Stephen  Chambers,  Miss  Ellen  Lvon, 
Mr.  C.  E.  Horn,  t/Lr,  Handel  Gear,  Mr.  Wetherbee  and  Herr 
Brandt.  Tho  instrumentalists  were  Mr.  Stephen  Chambers  (piano,) 
Mr.  Gerhard  Taylor  (harp,)  and  Herr  Lobbeck  (clarionet.)  The 
performances  afforded  much  satisfaction.  Among  the  excellencies 
of  tho  concert  we  may  briefly  notice  a  recitative  and  aria  from 
Torquato  Tasso,  by  Mr.  C.  E.  Horn  ;  a  coroic  duet  by  Mr.  and 
Mrs.  C.  E.  Horn  :  a  grand  fantasia  on  the  harp  by  Gerhard  Taylor ; 
Weber's  Concert  Stiick  on  the  piano,  by  Mrs.  Stephen  Chambers  ; 
and  a  very  pleasing  ballad  of  his  own  composition,  sung  by  Mr. 
Handel  Gear,  Messrs.  C.  E.  Horn  and  Handel  Gear  were  the 
conductors. 

Mr.  Stocking  gave  an  evening  entertainment  at  the  Princess's 
Concert  Room,  on  the  16th  ult.  The  vocal  performers  numbered 
Madame  F.  Lablache,  the  Misses  Emily  Badger,  Lucy  Pettigrew, 
Clafa  Soane,  A.  Alexander,  Mademoiselle  Cinzia  Pagliardini,  the 
Signors  Brizzi,  Massone,  F.  Lablache,  and  Pagliardini^  and  the 
Messrs.  Phillip,  Clark  and  Mr.  John  Parry,  The  instrumental 
executants,  were  Mdlle.  Cinzia  Pagliardini  (pianoforte,)  Master 
Thirlwall  (violin,)  and  Mr.  John  Balsir  Chatterton  (harp.)  Press 
of  matter  precludes  us  from  entering  into  particulars.  Mr.  R.  H. 
Andrews  and  Mr.  Stocking  officiated  as  conductors. 
Mapvmr  Dulckbn's   Concert. — The  fair  and    accomplished 


pianist  prorides,  annually,  a  concert  of  sncb  magnitude  ^  and 
importance,  that  it  looks  somehow,  as  though  she  thought  it  an 
untulfilment  of  her  duty  to  her  patrons  and  admirers  that  an  enter- 
tainment of  some  such  kind  had  not  taken  place  every  day  in  the 
year,  Sundays  excepted,  or  included,  as  it  might  be,  and  that  being 
precluded  fronf  giving  these  diurnal  feasts,  she  thought  it  incumbent 
on  her  to  combine  the  musical  strength  that  might  have  been 
expanded  over  three  hundred  and  sixty-five  days  into  one.  Let 
the  reader  but  consider  the  programme  and  he  will  readily  agree 
with  us.     It  is  as  long  and  as  wealthy  as  Regent  Street. 

Part  I.— Trio,  "  La  scena  h  un  mar  instabile,"  Signori  Brizzi,  F. 
Lablache,  and  Lablache.  CSeanamueda),  Ricei, — ^Aria,  "  Delia  vita." 
Herr  HoeUel.  (//  Bravo).  Mercadante, — ^Variations,  Mademoiselle  De 
Mendi.  (Cenereniola),  Rossini — ^Air,  "  O  ruddier  than  the  cherry," 
Herr  Staudigl.  {Aeis  and  Oalatea).  Handel. — New  German  Songs,  *'  Die 
junge  Nonne."  and  "  Fr&hltngs  Lied.',  (First  time  of  performance  « 
Madame  Knispel.  Mangold.— Duetto,  *'  La  piii  pura/'  Miaa  A.  and  M. 
Williams  "  Oa6Mj«.— Tema  Con  Variazioni  e  Finale,  Pianoforte,  Viola, 
Violoncello,  Contra  Basso,  Flute,  Hautboy,  and  Horn :  Madame  Dulcken, 
Messrs.  Hill,  Hausmann,  Howell,  Pratten,  Lavigne,  and  Jarrett.  Hummett. 
—Romanza,  "  Spirito  gentil,"  Signor  Marras.  (La  Favorite).  DonixeUL 
— Romanza  ed  Aria,  **  Vieni,  ah  vieni,"  Madame  Anaide  Castellan. 
(First  time  of  performance).  (Leonora).  Mercadante. — Adagio  and 
Rondo,  Violin  and  Solo,  Herr  Joachim.  (Pint  Concerto).  Rosttni.-^ 
Scena  and  Aria,  **  Cecilian  Vesper,"  expressly  composed  for  and  sung  by 
Herr  Piscbek.  (First  time  of  performance).  Ltm^am/ner.— Duet, 
"  Dunque  ioson,"  Madame  and  Signor  F.  Lablache.  (U  Barbiere).  RMsini, 
—Grand  Air,  "  Quel  doux  espoir  I"  (First  time  of  performance),  M. 
Roarer,  Premier  Tenor  de  I'Opera  Comique  de  Paris,  (his  first  appearance 
In  London).  {Lambert  Simnel).  A.  .<4dam.-«New  Caprice  on  National 
Bohemian  Airs,  Pianoforte,  Madame  Dulcken.  .^cAu/A^.— Romance, 
•*  Una  vergine,"  Signor  Gardoni.  (La  Favorite).  Usnwc/ii.— Couplets, 
"  La  Bouqueti^re  du  Roi,"  Madame  Dorus  Gris.  Clemen^eau. — ^Trio, 
"  Pensa  k  guardo,"  Signor  Lablache,  Signor  Coletti,  and  Herr  Staudigl. 
(Margarita  d'Anjou).  Meyetbeer. — Duct  for  two  violins,  Messrs.  Joseph 
and  George  Helimesberger.  Danda.— New  Scene,  "Lalla  Rookh,"  bdng 
a  grand  OrienUl  Overland  Transit  Buffo  Romance,  written  by  Mr*  Albert 
Smith.    Arranged  by  J?kn  Parry.    Mr.  John  Parry. 

Part  II.— Quatuor,  "  Largo  per  sempre."  Madame  Castellan,  Signori 
Fraschini,  F.  Ublache,  and  Lablache.  (Parisina).  Doni'jteWi.— Duo, 
"  Oh,  du  Geliebte,"  Miss  Birch  and  HerrSlaudigL  (The  Exile).  Nicolai. 
—Romanza,  "  Seul  sur  la  terre,"  Signor  Gardoni.  {Don  Sebastian). 
Donire/Zi.— Solo,  Harp,  "La  Danse  dcs  Sylphes,"  Monsieur  Felix 
Godefroid.  OodeJrotd.-^Duet,  "  Sul'  campo  della  gloria,"  Signori 
Fraschini  and  Coletti.  (Belisario).  Dcmire/K.— Duet,  "  Sul'  aria," 
Madame  Castellan  and  Madame  Dorus  Gras.  {Nozze  di  Figaro).  Mozart. 
— Fantaisie  Militaire  for  Three  Pianofortes  (first  time  of  performance), 
on  Themes,  from  the  Opera,  The  Camp  of  Silesia,  by  Moyerbeer,  Mad. 
Dulcken,  Messrs.  W.  Kuhe  and  Schulhoff.  fV.  KuAtf.— Aria,  "Du,  die 
mie  holder,"  Herr  Pischek.  (First  time  of  performance).  Zampa, 
//ffoW.— Aria,  "  M'inganno  la  mla  speranaa,"  Signoc  Fraschini. 
(ddelia).  DonizetH.-Tvio  for  three  Violina,  Herren  Joseph  and  George 
Helimesberger,  and  Mr.  Sainton.  (First  time  of  performance.  G. 
//e//m«6«ry«r.— Song,  "Ah!  quel  plaisir  d'Mre  Soldat."  fFiwttimeof 
performance),  M.  Roger.  {La  Dame  Blanche).  JBoiWieu.— Aria,  ••  Ah 
rammento,"  Miss  Birch.  (Leonora).  AfcrcoJanitf w—Schifferiicd,  Herr 
Staudigl.  (First  time  of  performance).  Speyer.— Duo,  "  Vol  aieteun 
nom'  di  spirito,"  Signor  Coletti  and  Signor  Ublache.  (Palstqf).  Batfe. 
— Capricclo,  Flute,  on  an  Air  by  BeUim,  Signor  Cesare  Ciardi.  Cianfi.— 
Serenade'  '  Deh,  vieni  alia  finestra,"  Herr  Pischek,  and  Violin  obligato, 
Herr  Joseph  Helimesberger.  {Dan  Giovanni).  Mozart.-^li  Tremolo, 
"  Air  lUlien,"  Pianoforte,  (first  time  of  performance),  Madame  Duteken. 
CAor/efA/ayfr.— Chanson  de  Mai,  Madame  Henelle.  il/eytfrfrMr.— Aria, 
"  Alia  mia  mente  estatica,"  Signor  Gardoni.  (FiUstqf).  fia^#.— Trio, 
"  Troncar  se,"  Signori  Fraschini,  Ublache,  and  Coletti.  (GuiUaume 
Tell.)    i2otnm.— Chores,  "  Ridiamo,  cantiamo."    Nicolai. 

From  such  a  glitterinjf  heap  of  musical  jewellery,  what  articjo 
of  price  shall  we  select  for  especial  remark?  or  what  shall  we  omit, 
from  our  unavoidably  brief  notice,  that  may  not  look  invidious  in 
tho  eves  of  the  assisUnts?  To  avoid  this,  we  mav  state  at  once, 
generally,  that  the  concert  was  one  of  the  most  brilliant  that  ever 
drew  together  a  crowded  assembly ;  that  the  perlormanccs  on  the 
whole  were  admirable,  and  that  everybody  appeared  delighted  with 
the  entertainments ;  tho  only  complaint  being  made,  was,  that  many 
of  the  semi.fashionabic  folks  had  lost  their  dinner  from  the  latenesa 
of  the  hour  to  which  the  monster  concert  was  spun  out  Place  h  la 
benSficiairC'-we  must  first  allude  to  the  performances  of  Madame 
Dulcken— and  yet,  why  comment  upon  the  excellences  of  that  of 


THE  MUSICAL  WORLD. 


44B 


which  all  are  cogn^isant,  and  which  none  dispute?  Why  descant 
upon  the  voluble  fingers,  the  exquisite  taste,  the  fine  mechanism, 
the  delicate  colouring,  the  truth  till  reading,  and  brilliant  style  of 
Madame  Dulckon's  pianoforte  playing,  when  only  to  mention  her 
performance  is  to  leave  others  to  suppose  them?  Will  not  each 
and  all  of  the  above  qualities  be  readily  understood,  when  we 
merely  name  that  the  great  nianiste  played  in  her  best  style? 
Indeed  the  public  are  so  well  aware  of  the  artist's  abilities,  and 
have  been  so  accustomed  to  read  daily  encomiums  on  Her  playing 
that  we  should  not  wonder  if  they  would  consider  any  further 
praise  as  superfluous  as  adding  perfume  to  the  violet,  or  new  blushes 
to  the  roite.  Enough  to  say  Madame  Dulcken*s  performance  of 
SchuUhoflTs  Caprice  was  characterised  by  all  her  excellence 
of  method  and  expression  ;  that  the  11  'Tremolo  was  played  to  per- 
fection ;  and  that  her  portions  in  the  OteUo  and  tne  Fantaisie 
Miiiiaire  were  as  brilliantly  executed  as  possibly  could  be. 
This  last  was  a  grand  display  of  pianoforte  playing  by  the  three 
artistes.  A  word  must  suffice  in  praise  of  Godefroid's  solo,  and 
Joachim's  adagio  and  roncfe,  both  exquisitely  performed :  nor  must 
we  omit,  among  the  instrumental  excellences,  the  violin  per- 
formances of  the  Messrs.  Hellmesberger  and  Sainton,  and  the  flute 
playing  of  Signer  Ciardi— all  admirable.  From  the  vocal  department 
;re  can  only  select  a  few  performances  for  notice,  with  which  the 
reader  roust  rest  satisfied.  First  of  all,  as  the  great  novelty  of  the 
entertainments,  we  are  led  to  point  out  M.  RcM^er's  singing.     This 

Sintleman  made  his  first  appearance  in  London  at  tbb  concert, 
is  singing  of  Adolph  Adam's  song  exhibited  him  as  one  of  the 
first  of  living  tenors,  whether  we  refer  to  bis  vocal  powers,  or  his 
art.  M.  Rogei^s  voice  is  exquisitely  pure,  mostly  proceding  from 
the  chest,  and  rings  like  a  silver  bell.  He  is  entirely  free  firom  that 
nasaUty  of  tone  which  is  so  much  injurious  to  the  singing  of  the 
French  school.  His  style  is  simple  and  chaste,  and  his  method  of 
vocalisation  irreproachable.  M.  Roger  produced  an  immense  sen. 
saUott  in  both  his  songs.  We  really  have  not  room  to  specify  any 
other  portion  of  the  vocal  scheme.  >^'hen  all  is  excellent  it  is  no 
easy  task  to  select  for  preference.  The  conductors  were  Messrs. 
Benedict,  Knhe,  and  Viocent  Wallac. 

MISCELLANEOUS. 

RoTAL  Italun  Opiba. — After  the  first  act  of  Anna  Bolenu 
on  Saturday,  when  Grisi  mas  called  for ,  a  magnificent  cadeau,  in 
the  shape  of  a  bracelet,  was  thrown  from  one  of  the  stage  boxes, 
which  was  handed  to  Grisi,  who  immediately  placed  it  on  her  arm. 
The  bracelet,  which  was  inlaid  with  the  most  valuable  jewels,  and 
was  of  solid  gold,  bore  an  inscription  as  follows: — "  From  the 
Dowager  Countess  of  Essex  to  Madame  Grisi,  on  the  occasion  of 
her  benefit  as  a  small  token  ol  admiration  for  her  talent  and  (.genius." 
Coold  any  thing  be  more  gratifying  to  the  great  Italian  artist  than 
a  tribute  from  one  of  the  greatest  singers  England  ever  saw  ?  We 
have  been  assured  that  among  all  the  costly  byouierie,  the  jewels 
of  price,  and  countless  cadeavx  with  which  Grisi  has  been  presented, 
there  is  none  more  prized  than  the  bracelet  so  graciously  presented 
to  her  on  Thursday  night. 

HANovsa  Sqoarb  Rooms. — A  Grand  Concert  took  place  last 
evening  for  the  benefit  of  the  Italian  Gratuitous  School,  Greville 
Street^  Hatton  Garden.  All  the  principal  artists  of  the  Royal 
Italian  Opera  assisted,  by  permission  of  Mr.  Beale.  The  rooms 
were  crowded  to  suffocation     A  splendid  concert  was  provided. 

Madbmoisblle  Sophib  Fooco  has  arrived  in  London  and  will 
make  her  first  appearance  in  a  new  grand  ballet  on  Thursday  next 
at  the  Royal  Italian  Opera. 

Exetbb  Hall.— Spohr's  Grand  Oratorio,  TheFaUofBabyUm^ 
conducted  by  the  composer,  was  nven  last  night  before  a  very 
laiige  audience.  The  lateness  of  the  hour,  and  the  crowded  state 
of  car  columns,  preclude  us  from  entering  into  a  notice  of  the 
performance  till  next  week.  In  our  next  number,  we  shall  enter 
mto  a  copious  and  analytic  review  of  the  work  of  the  great  master. 

Mb.  Moscbbles.—- Messrs.  Puttick  &  Simpson  have  announced 
to  sell  by  auction,  on  Friday  the  2drd  Inst  the  extensive  and  valu- 
able musical  library  of  the  above  eminent  composer  and  pianist,  in 
consequence  of  his  departure  from  this  country.  Among  the  works 
of  Mr.  Moscheles  to  be  submitted  to  public  auction,  there  will  be 
Ibitnd  several  of  rare  value.  We  direct  the  reader's  attention  to 
our  adf  ertisemeot  sheet  for  further  particnlars. 


Royal  Academy  of  Music — Wo  are  glad  to  hear,  that  a  MS- 
Symphony  bv  Mr.  W.  Bay  ley,  and  a  Harp  Concerto  by  Mr.  John 
Thomas,  will  be  performed  at  the  Academy  Concert  this  morning. 
Mr.  Thomas  will,  of  course,  play  his  own  concerto. 

Ma.  Fbedbbick  Websteb. — The  stage-director  of  the  Haymar- 
ket  Theatre,  has  announced  his  benefit  for  Tuesday  next,  when 
will  be  given  a  series  of  entertainments,  which  will  combine  the 
talents  of  the  Haymarket  and  Adelphi  companies.  John  Parry 
and  other  auxiliaries  will  assist.  Mr.  F.  Webster,  b  the  author  of 
the  clover  "  Analysis  on  the  human  voice,''  now  being  written  in 
the  pages  of  the  Musical  Worlds  and  we  trust  our  numerous 
readers  nill  not  overlook  his  claim  on  their  support  in  consequence, 
Mr.  F.  Webster  is  a  Brother  of  the  Ancient  Order  of  Freemasons. 

TO    OUR  READERS. 

Erratvm  in  the  last  article  on  **  Elijah.** — In  comparing  the  social  conditions 
of  Mosart  and  Mendelssohn,  and  their  consequent  Influence  on  thdr 
works,  we  cpoke  of  the  embarrassed  life  of  the  former  whtcb  compelled 
bim  to  write  hastily.  In  the  following  sentence  the  compositor  has  made 
us  wy:  **  Men4elMohn  unluckily  for  himself  and  the  art,  has  never  been 
in  this  embairassed  position.  Meed  we  say  that  it  should  be  *<  Mendelssohn 
luckily  for  himself  and  the  art,"  &c.  &c. 

ADVERTI8ENIENT8. 


Warren's    HO   Guinea   Cottage 

>  AT  THE 


Piano-Fortes 

ARE  NOW  SELLING  i 

Mannfactory^  71^  Leadenliall  Street 

(Eemoved/rom  1  and  2,  Liverpool  Street,  Biskoptgate  Street) 
These  Instruments  are  well  manufactured  of  tbe  best  seasoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  given  with  each  instru. 
ment.  ESTABLISHED  TWENTY-ONB  YEARS,  The  only  house  in  London 
where  a  food  aound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only).  SMALL  PROFIT  AND  QUICK  RETURNS! 
JOHN  WAnaSN,  71,  I*«adenh«U  St.,  oiipoait*  Aldcate  P«mp. 

THE  PATENT  HARMONIUM  .-CAUTION. 

GEO.  LUFF  and  SON  having  discovered  that  aeveral  inferior  imitationt  o( 
their  beautiful  Instrument,  THE  PATENT  HARMONIUM,  have  been  sold 
under  the  same  name,  in  London,  Liverpool,  and  other  places,  caution  Purchasers 
either  to  vialt  their  eaUbliahment,  or  to  write  for  their  uluatrated  Pronectus,  and 
tbe  name  of  their  Country  Agent ;  this  will  ensure  the  possession  of  a  genuine 
Patent  Harmonium. 

GEO.   ZiUFF  AND   SON, 
Manufacturers  of  Patent  Pianofortes,  in  every  variety  of  style  and  fashion,  war- 
ranted to  keep  well  in  tune,  and  prepared  for  extreme  climates.    Price  lisU  and 
drawings  forwarded  by  post,  or  eudosed  in  Book  or  Music-sellers  parcels  to  order. 
Gbo.  Luff  and  Son,  108,  Great  Russell  Street,  BlooiLsbury. 


PIANOFORTE     TUNER. 
W,  TIERNEY 

Respertfully  offers  his  services  as  a  TUNER  of  considerable  experience 
in  his  profession.  An  extensive  practice  amidst  nianofortes  of  every  con- 
struction enables  him  to  tune  with  an  accuracy  attainable  only  by  long  habit. 
Terms  (in  Town)— Grands,  5s.;  Cabinets,  4#.;  Piccolos,  4s.;  Squares,  3s. 6d. 
Mr.  Tierney  tenders  his  opinion  end  mechanical  skill  in  the  choice  of  a 
pianoforte    either    for.  the  home  or  extreme   climates.  — Ro.b-bui Id ings, 

Fetier-lane. ^__^___^...^_ 

JUST  PUBLISHED, 

A  SET  OF  FORTY   MUSICAL  TABLES, 

For  the  more  complete  advancement  of  Students  in  that  branch  of  sdence  { 
containing  names  of  notes,  rests,  time,  keys,  formation  of  scales,  intervals, 
&c.,  arranged  in  progressive  order,  and  adapted  to  tbe  use  of  schools  and 
private  teaching. 

By  F.  O.  IVALKBR,  Professor  of  Music. 
London:    J.  A.  Kovbllo,  €9,  Dean  Street,   Soho,  and  24,  Poultry; 
Cocics,  6,  New  Burlington  Street ;  J.  Hart,  109,  Hatton  Garden  ;  Cramer, 
201,  Regent  Street ;  and  may  be  obUined  of  all  Music  and  Booksellers. 


KS.     ISAAC     COLLIVS, 

AND  HIS  TALENTED  FAMILY  OF  HER  MAJESTY'S  THEATRE, 
"Will  give  a  Grand 

Sbtnfna  OToncett  of  Fotal  anii  Instrumental  iVlusit, 

At  the  ASSEMBLY  ROOMS,  KENSINGTON,  on  MONDAY.  J DLY  M. 
Vocalists— Miss  Khrlna  ColHna  and  Miss  Medora  Collins.  Instrumental— 
Violin,  Mr.  Viotti  Collins;  Violoncello,  Mr.  Oeorre  Collins :  Flute,  Msster 
Frederick  Collins  (pupil  of  Mr.  Richardson);  Pianoftnrte,  Miss  Medora  Collins 
wbo  wiU  also  pertorm  a  Solo  on  the  Violin,  and  in  the  course  of  the  evening  will 
sing  several  of  Mdlle.  JENNY  LIND'S  Mountain  Songs,  and  alio  two  of 
THOMAS  BAKER'S  new  Ballads  (first  Usse).     Conductor,  Mr.  Isaac  CoUins. 

To  ooromence  at  Bight  o'clock. 
"*  Tickets  may  be  had  at  the  above  Koonos,  and  ( ^ 
17*  Owen's  Row,  Claremont  Square,  Islington. 


t  o'clock. 


450 


THE   MUSICAL  WORLD 


HER    MAJESTY'S    THEATRE. 


The  Nobflitf,  Sabacriberi  to  the  Opera,  and  the  Public  are  respectfoUy 
informed,  that  there  will  be  an 

EXTRA     NIQHT 

On  THUBSDAT  NEXT,  July  16,  1847, 

On  which  occasion, 

ADLLE.   JENNY   LIND 

trill  appear  in  one  of  her  FaTOtirlte  Characters. 
To  be  followed  by  varioas  Entertainments  in  the  BALXiET  DSPARTMENT. 
combininrthe  talentaof  Mdlle.  Carlotta  Orisi,  Mdlle.  Carolina  Rosati, 
Madame  PRTiT  Stbphan,  and  Mdlle.  Cbrito,  M..  Pbrrot,  and  M.  St.  Lbon. 
7^  Free  List  is  suspended,  the  Public  Frets  excepted, 
S*  Pit  Tickets  may  be  obtained  as  usoal  at  the  Box-office  of  the  Tlieatre,  price 
10a.  6d.  each  Applications  for  Boxes,  Pit  Stalls,  and  Tickets  to  be  made  at  the 
Box*  office,  at  the  Tlieatre.— Doors  open  at  Seven  o'clock,  the  Opera  to  commence 
at  balf.past  Seven. 

MUSIC     STOCK^ 

Bellinv  Off  under  Prime  Ooat—Retlrliiv  from  tlie  Bnainess. 

Oonsistinrof  One  Hondred  Piano-fortes  and  Barrel  Pianos ;  Twenty  Double 
and  Single  Action  Harps ;  One  Hundred  fine  old  Violins,  Tenon,  Violoncellos, 
■nd  Doable  Basaes,  Guitars,  Untes,  Qarionets,  Flageolets,  Concertinas,  Aceor- 
Olans,  Musical  Boxes  s  all  kinda  of  Brass  Instruments ;  Kettle  and  Side  Drums; 
and  erery  other  article  connected  with  the  Music  trade. 

N.B.  A  lane  Barrel  Church  Organ  in  mahogany  case.— J.  Turnbr, 
84,  Leadenhall  Street ~»j 

HAKDEL'S    MESSIAH. 

This  sublime  Oratorio  will  be  performed  in  the 

HANOVER  SQUARE   ROOMS^ 

On  WEDNESDAY  EVENING,  JULY  14, 
For  the  Benefit  of  tlie  Boyal  Society  of  Musicians. 

Principal  Vocal  Performen:—%tadame  Caradori  Allan  and  Mias  Birch,  Miss 
Dolby,  Miss  Sabilla  Novelk),  and  Miss  Hawes ;  Mr.  Manvera  and  Mr.  Lockey. 
Mr.  Machin  and  Mr.  J.  A.  Novello,  assisted  by  the  eminent  instrumental  and 
dioral  performen  belonging  to  her  Mijestv's  Concerts  of  Ancient  Music. 
Qmdnctor,  Sir  H.  B.  Bishop.  The  Public  Rehearsal  will  take  place  on  Monday, 
^Iy». 

ProfesBional  Life  AsBurance  Company, 

connecting  the  Clerical,  Legal,  Military,  Naval,  and  Medical  Professions ;  and 
holding  out  advantages  to  the  Public  not  nitfaerto  offered  by  any  similar  Institution. 
^  Incorporated.— Ciq)ital  ^350,000.— Established  upon  the  mixed,  mutual,  and 
pioprietaiy  principle.— Rates  esaentially  moderate.— Every  description  of  policy 
granted.  Immediate,  survivorahip,  aud  deferred  annuities ;  and  endowments  to 
widows,  children  and  othera.— Every  policy  (except  only  in  cases  of  personation,) 
bMiisputable.— The  assured  permitted  to  go  to  and  reside  in  Canada^  Nova  8cotia, 
New  Brunswick,  Australasia,  Maderia.  Cape  of  Good  Hope,  and  Pnnce  Edward's 
Island,  without  any  additional  premimn.— Medical  men  remunerated  for  tbefa- 
reports.— Loans  granted  on  real  or  nersonal  security.— One  tenth  of  the  entire 
profits  appropriated  for  the  relief  of  the  assured  while  iiying,  and  of  his  widow 
and  orphans.  Annuities  granted  in  the  event  of  blindness,  insanity,  paralysis, 
accidents,  and  any  other  bodily  or  mental  affliction  disabling  tneparties.— Persons 
of  every  class  and  degree  admitted  to  all  the  advanta^s  of  the  corporation.— 
Kates  for  assuring  ^00  ai  the  age  of  35 ;  S5 ;  45  *,  and  56,  respectively :  namely— 
^1  Us.  fid. ;  jffS  5s.  fid. ;  jCT  4s.  3d. :  and  j0'4  188.  6d.— Proapectuaes  with  ftill 
details  may  be  had  at  the  Office.— Applicattons  requested  from  partieB- desirous  of 
becoming  Agents.— Offices,  7fi,  Cheqwide,  London. 

Edward  Baylxs,  Actuary  and  Secretary. 


PEBSONAL    OBACES. 


The  countenance  is  rendered  additionally  pleasing  by  the  well-anraD£:ed  curl, 
the  braided  plait,  or  the  flowing  tress.  In  dressing  the  hair,  nothing  can  equal 
the  effect  of  ROWLAND'S  MACASSAR  OIL,  on  either  natural  or  artificial 
bair,  rendering  it  so  admirably  soft,  thiat  it  will  lie  in  any  direction,  prodadng 
beautifully  flowing  curls,  and,  by  the  transcendent  lustre  it  imparts,  rendering 
the  head  dress  truly  enchanting.    ROWLAND'S  KALYDOR  U  a  preparation  of 


impanlieled  efficiency  in  improving  and  beautifying  the  skin  and  coroplexion, 
preserving  them  firom  every  vicissitude  of  the  weathers  and  ROWLAND'S 
ODONIO,  or  PEARL  DENTRIFRICE,  is  alike  invaluable  for  iU  beautifying 
Knd  preservative  eifects  on  the  teeth  and  j^oms. 

Beware  of  Spurious  Imitations— some  are  offered  under  the  implied  sanction 
of  Royalty,  and  the  Qmmimtnt  DepartmentSrWith  similar  attempta  at  decep- 
tion. The  oaAr  Oenulue  **  Macassar  Oix,"  "  Ralydor,"  and  ''Odonto,''  are 
"  BOWLANlPSw"  and  the  wrapper  of  each  bean  the  name  of  *'  ROWLAND'S,'' 
precedinir  that  of  the  article,  with  their  signature  at  the  foot,  in  Red  Ink,  thua— 
A.  BOWXiAND  *  SON, 

Sold  by  them  at  90,  Hatton  Garden,  London,  ud  by  every  respectable  Chendit 
•nd  Perfluner  throoffhout  the  kingdom. 


RO  Y  AU 

ITALIAN 

COVENT 


OPERA, 

QARDEN. 


TheNobiUty,SnbscriberB,  and  the  Pnblk  annapectftdtyinfoinedthatR 

GRAND   EXTRA   NIGHT 

WiU  take  place 

On  THURSDAY    NEXT,   JULY  Ifith, 

On  which  occasion  a  GRAND  OPERA  will  be  performod.  fai  which 
the  following  artistes  will  appear  :— 
MadRxn*    GBXfll,     Madlto.  AXiBONI,   Madlle.  MBPFAMOllty 
Blvnor  MABIO,  Blfnor  TAaLXAFXCO,  flIcnorSAbVX, 
Blfnor  TAMBITBIMX,  Blvnor  MABUVZ,  *c.,  *c. 
To  condnde  with  a  New  and  Grand  Ballet 
In  which  Mdlle.  Fvooo  will  make  her  flrst  appearance,  sapported  by  McadOes. 
Badrrna,  Dr  Mrlissr,  Dblrchaux,  Strfhan.  Duval,  M.  Marillb,  fee. 
S*  Tickets,  Stalls,  and  Boxes,  to  be  obtained  at  the  Box  Office,  in  the  lliestr^ 
Bow  Street,  and  at  Messrs.  Cramer,  Beale,  and  Co.'s  201,  Regent  Street 

The  doors  will  be  opened  at  half.past  Sera,  and  the  pertDmiaiice  oomnenoe 
at  Eight  o'clock.  f—        «^  ^ 


IMPORTANT  SALE  OP 
MUSIC  AND   MUSICAL  mSTBUMENTS. 


PUTTICK  AND  SIMPSON, 

(Successon  to  Mr.  Flktcher)  Auctioneera  of  Music  and  Literary  Property, 
will  sell  bv  Auction,  at  their  Great  Room,  191,  Piccadilly,  on  Friday, 
July  23rd,  1847,  and  following  day,  at  one  o'clock  most  punctoally,  the 
valuable  and  extensive  Musical  Library,  including  the  coUectioti  oi  that 
eminent  Pianiat, 

IGNACE  MOSCHELES,  Esq., 

(LEAVIMQ  EKGLAND)  CeMPRISING 

VOOAXi  MtrSXC-Gleea;  National  Mdodies,  with  Pianoforte  and  OrehflS- 
tral  Accompaniments. 

8ACBBD  MU8XO— Anthems,  Services,  Masses,  Oratorios,  Novello's  Col- 
lections, &c. ;  with  Duplicate  Seta  of  Chorus  Parts. 

BANDBL>8  WOBK8— Dr.  Arnold's  Collected  Edition,  on  laive  paper: 
Dr.  Chu-ke's  Edition,  large  i>aper  {  and  nomeroua  aeparate  Works,  vocal  and  ftill 


OPBBA8-The  composithm  of  the  best  Mastcn,  BngliA  and  For<*|gn. 
PIANOFOBTB  mad  ORGAN  M 98XO— The  worka  of  the  moat  c 
Composera,  ancient  and  modem;    Pianoforte  Duets;    Pianoforte  worica.  with 

•cooropaniments ;  complete  sets  of  Hummel,  Weber,  &c- 

INBTBUMBNTAL  MU8IO— Concerted  and  Orchestral  Music,  inpailft 
and  in  score,  by  all  the  great  Masten. 

TRBOBBTXOAXi.  RXBTOBXOAXiy  *  PBBOBPTXVB  WOBKS- 

A  moat  valuable  collection,  compriaing  many  rare  worics;  also  the 

MUSICAL   INSTRUMENTS, 

(being  DISTinOT  PRIYATB  VROPBRTIES,) 

A    POWBBFUXi    OHAMBBB    OBOAIT, 

With  4  stops,  swell  throughout,  and  an  octave  of  pedala. 

PXA1VOFOBTB8, 

By  Broadwood,  Erard,  Stodart,  and  odier  makers. 

An  aatlane  ABOHLUTEj  from  the  Dvke  of  Ohandos*  CkdladttOB. 

VXOXiINB,   VI0I«0NCBLL08,   ftC. 
May  be  viewed  2  Days  prior  to  the  sale.  Catalogues  will  be  sent  on  appHcsttioo. 

MOVBXiIiO'8    BDXTXONB,    NOW    BBADY    (JvlT  Xst.) 

Octavo  Sise. 

HANDEL'S     "MESSIAH," 

Complete  in  12  Nos.  each  6d.  Ditto,  bound,  6s.  Od.  AH  the  Choruises  in 
ditto,  3s.  6d.  Haydn's  "  CREATION,"  complete  in  9  Nnmbera,each  6d. 
Ditto,  bound,  5s.  All  the  Chomsses  in  diuo,  2s.  dd.  Clodi  Cases  for  bindlog 
these  Works,  6d.  each.  ^     ^. 

Handel's  "  JUDAS  MACCABEUS/'  No.  1,  Sixteen  pages  for  Suqpence. 
This  work  will  be  comprised  in  12  Monthly  Nos. 

Handel's  "  DETTINGEN  TE  DEUM,"  No.  1,  Sixteen  pages  for  Slxpencb 
This  work  will  be  completed  in  5  Monthlv  Nos. 

Super-royal  Quarto  Slse /Mtialc  alse  oblong). 

Handel'a  "  MESSIAH,"  complete.  Price  ^  Haydn'a  "  CREATION," 
complete.    Price  4s.  6d. 

t|t  These  copies  are  particularly  adapted  for  pianoforte  playen,  M  there  are 
only  half  the  usual  nxnnber  of  leaves  to  torn  over. 

All  the  above  Works  are  in  Vocal  Score,  With  a  separate  Acooiapatninfnt  for 
PhmoforteorOiganbyViNCKirr Novello.  8oWbyairMnsicscll»BqokaBllaiL 
Newsvendera,  and  Peitodiaa  ]laalafa.-BaBienW  to  ontor  BOVBUO'd 
BDinONS. 


rt^jT  -T  - 


TK 


E  MUSICAL  WORLD. 


451 


SOVBRfilQSr 

Ifa  5,  St.  JAMES'S  STREET,  LONDON. 


t  A.  Brydg^  Henniker,  Bart. 
.  9ond  CftbbeU^Et«.,  M.P. 


Druitwu, 


CkAt%kAn,  Iieiitoiittt.Co]oml  Lord 
^    Ik/thm  Lennox. 

DtljTY-CRAIKMAW,    T. 

Mfjyi&borner,Eaq.,  M.D. 


JMnderi. 


Henrr  Powntn,  Em. 
Gtende  Edward  Soott,  Eaq. 


C  6fM|[cr) 


T.  ff,  B.  Batard,  Kaq. 
I»g|iF.BIyth.W 
,  ^vnnuicea  on  the  hv 


Haniy  Broadwood»  Baq.,  M.F. 

Sir  Jamca  Carmichael,  Bart. 
Cbariea  Fiarebrother*  Biq.,  Alderman. 
William  Talloh  Fraaerrisq. 
John  Gardiner,  Saq. 
Aaron  Aalier  Goldsmid,  Baq. 
HenryWilliam  PownaU,  Baq. 
unmceaon  the  Uvea  ofperaona  in  eyery  station  of  life  and  every  part  of  the 
^  granted  on  a  plan  which  combinea  the  utrooat  amount  of  benefit  to  the 
loftheaaaured  of  ilaafA,  with  every  attainable  advantaffe  dmring  life, 
'"s  ayatem  of  Life  Aaaarance  ia  capable  of  affording. 
I  wiahing  to  borrow  money  to  enable  them  to  complete  the  pnrchaae  of 
i»r»7,  or  deairinr  to  pay  off  exlating  cbarfea  thereon,  can,  by  aaaurinr  with 
i  Company,  obtain  the  advance  of  the  fiill  amount  of  the  Policy,  repayable  by 
tuttlmenta,  extended  over  a  period  of  yeara,  on  the  advantageons  tenna  explained 
in  the  Proapectns. 

In  caae  the  aaaured  dice  daring  the  limited  number  of  yeara  agreed  upon,  he 
will  not  leave  hia  property  encnmbered  with  a  debt;  but,  on  the  contrary,  hia 
Rpreaentativea  will  be  entitled  to  receive  the  amount  aecured  by  the  Policy,  after 
deducting  the  auma  then  remaining  unpaid.  Or,  he  may,  at  any  time,  anticipate 
tie  payment  of  the  auma  atill  remaining  unpaid  on  favourable  terma,  aad  conti- 
aqe  the  PoUcy,  if  hepleaaea,  as  an  ordinary  Life  Policy. 

Awnvrrixa  and  BNDowMXNra  on  liberal  terma. 
The  naual  oommiaakm  to  Solidtora  and  Agenta.    U.  D.  Datbnpobt,  Aacrvfaiy. 

NtW    AND    SELECT    MUSIC, 

.     ^^  PUBLISHED  OWLT  BY 

ll  'WIU2A1I8,  80,  (FonntBin  Comrt,)  Chaapiida,  4  170,  Ot  Bovw  BMd. 

N.  J.  SPORLE'S  LAST  NEW  SONO, 

"COUNTRY      LIFE/' 
It  tte  beat  aong  yet  written  by  that  talented  oompoaer,  and  aong  by  Urn  and 
fMoby  the  moat  eminent  flemale  vocaliata  with  nnammona  encorea.   The  Poetry 

"JENNY     LINO'S     DREAM/* 

« '^S^^'^J^  ReghuOd  MorelOD,  the  Music  by  (thAt  Jutlly  riaing  composer) 
J.  J.  Haite.  The  peculiar  drcumatancea  under  which  these  words  were  written 
cannot  fUl  exciting  interest,  and  it  is  one  of  the  most  beautiful  melodies  ever 
Fenced,  wd  lies  in  such  a  moderate  oompaaa  fbr  the  voice  that  any  aiager  can 
oeeuta  it  with  ease.  The  accompanimenta  are  caay,  but  arranged  with  much 
jnogment. 

THE     CYCLOPEDIA    OF     MUSIC, 

Rice  Threepence  per  Sheet,  the  fUl  muaic  size,  printed  fhmi  engraved  platea, 
and  warranted  correct ;  embracing  already  upwards  of  1000  Sheeta  various,  and 
aew  works  an  continually  being  added.  Catalogues  fbrwarded  on  receipt  of  a 
poatags  atamp. 

__  VIOLIN     MUSIC. 

^I^I^'ia^S^  the  moat  celebrated  Overturca  aa  Soloa  flor  the  Violin,  each  6d, : 
i*  Dneta  tor  two  viofana,  each  la. ;  Hfteen  Overturca  as  Trios  for  two  violins  and 
TiQloncdlo,  eacii  la.  6d.;  fbrwarded,  postage  fkee.on  receipt  of  one  poatage 
atamp  extra  tor  eferyM.pDbliahinc  price. 

WILUAMS'   SCRAP   BOOK   FOR   FLUTE   OR  VIOLIN, 

In  Noa.  at  6d.  Mch,  each  mmber  containing  fh»m  19  to  86  Aira.   In  thia  wort, 

SJ.^.}^**    J^'^^^^'®*^  "Jullien'sCelfariua,"  Airafirom  •«TheBokemmn 

Olri.»»  "  Danchter  of  St.  Mark,"  "  Ethiopian  Melodiea,"  to:.  Ac.    Any  Nb.  tor- 

warded  postafca  fnt  on  receipt  of  two  stampa  extra  beyond  the  publishing  price. 

OmiSlUif     Hoarseness^   and    all   Asthmatte   and    Pulmonary 
OoMpiaiBtSy  etfeetoauy  ew«d  bjr 

KEATING'S    COUGH     LOZENGES. 

trpwarda  of  Forty  Yean  experience  baa  proved  theiniUHbility  of  these  Losengea 
tatlie  core  of  Wmter  Cough.  Hoarseness,  Shortness  of  Breath,  and  Pulmonary 
S^'**?^  The  patronage  of  hia  Bii^eety  the  King  of  Pruasia  and  hia  Mi^estv  the 
KiogofHanover,  has  been  bestowed  upon  them ;  as  also  has  that  of  the  Nobility 
and  aergyofthe  United  Kingdom;  and,  above  all.  the  ftujultyhave  especUIly 
ncomobcnded  flMm  aa  a  remedy  of  unfisiling  eAcacy.  Testimonials  are  con- 
*".2S?  '22^^  oondrmatory  of  the  value  of  these  Loienges,  and  proving  the 
pniect  aafety  of  their  use,  (tor  they  contain  no  Opium  nor  any  preparation  of  that 
?*]f5tf?*'**S*5P"*I  ^  ^^  ^  ftemalas  of  the  naoat  deflcate  conatitution, 
"A^y*^"  ®01>«  teoMTot  yean  without  hcaitaUon. 

^r*l??"lS*Ay?**  *"  **<"^"  "^  !■•  Ud. ;  and  Tins,  2fl.  9d.,  4s.  fld.,  and  10a.  6d. 

Sf*5-i^  J52?^l  *S^NG,  Chem'ist,  Ac,  79,  «.' Paulas 'chuich-yaHl, 

*^™S5j;'i'SftJi7  ^ly^:^*'*"**  P***"**  Medicine  Vendoninthe  Kingdom. 

BEarrOKATION  of  YdKCB  BY  KBATINO'S  OOVOH  LOZENOES. 

«.    ,v  *  ,  ,    .  -      .  Glasgow,  Jan.  lath,  1847. 

%SSi^J5Jff?J^fe^f^*5j'***™*"Jf  yoaof  the  gnat  good  your  exceHent 


STILL    IN    U8B    IN    VARIOUS    OOUMTRIBS. 


Containing  a  Deseriptlon  of  %km 
8TEP8,   ATTITUDES,   COSTUMES, 

PECULIAR     CHARACTERISTICS,     AND    ORIGINAL    MUSIC, 

or  THB 

PRnrCIPAXs  NATIONAIa  OR  POPULAR 
DANOB89 

AS  PRACTI8BD  BT  VARIOUS  CLA8SBS  OF  SOaBTT. 

This  work,  which  is  the  lint  of  the  kind  that  baa  appeared,  will  be  divided  Into 
two  parte.  The  first  will  comprise  the  dances  of  southern  countries,  and  the 
second,  those  of  more  northern  climates.  Intenpersed  with  biographical  remarka 
upon  celebrated  DoHtewtti,  from  the  fourteenth  century  down  to  thepresent  time| 
and  to  the  last  new  Cachucha  lately  danced  by  Madlle.  Badema.  This  work  will 
be  rendered  both  useAil  and  interesting  to  amatenn,  persons  of  Huhion,  pro- 
ftsson  of  dancing,  to  painten,  and  also  to  studenu. 

BY     C.     BLASIS, 

Ballet  Master  to  the  Royal  Opera,  Covent  Garden ;  Finishing  Master  to  the 
Royal  Academy  of  Dancing  at  Milan ;  Author  of  a  Treatise  on  tlie  Art  of 
Dancing ;  the  Code  of  Terpsichore ;  and  sereral  other  Theatrical  Worka,  pub- 
lished in  Italy,  France,  and  England. 

1  he  Work  will  appear  in  numbers,  to  be  had  of  the  Aothob,  1,  Tawlstock 
Bow,  OoTcnt  Garden  ;  and  at  the  principal  BookaeUen  and  Muaicaellen. 


)3b  lOosal 


Itttns  ^ttnt. 


THE  NEW  DIATOKIC  FLUTE. 

Fingered  Uke  the  Ordlnarj  Fh&te. 

This  Instrument  can  be  procured  only  of  the  Patentee,  ManulMtory» 
135,   rUSBT  STRBBT. 
An  who  bata  adopted  tMa  Fhita  pronounce  it  superior  to  any  other  in  correct- 
neaa  of  Tunb,  and  power  and  brilliancy  of  Tone. 

Just  published,  by  CRAMER,  BEALB,  ft  Co.,  901,  RMent  Street, 

THBOBT  or  9HB  PATBNT  DIATONtO  FLUTB. 

By  A.  SiccAif  A,  B.A.,  Inveator  aad  Patentee. 

Kr.  WILUAM  FORDE, 

Autiior  of  '<L*  Antana  dell*  Opera,"  (Flute  and  Pianoforte),  Forty^elght  Trioa 
(a  Flutes  and  Pianoforte),  frc.  &c. 
Bega  to  inform  hia  Pupila  and  glute  Playen  m  general,  that  after  a  careAil 
inveatigation  of  SIOCAMA'S  PATBKT  DI  A^ONIO  FLtlTB,  he  haa 
adopted  that  Instrument  with  the  conviction  of  the  Inventor's  claim  to  the  pro- 
duction of  PsaPBCT  TuNB  in  every  Key,  with  improved  volume,  beauty,  and 
equality  of  Tonb.  Address— 135,  Fleet  Street. 


Mr.  FREa>ERIOK  HHJ. 

Begs  to  inform  his  pupils  and  amateun  of  the  Flute,  that  he  has  adopted  the 
NSnir  PATBNT  DIATONIC  PLVTB,  invented  by  A.  Siccama,  B.A., 
and  givea  INSTRUCTIONS  daily  at  the  Patent  FInte  Maovlhctory,  1S5,  Fleet 
Street,  and  at  hia  own  reaidence,  a,  Schollleld  Pkos^  Fulham  Road. 

Bni.  KING 


additiona,  which  cive  flu:ility.    Beins:  convinced  of  its  decided  superiority,  ha  ia 
desirous  of  introouring  it  to  the  notice  of  bis  friends. 

Addreaa,  Mr.  King,  a,  Weatminster  Road,  near  the  Obeliak. 


JENNY  UND'S  SONGS. 


THE     MUSICAL     BOUQUET. 

BDITBD    BY    OBO.    ALLMANN. 

No.  145,  Joat  pobliahed,  price  6d.,  contains  two  Ihvoorite  Songs  from 
"  Robert  la  Diable,"embclllalied  with  abcantifol  portrait  of  JBNNf  UNu. 
Pkrt  85.  Just  published,  price  Is.,  contaioa.  No.  141,  a  Pot  POurri,  llrom  *<  I  du 
Foscari  'J*  No.  ua,  a  song  by  Boieldieu,  and  a  song  by  Auber ;  No.  143,  a  long. 
**  The  Prayer,"  from  "  Idu  Foscari;*'  No.  144,  a  song  by  Mendelssohn,  and  a 
by  Spo^.    *'  llie  SUndajd  Bearer/'  the  "  Wanderer,"  «  Erl  King,^'  <*  My 


iUmrt's  on  die  Bhin^"  **  Summer  Night."  from  '<  Don  Paaquale."    '^Peatal," 
and  the  BtUooian  Melodiea.  are  also  published.    Bach  number  ia  beautifnliT 


illustrated,  and  may  be  had  aepantely,  price  SdL   London 
Holbora;  aad  W.  Stranqb,  ai.  Paternoster  Row. 


Office,  900,  High 


DANIEZa'S     PRBDZOTZON. 

Mb.    C.   E.    HORN^b    NEW    ORATORIO 

Is  in  coone  of  PubUcstioiL  by  Subacription.    Price  Sia.,  in  cloili.   ChonI 
4ia  of  performing  It,  can  be  supplied  with  1^    ^ 
Oompoacr^  7m  Monmouth-rood. 
j>AT,  45,  High  HottHnm,  and  all  Mu 
oountry. 


and  other  Societies  deairoaa  c 


„ ^  performing  It,  can  be  supplied  with  Cbortl  and 

other  Parta  by  application  t«  &e  Compoacr,  7.  J "  """    *■ 

Subacnptiona  received  by  Z.  T.  Pubdat,  45,  High  1 
In  town  and  oountry* 


CELEBRATED 


WIEHDieiEI    MEILdDBIIIESo' 


jaST  PUBLI8HBD,  by  M.  JULLIBN,  214,  REGENT  STREET,  the  whotoof  the  SWEDISH  lilU|0li!l|  M  W||ii 
by  MLLE.  LIND  at  the  private  Soirtet  Musicales  of  HER  MAJESTY,  Buckingham  Palace,  and  at  Htft .  MAJESTY^ 
THEATRE,  with  the  original  Swedish  words  and  EnglUh  adapUtiont  by  O.  LINLBY,  DESMOND  BYAN,  ud 
J.  WREY   MOULD. 


No. 


1.—"  Pasture  Song," 
HerdeSang,   • 

No.  2.—''  Love  Sndlea  no  more," 
Tjerran  I  slcog, 

Nob  3.— <<  The  Stars  of  Heav'n  are  | 
Alft  under  Hemine  lens  I 

No.  4.—"  Pretty,  pretty  Girl," 
Kom  du  lUla  Fluka; 

No.  5.—"  The  Postboy's  Return," 

Slyuts  Gossen  Pa  Hemyagen, 

No.  e.— <*  Winter  warm'd  into  showers," 
Oladjens  blomser  Qordens, 

No.  7.— «  The  Sea  King's  Bride," 

Necken's  Polska,  -        - 


**  Come  hither,  my  pretty  herd." 
Kom  alU  di  underlt 


''Hope's  light  Ml 
Lingt  fran  dig  skild. 

«  Above  the  earth  at  rest" 
Der  sitta  s^er  nor  sma. 

<•  Behold  its  image  in  the  laughing  stream." 
Sag  vUl  du  Uif  va  nug  en  rut  sagod. 

"  Trot !  trot !  so  ho  I  so  ho  1  away  we  go  t" 
HoppI  hoppi  sesa!  sesal  Latgal 

<^  Who  can  spy  the  peeping  snowdrop." 
Hor  du  ^  nur  andar. 

<*  On  a  shore  his  ocean  realm  was  leaving." 
O  gvar  dvaQs  du  klaraite  bland  sterner. 


To  be  continued,  and  to  include  the  whole  qf  the  origintU  tmd  extemhe  eoUecHon, 

are  the  only  authorised  Editions  of  the  Songs  actuallv  sung  by  Mile.  LIND,  as  will  be  testified  hj  those  who  wwt 

present  at  Her  Mi^esty's  Theatre  on  Thursday  evening,  June  17,  1847,  and  heard  there  for  the  first  dnse  in  public,    fhe  origioality  of 
their  comp    "  '  '  "  -  •  .  •        .  ...  ~  .......       . 

MUe.  Lit 

THE    PIANOFORTE   ARRANGEMENTS  are   by    HERR    KUHE,  accompanyist  to  die  celebitted  Yocalist,  and  the 
Copyrights  have  been  legally  assigned  to  M.  Julliem  by  M.    HIRSCH|  Stockholm. 


X  Her  H^yesty's  Ibeatre  on  Thursday  evening,  June  17,  1847,  and  neard  there  for  the  first  time m  public,  ine  ongM 
nposition  places  them  quite  APART  from  those  Songs  which  have  been  produced  by  various  Publishers,  bearing  the  i 
INO,  but  which  have  never  been  sung  by  her  on  any  occasion  whatever. 


LA     FICLIA     DEL    RECCIMENTO. 

JUST  PUBLISHED, 

The  whole  of  the  above  sncoessfiil  Opera,  one  of  the  ekrfe  d*muvre  du  genre  of   Doxiibtti,  Opera  Buffk,  wHk  Itidlaii 
and  English  words. 


No,  1.— *'Ev'ry  one  says  it->all  people  know." 
Ciascun  lo  dice,  ciascun  lo  sa. 


No. 


-  In  hope  my  heart  that  spot  r^gainetb." 
Qui  tratto  son  da  lieie  spem^. 

No.  ti.— «  We,  born  'midst  the  romng.** 
Chi  naoque  al  rimbombo. 


No.  2.— '<  We  now  must  part.'* 
Convien  paifir. 

No.  3.— «  Humbly  suppliant  at  thy  feet" 
Snpplichevol  al  tuo  pi^. 

In  a  word,  the  whole  of  the  Music  as  sung  by  MtLB.  LIND,  Madame  CASTELLAN,  Madame  SOLARI,  SiomoM 
LABLACHE,  GARDONI,  COLETTI,  and  HERR  SXAUDIGL,  at  Her  Mi|}esty's  Theatre,  forming  the  most  oompUte  CoOectioii  oC 
Clastical  Songs  of  luly  ever  published,  entitled 


No.  6.—**  The  world  is  not  my  text  book." 
lo  son  un  uom  di  mondo. 


lUk  riOI.IA  DBb  RBOOIMBNTO  POLKA,  by  JULLIEN,  re-demanded  at  the  Grand  BaU  givM  In  honour  of  Hor 
Ua^eny  by  Her  Grace  the  Duchess  of  Sutherland. 

THB  8WBDI8H  NIOHTXNaAXJB  WAXiTS,  by  JULLIEN,  is  a  great  fiivourite  at  the  Balls  and  Soirees  DwMantet 
of  the  Nobility. 

Vide  Timet,  June  22.—"  The  Public  is  well  acquainted  that  the  only  authorised  Edition  of  the  SWEDISH  MELODIES,  aa 
sung  b^  Mile. LIND,  at  Her  Majesty's  Theatre,  and  at  Her  Majesty's  Concert,  Buckingham  Palace,  are  Published  by  Jullien,  wiih 
the  original  Swedish  wt>rds,  an  ezcellent  English  adapution,  and  a  charming  accompaniment  lor  the  Pianoforte  by  Herr  KUUB." 

N.B.— Many  spurious  imitations  of  the  above  Music  having  been  published,  M.  Jullieh,  in  order  to  prevent  the  Pnblie  from 
purchasing  Uicorrect  copies,  has  attached  a  Fac-shnile  of  his  Autograph  to  each  Copy,  without  which  none  are  genuine 


JULLIEN      AND      CO., 
ROYAL    MUSICAL    CONSERVATORY,   214,   REGENT  STREET. 


_ Hkm  parWi  of 

where  aU  communicatioBs  for  the  Editor  are  to  tM^Jdfewed'pMt  paid.  To  he'h^  ^,®dG?d^Sh 


^i^  "i**.*^"**'*^;.?'  th#  Proprietors,  at  the  <*  Nassau  Steem  Press,"  by  Wiluam   Spbitcsb  Johnboit,  60,  St.  Martin»s_Lme,  to 

St.  Martin's  in  the  Vleids,  in  the  Comity  of  Middlesex;  where  aU  commumicatioBs  for  the  Editor  are  t   "       "  ^        " '^    "^  *^  ''-'• 

Bmd  Stmt,  Soho;Stnmge,  Paternoster  Bows  IHaeheartiDiOdia}  MdiaiBooiBNlle^ 


(PUBLISHKO    eVCRY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c 

Ttflwa  of  Mksorl^tion,  pwr  Aaaum,  16b.  ttompea ;  Ifls.  Unstaap^d  |  to  b«  formated  hy  Kovey  Crd«r  or  9o«td««  Mpu»y« 
^  ^M  ffilMtelitr,  W.  8.  Joioiada,  ''MaMa«  StMm  Vr«w/'  60,  St.  Mwrtlm^s  t^mnm,  ChmHmm  Cronii 
ifeMrtbMs  Mtfir  (M^iai  BMMs'aM  ««tftM«Md  •*  Mm  Ofllee}  ar*  entitled  t«  «a  ^ 
a  PUe«  of  Kmsie^  (ro««lor  li«ile  obM)  VIoMfelr- 

■i^ ■  -         ■ 


Na  32.^VoL.XXIL 


SATURDAY,  AUGUST  T,  1847. 


f  PRICK   TWUmmCE. 
i  STAMPTO,  fWilifKlOS. 


RAONEL. 

Tub  pen  hesitates  to  trace  the  words ;  but,  alas !  they  must 
be  written.  Rachel,  the  iuicom parable  Rachel,  took  hfsr  leave 
of  the  English  public  last  night,  and  almost '  imasdijitely — 
perhi^s  even  to-da> — will  quit  the  shores  of  England.  The 
play  was  Virffinie.  It  was  a  triumph — for  with  Rachel  to 
appear  is  to  triumph — but  a  melancholy  one. 

We  cannot,  without  poignant  regret,  bid  fkrewell  to  this 
gifted  and  extnumlinary  woman,  before  whose  talent  all  other 
talents  sink  into  mediocrity.  That  Rachel  is  the  most 
wonderful  genius;  the  most  perfect  and  accompHphed  actress, 
who,  in  any  time,  has  trod  the  boards  of  any  stage,  is  our 
entire  belief*  In  h^r,  and  only  in  her,  do  we  acknowledge 
the  presence  of  those  bright  qualities  about  which  our  fathers 
are  so  eloquent.  She  is  the  ^t  of  the  daughters  of  night, 
with  the  raven  hair,  the  flashing  eye,  the  scornful  mouth. 
An  echo  of  the  Grecian  song,  heard  through  the  distance  of 
two  thousand  years,  yet  liyes  upon  her  tongue ;  the  souls 
of  Sophocles,  Euripides,  and  ^sehylns  breathe  melody  upon 
her  lips,  as  the  invisible  winds  upon  the  mysterious  harp  of 
iEolas.  With  her  a  mighty  race  will  become  extinct ;  when 
she  is  gone  the  voice  of  the  tragic  drama  will  be  dumb,  and 
poetry  lament  its  oracle.  She  yet  walks  amongst  us,  but 
only  as  a  memento  of  old  times.  Her  face  is  the  lamp 
that  lights  Melpomene's  tomb  in  the  ancient  vault  of  the 
drama  ^  her  voice  is  the  bell  that  tolls  Melpomene's  knell. 
Though  she  is  with  us,  she  is  not  of  us  ;  her  eye,  gleaming 
with  a  fire  which  is  from  heaven  and  dies  not,  looks  with 
pily  upon  her  uninspired  companions.  To  her  there  i»  no 
future.  She  sees  the  past,  folded  in  its  shroud,  and  with 
clasped  hands  prays  for  her  own  hour  to  come.  But  her 
mission,  which  is  to  sing  the  drama's  monody,  must  be  ful- 
filled. When  the  last  note  is  uttered,  her  heart  will  break, 
like  the  strings  of  some  forgotten  instrument,  and  her  spirit 
£y  to  its  home. 

There  are  yet  a  few  to  whom  the  voice  of  Rachel  is  a 
warning  and  a  prophecy.  There  are  yet  a  few  to  whom  that 
gentle  form,  stealing  along  the  scene  like  some  whited  ghost, 
conveys  a  holy  meaning.  There  are  yet  a  few  to  whom  that 
countenance — vibrating  with  expression  more  impossible  to 
catch  than  the  hue  of  the  cameleon — ^is  as  the  moon— that, 

''  Wanderiog  oompuuonlets. 
Among  the  stars  that  have  a  dUfinpeat  birth — '* 

G^hAbs  the  heavens  with  silent  step,  the  weary  messenger  of 
cha^.  The  moon  foretels  the  changes  of  the  year,  and 
the  moe  of  Rachel,  of  which  it  is  but  a  pale  reflex,  foretels  the 
dianges  of  the  times.  All  things  must  die — the  most  lovely 
and  the  greatest,  as  the  most  unnghtly  and  the  meanest.  And 
when  the  beauty  and  the  life  that  give  to  that  face  a  charm, 


unutaiaye  as  irresiBtiblei  shall  fall  away,  like  dost,  and  leave 
a  thing 

*'To  make  men  tremble  who  never  weep," 
it  will  be  a  sign  that  the  drama's  blood  has  oealed  to  flow, 

that  the  drama's  heart  has  ceased  to  beat. 

*  0  o  o  .« 

The  characters  sustained  by  Rachel  during  her  present 
engagement  have  demonstrated  the  variety  no  less  than  the 
transcendancy  of  her  talent.  Whether  as  Canrille,  the  gentle 
Roman  girl,  metamorphosed  into  a  fury  by  fjie  loss  of  her 
lover,  her  black  hair  streaming,  her  deep  eyes  flashing,  her 
white  arms  waving,  her  whole  frame  convulsed  with  the 
intensity  of  despair  and  rage ;  or  as  the  inspired  Maid  of 
Orleans,  sheathed  in  resplendant  arms,  towering  in  counsel  as 
in  battle ;  or  as  the  soft  Virginia,  clinging  to  the  rough  framn 
of  her  stern  father  as  ivy  to  the  oak,  supplicating  the  knife 
with  the  innocent  uplifted  eyes  of  a  lamb  that  knows  not  ita 
terrors,  shrinking  from  contamination,  as  the  chaste  snow  froso. 
the  kisses  d  the  sun  ;  or  as  the  soother  of  the  dissolute  Nero, 
sublime  in  wickedness,  haughty  in  humility,  ambitious  in 
counsel,  terrible  in  reproach  ;  or  as  the  fate-*struck  Phedra, 
sinking  under  the  weight  of  an  unholy  passion,  distracting 
herself  for  that  which  is  inevitable,  moved  by  two  opposite 
powers  of  attraction  and  repulse,  that  torment  her  soul  with 
their  incessant  strife,  gradually  wasting  and  sinking,  until  her 
life  goes  out  like  the  flickering  embers  of  an  unfed  fire  ;  or  as 
the  wise  and  beautiful  Monimia,  enduring  the  passion  of  the 
terrible  Mithridates^  and  pining  for  the  love  of  his  more  gentle 
son ;  or  as  the  fair  Amenais,  a  pale  abstraction  warmed  into 
vivid  reality  by  the  breath  of  her  genius ;  or  as  the  spiritual 
coquette,  the  heartless,  gay,  and  brilliant  Celimene,  killing 
with  her  wit,  and  curing  with  her  eyes ;  or  as  the  passionate, 
capricious,  and  revengeful  Hermione,  who  silently  consumes 
her  own  heart,  and  wantonly  breaks  that  of  her  best  friend, 
now  all  gentleness,  now  all  flame,  never  knowing  her  own 
mind,  insulting  and  humiliating  her  lover  for  the  very  fidelity 
with  which  he  obeys  her  slightest  wish ;  in  one  and  all  of 
these  Rachel  is  ^ually  wonderful,  equally  incomparable. 
There  is  not  a  passion  which  she  cannot  express  ;-*-love,  hate, 
jealousy,  revenge,  hope,  pity,  joy,  exultation,  anguish,  remorse, 
despair,  pride,  devotion,  contempt,  scorn,  rage,  irony,  enthu- 
siasm, all  are  completely  at  her  control,  all  are  ready  tor  obey 
the  slightest  indication  of  her  genius.  To  her  the  passions  are  as 
the  keys  of  an  instrument  upon  which  the  impulses  of  her  heart 
can  play  it  well,  as  the  finger  upon  the  clavier.  Never  was 
actress  so  gifted  with  the  accomplishments  of  mind  and  the 
charm  of  personal  attributes.  There  is  something  in  her 
face  that  speaks  of  another  and  a  higher  world  than  this. 
The  expression  of  her  eyes  is  indescribable.  Her  forehead  is 
the  tablet  of  intellect     Her  mouth  the  seat  of  passion,  for 


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THE  MUSICAL  WORLD. 


enougli,  withqut  ^|)ptioQ^^|  th^  |reef|y  9qi^«|%t  of  t  needy  iiade9iq»p. 
)f  the  abiove  be  untrue,  \  note  tl^^  ^IRfSIFPf^^  W'^^  Si^^  i^  *  W^^  <tfpit^^' 
]{  is  m|  intention,  |i05;f^v€^,  tq'^e^t\M  b^|^oor  the  momen^  it  ^ 
opened  (Sn  the  da^  stated  in  tbe  lif^ni^MtMint,  and  I  prontfie  j^  a 
reporter  the  state  of  the  box  plan.  Let  me  give  the  mu»ic  seller  a  little 
advice,  which  is,  to  mind  his  shop  and  let  speculation  alone. — Y^urs, 

"One  Bkhinp  the  Scenes." 

Need  we  point  ont  where  the  puff  lies,  cunningly  as  it  is 
wrapped  up  in  the  attack  upon  a  music-seller  ? 

But  while  we  are  upon  the  matter  we  may  as  well  give  our 
friend  the  Morning  Posia,  turn.  The  following  oddly-phrased 
puff  is  not  beside  the  subject,  and  may  lead,  at  any  rate,  to 
yet  more  sober  and  useful  reflection.  It  is  apropos  of 
Tuesday's  performance  at  the  Opera,  and  is  quite  a  gem  in 
its  way : — 

**  The  sea,  however  roughs  did  not  prevent  Lablaehe  and  Lind  returning 
Itom  Osborne  House  in  time  for  the  opera.  /  Matnadieri  was  given  last 
night  for  the  last  time,  and  ktmever  divided  opinvmaprevaiied,  was  warmly 
received ;  apart  Jenny,  Coletti,  and  Bouch^,  each  of  whom,  in  different 
degrees,  commanding  a  reception  such  as  belongs  alone  to  super-eminent 
artistes  and  well-proven  favourites  of  the  public.  As  to  Gardoni,  one 
Would  not  have  regretted  this  new  opera  being  given  this  season,  were 
it  only-  that  it  has  put  to  the  test  all  this  young  artiste  can  effect  drama- 
tically as  well  as  vocally  as  a  tenore  di  sforza.  This  opera,  w%Xh  its 
consequent  expenditure,  however,  forms  one  of  the  brightest  efforts  of  the 
season,  as  part  of  a  principle  so  long  neglected,  and  as  a  duty  now 
redeemed.  It  is  not  only  that  it  is  utterly  disgraceful  for  the  greatest 
theatre  in  Europe  to  be  constantly  borrowing  and  never  returning  any 
lyrical  BXsouRCKs,  but  the  production  of  novelty  \%  essential,  tn  the  long 
run,  to  the  existence  as  well  as  to  the  progress  of  art,  as  a  boon  to 
encourage  the  rise  of  new  composers.  One  can  but  smile  at  those  who 
would  fMve  it  considered  as  the  greatest  merit  to  enact  only  old  works. 
This  is  a  very  convenient  and  economical  process  of  management ;  but 
even  the  chffu-dfoeuwre  will  not  live  on  the  stage  unless  new  and  interest- 
ing works,  even  though  they  be  inferior,  do  not  keep  up  the  filiation  ; 
as  we  see  in  the  drama,  the  faultless  works  even  of  Shakspere  without  a 
stage,  because  In  our  age  the  real  dramatists  are  too  rare  to  produce  a 
sufficient  number  of  plays  to  keep  up  the  interest  in  classical  works. 
To*morrow  Sonnambula  will  be  given  for  the  last,  and  on  Saturday  we 
hope  Le  Nozze  for  the  first  time  this  season,  with  such  a  cast  as  was 
never  before  thought  of/' 

It  is  amusing  to  remark  the  wriggling  about  Verdi's  opera. 
Even  the  Post  cannot  get  over  the  fact  of  its  disastrous  failure ; 
and  the  boast  about  managerial  wisdom  aqd  liberality  is  some- 
what vague  when  we  consider  on  what  worthless  stuff  mana- 
gerial wisdom  and  liberality  has  been  in  this  instance  expended. 
The  blow  at  the  Royal  Italian  Qpera  is  well  intended,  but 
misses  the  mark  ;  since  no  one  will  deny  that  it  is  much  better  to 
perform  good  old  operas  well  than  bad  new  ones  ill.  The 
term  filiation  is  employed  with  a  beautiful  independence  of 
meaning  ;  and  the  **  never- before  thought  of"  cast  of  Figaro 
is  very  amusing,  when  we  consider  that  it  is  inferior  both  in 
completeness  and  in  individual  excellence  to  the  cast  at  the 
rival  establishment. 

The  next  puflfthat  attracts  our  attention  is  more  astonishing 
than  all  the  rest : — first,  because  it  contains  a  comparison 
between  Malibran  and  l^ind,  and  gives  the  palm  to  the  latter, 
with  singular  coqtempt  of  truth  ;  and  second,  because  it 
aj)pears  in  the  respectable  pages  of  Blackwood's  Magazine : — 

**The  Italian  Oprra  and  Jenny  Lind. — Her  Miyesty's  Theatre 
upon  a  gala  night  presents  a  very  gorgeous  spectacle,  and  I  do  not 
wonder  that,  apart  from,  the  music,  it  is  a  place  of  so  ipuch  attraction. 
The  mere  sight  of  the  company  is  enough  to  strike  us  poor  provincials 
with  astonishment ;  for  I  believe  that  in  no  other  assemblage  in  the 
world  will  you  see  so  much  beauty,  rank,  and  elegance  congregated 
as  here.  The  opera  of  the  evening  was  the  Sonnambula,  and  after  the 
curtain  had  risen,  and  the  preliminary  scene  was  over,  a  fair,  fresh, 
innocent-looking  girl^  attired  in  peasant  costume,  tripped  upon  the  stage, 
and  the  storm  of  applause  which  literally  shook  the  house  welcomed  tbe 
appearance  of  the  famous  Swedish  singer.  ♦  •  •  The  great 
charm  of  her  performances  seems  to  be  this— Ma(  she  combines  together 
in  sxtraordmory  perfection  the  leading  qualities  of  the  actress  and  th^ 


snig^r*  lifi^bing  cq\^ld  be  niQM  patvral,  more  tWcl^i^*  fi^  ^^^  *W»- 
tfful  f)ian\he  tn&^n^  in  wfjich  ||ie^bctdied  the  eharacter  9f  Am^|.  |^d 
I  write  ibis  witk  tl^[  full  ipeifl^iy  ^f  the  exquisit^  M^jibffn  befpre  me. 
But  Jdalihran^  vmk  all  iM  grace  c^  genius,  wsa  mqi[e  artrflmif  than 
Jenny  lAnd.  She  always  made  it  visible  to  you  that  somewhai  of  her 
simplicity  was  ais^mfi4  9  9n4  occasionally  she  rather  imitated  ths  archness 
oj  thegrisette,  th({n  ihf  nqft,  modesi,  ^nd  y^  play fiU  demeanour  of  the 
viUago  maiden,  Jenny,  on  the  other  hand,  i*  feoltless  in  the  expression 
of  i^er  emqt^qn^.  ^^bether  she  is  giving  way  to  a  burst  of  confiding 
love,  or  chiding  her  betrothed  for  his  jealousy,  or  repelling  with  vexed 
impatience  the  approaches  of  the  libertine  count,  she  never  for  a  momt-nt 
ia  untrue  to  the  proper  nature  of  *  her  character.  1  never  saw  any  thing 
so  perfect  as  the  sleep-walking  seonA;  Siddons  eouid  not  kfiim  itmt  it 
better :  and  if  mesmerism  had  often  such  ^harming  pupih,  it  would 
soon  become  a  popular  science.  Her  voice  in  singing  is  most  charming, 
hut  I  think  it  strikes  one  less  with  surprise  at  its  compass,  tl^in  witli 
delight  at  the  exquisite  melody  and  birdlike  clearness  of  its  tones.  Indeed, 
no  more  appropriate  name  could  have  been  bestowed  on  her  than  that 
by  which  she  is  now  familiar  throughout  Ewrope—the  peerless  Nighitngale 
of  Sweden." 

That  old  <*  Christopher  Nor|h"  should  have  issued  from 
the  mountains,  to  write  sugIl  a  jumble  of  unmeaning 
rubbish,  we  confess,  surprises  us  not  a  little ;  but  we  presume 
he  had  a  good  place  for  his  trouble.  Nevertheless,  is  it  not  a 
8;id  thing  for  art,  tbat  one  of  the  great  whips  of  critipism,  ths 
boasted  enemy  o(  charlatans,  the  crusher  of  rising  genius  in 
the  bud,  the  mighty  censor  of  letters,  the  brag,  the  bally,  the 
swaggerer  of  the  monthly  press,  the  critic  who  lashed  with  his 
wordy  cat-o'-nine-tails  the  brawny  shoulders  of  Wordsworth, 
the  nervous  frame  of  Byron,  and  the  frail  form  of  Shelley ;  is 
it  not  a  sad  thing  for  art  that  even  this  self- constituted  authority, 
so  severe  in  censure,  so  chs^ry  of  praise,  so  suspicious  of  inno- 
vation, so  sceptical  of  original  merit,  should  thus  condescend 
to  enroll  himself  among  the  motley  company  of  puffers,  that, 
defying  the  God  of  truth,  set  up  a  golden  calf  in  Horeb,  and 
kneel  down,  cringing,  in  the  dust  before  it ! 

But  we  are  tired  of  the  subject.  No  one  will  accuse  us  of 
having  received  with  coldness  the  claims  of  Madlle.  Jenny  Land 
on  her  first  appearance  here.  We  were  even  studious  to  be 
kind,  wishing  rather  to  foster  a  youthful  talent  by  encourage- 
ment than  to  blight  it  by  disdain.  But  when  after  her 
striking  failure  in  Norma,  a  part  she  attempted  at  the  most 
unwise  suggestion  of  her  friends,  we  find  her  admirers  not 
only  lauding  her  for  greatness  where  they  should  have  cen- 
sured her  for  mediocrity,  but  instituting  comparisons  in  her 
favour  at  the  expence  of  Grisi,  and  even  of  Rachel,  our 
patience  is  utterly  exhausted,  and  we  can  but  Hft  up  our 
hands  in  amazement  and  our  voice  in  remonstrance.  It 
remains  to  be  seen  how  long  this  madness  will  endure.  We 
give  it  until  next  season,  between  when  and  now  the  eyes  of 
the  .provincials  will  be  opened,  and  the  fever  of  the  metropo- 
litans abitei.  Midlle.  Jemiy  Lind  will  th^n  fall  into  the 
position  for  which  nature  and  art  have  qualified  her— thab  of 
a  clever  and  promising,  but  not  of  a  great,  much  less  of  an 
extraordinary  dramatic  singer.  S. 

[In  the  above,  which  we  have  been  requested  to  insert  and 
insert  with  pleasure,  although  we  consider  it  somewhat  over-* 
drawn,  will  be  recognised  the  style  and  the  initial  of  an 
ancient  and  highly  respected  conductor  of  the  Musical 
World.— Ed."] 

•  Which  insinuated  that  the  great  charm  of  an  actress  and  singer  is  tht^ 
she  can  act  and  sing :— a  platitude  worthy  of  the  magazine  that  voted 
Coventry  Pfttmore  jw.    £d). 

SHAKSPERE'S   HOUSE. 

Trs  preservation  of  Shaksper^'s  house  oontiaues  la  ahsofb 
^uivexsal  attention.    Letters  ba^e  appe^^  in  sundry  pRp«rti 

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519 


most  of  which  laud  the  projection  of  the  undertaking,  and  are 
not  stinting  in  their  vituperations,  against  Lord  Morpeth  and 
Her  Majesty's  government,  for  their  refusal  of  co-operation 
and  assistance.  But  while  the  government  is  apathetic, 
Prince  Albert  comes  forward,  and  the  Queen  Dowager,  and 
others  of  high  names  with  the  Corporation  of  Stratford,  all 
subscribing  handsomely — at  least  so  we  read  in  the  Examiner, 
which  gives  the  following  on  dit. 

"We  understand  that  a  communication  hu  been  addressed  to  the 
committee  of  the  Shaksperian  Society,  at  Stratford-upon-Avon,  by 
command  of  Prince  Albert,  intimating  that  it  is  the  intention  of  Hia 
Royal  Highness  to  contribute  a  donation  of  £2^.0  to  the  fund  which  it 
Is  proposed  to  raise  for  the  purchase  of  Shekspere^t  house.  This 
■uinifiocnt  contribution  has  been  rendered  still  more  valuable  to  the 
committee  by  the  assurance  which  accompanies  it  of  the  strong 
Interest  felt  by  His  Royal  Highness  in  the  preservation,  as  national 
property,  of  a  dwelling  which  is  connected  with  the  greatest  name  in 
English  literature.  Her  Majesty  the  Queen  Adelaide  has  been  graciously 
jpleased  to  honor  the  proceedings  of  the  committee  by  her  patronage  and 
«  donation  of  £i00.  And  the  Corporation  of  Stratford  has  voted  the 
f^  liberal  donation  of  £100  for  the  same  object." 

Wc  read  the  same  announcement  in  the  London  and  Liver^ 
pool  Advertiser.  But  the  strangest  thing  is  yet  behind. 
Another  letter  has  appeared  in  the  Examiner^  which  is  likely 
to  bring  the  undertaking  to  a  very  different  issue  from  what 
was  expected.  It  would  appear,  were  we  to  judge  from  this 
letter,  that  Shakspere's  house — so  called -*i8  not  Sfaakspere's 
liouse  at  all,  and  that  all  the  war  of  words,  which  has  been 
llttely  engendered  by  Mr.  Walter  Savage  Landor's  enthusiastic 
letter  in  the  Examiner^  has  had  its  origin  in  a  fantasy  and  is 
likely  to  end  in  smoke.     The  letter  runs  thus  :— 

'*  To  ih$  Editor  of  M«  Esaminer, 
*' Sir.— There  is  an  enthusiastic  and  generous  letter  in  your  BxanUner, 
ft  the  '^4th  of  last  month,  from  Mr.  Walter  Savage  Landor,  complaining 
|hat  Government,  and  Lord  Morpeth  in  particular,  had  refused  to  purchase 
the  house  in  Henley-street,  Stratford -on- Avon,  which  has  been  for 
Bany  years  exhibited  as  that  in  which  the  immortal  Bard  of  Avon  first 
inw  his  breath.  For  the  information  of  Mr.  Landor,  and  I  fear  of 
yiaoy  ethers,  I  take  this  means  to  inform  him  and  them,  from  proofs 
which  I  could  hereafter  give,  that  the  bouse  in  which  Sbakspere  was 
bom  is  no  more  known  than  is  the  birth-place  of  Homer,  of  the  prophet 
Isaiah,  or  of  the  divine  legislator,  Moses.  These  saered  and  profiwe 
writers  are  Icnowa  only  through  their  works ;  but  tbiough  them  they 
must  be  known  till  chaos  shall  return  and  time  be  no  more,  and  this 
ought.to  be  enough.  I  greatly  admire  the  spirit  and  generosity  exhibited 
is  Mr.  Landor's  letter;  but  I  should  most  sadly  have  grieved  if  the 
Glovemment  had  coincided  in  his  views.  An  old  friend  of  mine,  a  native 
of  Stratford-on-Avoii  and  an  idoliser  of  Sbakspere,  and  myself,  some 
linr  years  since,  through  the  public  press,  endeavoured  to  do  away  with 
IJUs  deception ;  but  the  eihibitioo  of  the  old  dwelling  was  profitable  to 
the  show-woman,  and  yisitois,  in  such  a  case,  had  no  objection  to  be 
deceived ;  and  so  it  has  gone  on  to  the  present  day,  and  perhaps  will  go 
on :  but  Lord  Morpeth  and  the  Government  shall  have  my  most  hearty 
thanks  for  not  malting  themselves  agents  of  or  participators  in  it.  For 
the  information  of  Mr.  Landor,  whose  generous  enthusiasm  I  so  greatly 
•fUnire,  I  shall  be  hsppy  to  look  up,  should  he  wish  it,  the  publication 
Uk  which  the  proofs  of  the  deception  above  stated  appeared,  and  I  have 
pO  doubt  whatever  but  they  will  be  perfectly  satisfactory  to  his  mind. 
It  is  sufficient  for  the  lovers  of  Sbakspere,  and  the  inhabitants  of 
Stratfcrd-on-Avon  in  particular,  to  know  that  theirs  is  the  birth-place  of 
the  Bard ;  and  if  I  were  an  inhabitant  of  that  tovm,  it  might  perhaps 
aCTord  me  little  pleasure  to  reflect,  that  for  aught  I  knew,  or  any  one 
dse  knew,  the  house  which  I  inhabited  might  stand  on  the  very  spot  over 
which  vras  the  room  In  which  the  wonderful  child,  William  Sbakspere 
first  drew  bis  breath.  If  this  would  not  afford  me  pieasore— 'for  it  is 
Merely  conjectaral-^I  can  aflirm  on  grounds  free  from  suspicion,  that 
#ftc&tiBAes  some  pleaaurable  sensations  do  ariie  in  my  mind,  wben  I 
fMcet  tliat  the  grbundworic  of  the  little  cducatioB  I  received  was  laid  in 
ibt  same  school  in  which  the  boy,  William  Sbakspere,  with  his  satchel 
lUid  s^iog  morning  face,  went  unwillingly  (perhaps)  to  school.  This, 
I  observe,  to  me  has  always  been  a  source  of  pleasure ;  I  mention  it, 
however,  not  1  hope  in  the  spirit  of  vanity,  as  a  "  landator  temporit 
§ictk"  m0  *f  qu9ro;'  but^  merely  to  show  to  Mr.  J.im4or  that  I  have  some 


personal  knowledge  of  the  matters  concerning  which  I  vnite.    And  with 
this  conclusion  I  subscribe  myself, 

Your  obedient  servant, 
Oao.  WiLKXKS,  Panonago,  Wis,  noar  MamUngtrte,  Aug.  3, 1847; 

The  aboTC  letter  is  apparently  written  by  one  who  is 
satisfied  he  can  prove  what  he  advances.  We  have  little 
doubt  that  Mr.  Walter  Savage  Landor  will  at  onc^  accept  the 
proffer  of  Mr.  Wilkins,  and  investigate  the  mystery  of 
6hak«per6*s  birth-place.  After  the  above  letter  it  is  not  to 
be  expected  that  any  one  would  advance  a  doit  in  the  way 
of  subscription  until  Mr.  Wilkins's  communication  be  proved 
to  be  an  error,  and  the '  birth-place  of  the  poet  be  incontro- 
vertibly  established.  From  the  commencement  we  did  not  put 
much  heart  i^  the  undertaking ;  we  conceived  that  it  would 
be  nothing  bietter  than  expending  energy  and  enthusiasm  in  a 
wrong  direction  to  glorify  the  poet»  and  we  shrank  from 
over-exerting  ourselves  in  the  cause,  because  we  conceived 
that  ths  preservation  of  the  house  was  an  uttar  impossibility 
for  more  than  a  very  brief  period ;  but  we  nevertheless  spied 
faintly  in  the  distance  a  real  good  that  would  result  therefrom. 
The  attention  of  the  public  would  be  called  to  the  fact  that 
no  national  Monument  has  been  erected  to  him  who  was  the 
greatest  of  all  England's  great  men,  and  that  it  would  be  time 
BOW  to  entertain  a  thought  of  honoring  Shakspera  with  some 
lasting  memorial  to  which  every  individual  in  the  kingdom 
might  have  it  in  his  power  to  bring  his  offering.  Let  the 
money  already  collected  for  the  preservation  of  a  house,  where 
he  was  not  born,  stand  as  the  first  item  on  the  list  for  the 
subscription  to  the  new  national  Shaksperian  monument^  and 
let  a  general  collection  take  place  throughout  the  united 
kingdom.  Even  were  the  house  proved  to  be  that  in  wl.rch 
Sbakspere  was  bom,  we  should  vote  for  the  money  being  Inid 
out  towards  the  erection  of  a  national  monument,  ior 
expended  in  that  way  alone  would  it  have  any  enduring 
results.  Mr.  Wilkins's  letter  is  quite  satisfactory  to  us  ;  and 
we  have  no  doubt  a  cheat  has  been  long  practised  on  the 
public,  which  should  be  immediately  investigated  and 
expos^.  We  trust  that  those  who  subscribed  towards  the 
preservation  of  Shakspere's  birth-place  will  not,  when  the 
deception  is  laid  bare,  withdraw  their  several  sums,  but  leav© 
them  in  the  hands  of  the  committee,  to  go  towards,  what  we 
have  already  hinted  at»  the  erection  of  a  Grand  Natiokal 
Monument  in  honor  of  Shaksferb. 

RONCONI. 

(FVsm  the  London  and  Uotrpoot  AdvertiiorJ 
Of  Signer  RoneoBi  as  a  mere  singer,  we  shall  not  speak.  His 
high  talent  in  this  respect  is  universally  acknowledged,  and  it  is 
not  to  be  forgotten,  that  he  alone,  of  all  the  barytones  at  pre^mt 
in  England,  has  known  bow  to  conciliate  the  favour  of  a  far  more 
fastidious  public  than  our  own — that  of  Paris.  But  as  an  actor 
Signor  Ronconi  has,  as  vet,  had  scant  measure  of  Justice  done  to 
his  genius — for  a  man  of  genius  he  undoubtedly  is,  and  such  men 
are  rare  upon  the  stage.  France  owns  but  one  great  tragic  artist 
— a  woman— we,  of  course  allude  to  Mademoiselle  RacheL  We 
ourselves  have  none.  Germany  is  at  present  equally  wanting ; 
aad^n  the  Italian  stage  with  the  es:||ptioD  of  Madame  Qrlu,  we 
find  none  but  Signor  Ronconi.  unrivalled  as  the  genius  of 
Lablacho  in  the  b^o,  b  that  of  Ronconi  in  the  higher  and  nobler 
walk  of  his  art.  Since  the  elder  Kean  we  have  seen  no  artist  to 
be  compared  with  him.  Possiblv  he  is  too  prone  to  sacrifice  a 
merely  vocal  beauty  to  a  great  aramatic  effect,  but  this  is  a  fault 
which  we  should  be  pleased  to  recognise  more  frequently  ki  the 
lyric  artist.  Anything  is  preferable  to  the  cut  and  dry  nioda  of 
vocalisation  which  realises  th^  score  only,  without  touching  the 
intention  or  the  ipspirftion  of  the  composer.  On  the  third  act  t»f 
Maria  dt  Rohan,  that  of  Ronconi— foi  it  would  bo  absurd  to  im- 
pu^  it  m  the  present  instance. to  PonizeU^l^l|^eL^  lh§.ogera 


620 


THE    MUSICAL  WORLD 


rests.  Were  the  music  poorer  and  weaker  than  it  is,^  such  acting 
Rs  that  of  Signor  Rouconi,  in  conjunction  with  liis  fine  vocal 
execution  of  the  part,  must  have  carried  it  triumphantly  through. 
The  first  burst  of  indignant  surprise,  and  the  fine  touch  of  sorrow 
with  which  it  concludes,  on  seeing  the  portrait,  were  worthy  of  any 
artist.  Rachel  never  surpassed  it.  Equally  fine  was  the  terrible 
smile  with  which  the  injured  husband  gazed  on  the  weapon  which 
was  to  revenge  liim — and  grander  still  the  attitude  in  which  he 
received  the  lover.  It  was  a  picture  conceived  and  executed  with 
the  will  and  eye  of  a  painter->a  subject  for  study  rather  than  for 
mere  admiration.  The  ^r/irt  with  which  the  scene  was  mingled 
by  the  audience,  were — fine  as  in  a  vocal  poiht  of  view,  it  un- 
doubtedly was — directed  to  the  magnificent  acting  of  Ronconi, 
and  when  he  was  a  second  time  called  before  the  curtain,  it  was  to 
respond  to  the  unanimous  enthusiasm  oF  a  public  rarely  moved 
80  completely  from  their  proverbial  coldness.  As  a  great  tragic 
delineation,  the  part  must  take  place  and  raink — in  spite  of  the 
comparative  poverty  of  the  score— at  the  side  of  the  highest 
exertions  of  tragic  genius.  Not  a  gcsturo  which  was  not  instinct 
with  it— not  a  note  but  was  subservient  to  the  tragic  purpose  of 
the  actor  escaped  from  Signor  Ronconi.  He  is  a  clever  buffo 
, singer,  but  as  a  male  tragedian  he  stands  alone  on  the  modern 
stage.  This  is  high  praise — but  wo  appeal  to  the  whole  range  of 
Roncohi's  serious  parts  to  justify  it.  Why  is  it  that  the  Direction 
of  the  Italian  Opera  at  Covent  Garden  do'  not  produce  the  Beatrice 
di  Tenda  as  well  as  the  Maria  di  Bohan  ?  It  is  a  better  opeia, 
and  Signor  Ronconi  would  find  in  it  even  greater  scope  for  the 
display  of  bis  powers. 

RACHEL  AT  MANCHESTER. 

(From  our  oHfti  Correspondent. J 
Many  of  your  provincial  readers,  who  may  not  have  had 
tbe  gopd  fortune  to  have  seen  Rachel,  would  think  the  leader 
in  last  Saturday's  Musical  World  s.  rhapsody.  Your  Man- 
cbtoter  readers  who  have  had  that  good  fortune  can  now 
voach  for  its  truthfulness  in  every  line,  except  the  one  about 
her  so  soon  quitting  England's  shores.  Luckily  for  us  in  the 
norths  before  returning  to  "La  Bi'lle  France,**  Rachel  has 
accepted  engagements  for  Manchester,  Liverpool,  and,  we 
believe,  Edinburgh  and  Glasgow  also.  The  spirited  pro- 
prietor of  our  Theatre  Royal,  not  content  with  giving  us 
Jenny  Lind,  has  this  week  furnished  one  of  the  highest  in- 
tellectual treats  that  ever  was  given  in  a  theatre  in  Man- 
chester. In  a  theatrical  experience  of  some  two-and- twenty 
years,  we  never  witnessed  any  dramatic  acting  at  all  ap- 
proaching that  of  Mdlle.  Rachel,  on  Monday,  in  Cnmille,  in 
Corneille's  tragedy  of  Lee  Horaces^  Who  could  think,  to  see 
that  fragile  yet  graceful  form,  gliding  as  it  were,  upcn  the  stage 
— that  it  was  capable  of  displaying  such  extraordinary  power  ? 
We  must  confess  that  we  were  not  in  any  ecstacies  with 
French  tragedy — the  strict  adherence  to  the  unities  of  time 
and  place — the  unvarying  unchanging  scene — the  monotonous 
declamation  in  stilted  tones  of  long  speeches,  all  in  rhyme, 
which,  however  varied  in  intonation  by  the  talent  of  the 
different  actors,  still  becomes  wearisome,  from  the  measure 
•beintr  the  same,  and  an  unavoidable  sing  or  whining  em- 
phasis being  given  to  the  concluding  word  of  each  line.  In 
spite  of  all  this,  however,  ^^hen  Rachel  was  once  on  the  stage, 
we  forgot  every  thing  in  admiration  and  wonder  at  the  ethe- 
realized  being  before  U5 !  We  were  fascinated  and  could  not 
witlklraw  our  gaze !  It  is  impossible  to  find  terms  to  express 
adequately  what  is  felt  by  every  one  on  witnessing  such  a 
performance.  All  usual  phrases  seem  so  out  of  place  in 
allusion  to  her— and,  as  to  criticising,  what  is  there  to  criti- 
cise ?— her  performance  is  perfection  from  beginning  to  end  ! 
To  point  out  beauties  even  is  difiScult  where  all  is  so  great, 
suffice  it  to  say,  that  every  scene  of  her's  was  witnessed  with 
winder  and  delight.   The  last  and  greatest  scene  of  all,  where 


she  curses  Rome  and  goads  her  brother  to  the  fatal  cataa* 
trophe,  electrified  the  house  and  in  spite  of  its  bad  taste,  and 
the  evident  exhaustion  of  the  great  tragedian,  Rachel  was 
summoned  before  the  curtain,  after  her  mimic  death,  to  receive 
the  customary  but  ill-timed  tribute  to  her  transcendent  talents. 
The  entire  audience  rose,  the  occupants  of  the  dress  circle, 
pit  stalls,  and  all  to  cheer  her.  She  appears  to-night  in 
Phedra,  on  Friday  in  Virginie,  and  Saturday,  her  last  night 
and  benefit  (so  say  the  bills),  in  Jeanne  d'Arc.  The  rest  of 
Mr,  Mitchell's  company  do  not  call  for  any  particular  remark; 
all  are  respectable,  at  any  rate,  and  that  is  much  to  say  when 
appearing  beside  such  a  brilliant  planet,  for  Rachel  is  more 
than  a  star.  Mdlle.  Rabut  pleased,  indeed  delighted  us  very 
much  in  Valerie  ou  L'Avevgle^  in  which  she  took  the  part  of 
the  blind  girl ;  she  played  it  admirably  and  with  great  feeling; 
at  its  close  she  was  summoned  before  the  curtain.  There  was 
a  bumper  house,  ^o  far  as  regards  dress  circle  and  stalls,  a 
good  pit,  and  the  rest  of  the  house  empty.  French  plays  do 
not  attract  a  gallery  audience,  but  we  were  surprised  to  see 
so  few  in  tie  upper  circle  of  boxes.  The  critique  you  gave 
in  last  week's  number  of  the  performance  of  the  glorious 
band  of  amateurs,  for  the  benefit  of  Leigh  Hunt,  from  the 
Liverpool  Chronicle^  would  apply  exactly  to  the  same  per- 
formance in  Manchester.  Dickens  was  truly  great,  here- 
minded  us  in  Jerry  Bumps  of  Charles  Mathews  ;  so  perfect  is 
his  study  that  he  could  prompt  any  one  at  fault,  and  in  one 
instance  gave  a  little  bit,  impromptu^  to  fill  up  a  momentary 
lapsus  of  one  of  his  brother  amateurs.  As  the  actors  appeared, 
and  each  well-known  name  was  recognised  in  the  persons  of 
its  owner,  they  were,  one  and  all,  warmly  welcomed  by  the 
audience,  especially  Dickens,  Lemon,  Jeri'old,  Leech,  and 
Cruikshank.  It  was  a  gratifying  aflfair  on  all  hands  and 
most  gratifying  in  its  results.  It  is  supposed  that  the  nejt 
proceeds  of  the  two  performances  will  realize  something  like 
4^700,  after  paying  the  unavoidable  expenses  of  the  theatres, 
advertising,  &c.  To  their  honour,  be  it  aaid,  not  one  of  the 
gentlemen,  who  thus  devoted  their  time  and  their  talents  t6 
the  aid  of  their  less  fortunate  brethren  would  receive  a 
fraction  towards  then:  travelling  expenses  from  London  and 
back.     They  are  repaid  ere  this  in  their  own  hearts  I 


n  tButtati^t  on  t^t  ^^^f&nitiw^^   of  CBrOtte^ 

IN    ITS  WORLD-HISTORICAL  .SIGNIFICANCE, 
DEYELOFSD  ACCOBDIKa   TO   ITS    MOBAL  AKD   ABTISTICAL   YAX<VX, 

Translated  from  the  German  of  Dr.    Seinrieh   Theodor  Bdte<^ief, 
Professor  at  the  Royal  Gymnasium  at  Bromberg. 

CHAPTER   l\.-{€oniiHued  Aom  pagt  505). 

TBK  DBVILOPMBNT  09  THE  tIMOLB    CHARACTBRt  IN  TUB  "aFFINITIBS." 

After  we  have  seen  the  calm  image  of  Charlotte  in  its  great 
characteristic,  wo  may  watch  it  in  the  expression  of  its  internal 
emotion  and  its  feelings.  In  describing  the  Captain,  we  have  already 
hinted  that  his  clear  ui^derstanding,  his  insight  into  everything  prac- 
tical— altogether  the  security  of  his  nature  must  necessarily  make  a 
lively  impression  upon  a  heart  like  Charlotte's.  This  b  the  more 
natural,  as  Edward  s  quaUties  cannot  in  any  degree  counterbalance 
his  own.  But  how  will  Charlotte  display  herself  on  being  thus 
overtaken  by  her  feelings  ?  Can  she  ever  succumb  to  them  ?  Can 
the  passionate  feeling  ever  so  print  itself  in  her  heart,  that  she  will 
no  more  be  able  to  separate  from  it  9  According  to  what  we  have 
already  developed,  this  is  impossible.  With  an  individuality  sharply : 
delineated,  the  manner  of  its  emotion  is  always  prefigured  to  us  in 
the  firmlv-impresBed  fundamental  characteristics.  Thus  at  the  very  . 
sight  of  dharlotte  we  are  already  internally  conviuced  of  that  8olu« 
tion,  which  is  confirmed  to  us  in  the  seouel. 

In  our  first  section  we  have  showgjWjf^|  according  to  the  rjlg'e^ 


THE  MUSICAL  WORLD 


621 


matter  and  tbe  whole  keeping  of  our  irork  of  art,  the  feminine 
nature  must  stand  in  the  foreground.  The  poet  has,  therefore,  in 
the  two  feminine  individualities,  which  exhibit  to  us  the  necessary 
forms  of  the  solution  in  the  strucrgle  between  the  natural  force  of 
feeling  and  the  law  of  morality,  perfectly  carried  out  the  pi ocess  of 
this  development.  Charlotto  has,  therefore,  naturally  had  a 
greater  abundance  of  thought  bestowed  upon  her  than  her  cor- 
relate, the  captain. 

According  to  her  nature,  the  unfolding  of  this  character  will  be 
completed  in  two  necessary  moments,  which  grow  before  our  eyes : 
in  the  contradiction  and  the  contest  of  the  heart  with  itself,  and  in 
the  perfect  victory  of  the  moral  idea.  According  to  what  has  been 
developed,  the  exhibition  of  the  latter  naturally  takes  the  first  po. 
sition,  and  is  disclosed  on  all  sides  in  its  full  effectiveness.  "  Persons 
who  keep  the  same  pace  roust  become  indispensable  to  each  other ; 
a  reciprocal  good-will  must  result.''  With  this  reflection  the  poet 
introduces  the  sympathy  of  Charlotte  for  the  Captain  The  good- 
will, therefore,  properly  arises  from  this,  that  each  one  sees  himself 
furthered  by  the  other  ;  it  is,  if  wo  may  venture  on  the  expression, 
in  a  certain  measure  drawn  along  by  the  understanding  in  its  very 
origin,  and  is  not  that  pure  disinterested  feeling,  which  immediately 
seizes  on  the  whole  man,  which  entirely  loses  itself  in  the  object, 
and  without  any  reflection  lives  in  it,  on  the  contents  and  basis  of 
feeling.  Even'  in  the  manner,  in  which  Charlotte*s  sympathy  for 
her  friend  is  for  the  first  time  shown,  a  remarkable  trait  of  heV  in- 
dividuality is  brought  forward.  '*  A  sure  proof  of  her  good -will 
was  this,  thbt  she  quite  calmly  allowed  to  be  destroyed  a  beautiful 
resting  place,  which  she  had  particularly  sought  out  and  adorned  in 
commencing  her  improvements,  and  which  was  opposed  to  his  plan, 
without  having  even  the  least  unpleasant  sensation."  If  we  con- 
sider that  Charlotte's  understanding  had  already  approved  the 
Captain's  plan,  we  shall  consider  the  voluntary  abandonment  of  her 
favorite  seat  as  a  proof  rather  of  a  calm  affectionate  good-will  than  of 
passion,  properly  so  called.  In  this  trait,  vie  already  perceive  that 
It  will  hardly  assume  the  aspect  of  consuming  passion.  In  general 
a  sympathy,  which  only  gradually  increases,  excludes  the  peculiar 
quality  of  real  passion.  By  this,  we  by  no  means  say  that  passion 
cannot  and  must  not  increase,  but  still, '  in  its  very  commencement, 
it  will  be  announced  as  a  force,  suddenly*  and  unconsciously  pene- 
trating the  whole  individuality  ;  wo  must,  as  it  were,  from  tbe  first 
Suivering  of  the  flash,  already  feel  a  foreboding  of  the  consuming 
ame.  In  considering  Ottilia,  we  shall  not  be  in  want  of  a  voucher 
for  what  we  have  said,  and  a  counterpart  of  what  we  have  de- 
scribed. 

With  individuals  who,  by  equality  of  pace,  have  become  valuable 
to  each  other,  the  whole  intensity" of  feeling  will  be  preeminently 
manifested  in  those  moments,  when  the  furthering  companion  is  to 
be  removed  from  their  presence.  Thus,  with  Charlotte,  the  power 
of  the  feeling  for  her  friend,  which  has  been  hitherto  suppressed, 
breaks  forth  at  the  moment  \ihen  she  learns  from  the  Count  that 
she  is  to  lose  him.  But  her  natural  mastery  over  herself  gives  her 
before  company  an  artificial  self-possession.  **  Yet  she  was  inter- 
nally torn,  nay,  so  moved,  that  she  looked  out  for  a  fitting  moment 
to  withdraw  from  the  company.  The  full  heart  was  opened  for  the 
first  time  in  solitude  ;  the  thought  of  the  loss,  which  had  hitherto 
been  so  far  from  her.  through  the  sweet  habit  of  living  together, 
now  maintained  its  full  present  power.  The  tears,  already  on  the 
half-way,  burst  from  her  eyes,  and  now  she  flung  herself  into  the 
narrow  space  of  the  little  hermitage,  and  abandoned  herself  entirely 
to  a  pain— a  passion — a  despair,  of  the  possibility  of  which,  a  few 
moments  before,  she  had  not  even  the  slightest  suspicion."  With 
a  nature  like  Charlotte's  we  measure,  by  such  an  outbreak  of 
feeling,  the  greatness  of  the  heart-force.  If  in  this  individuality 
the  perfect  victory  of  the  moral  consciousness  over  the  natural 
force  of  feeling  is  to  be  exhibited,  we  cannot  dispense  with  the 
expression  of  the  latter,  to  comprehend  the  importance  of  the 
former.  Even  Charlotte  must  become  a  prey  to  such  n  moment. 
.  This  involuntary  force,  which  the  feelings,  in  opposition  to  moral 
consciousness,  exercise  upon  Charlotte,  is  now  manifested  in  a 
double  way :  first,  in  the  region  of  imagination,  and  then  in  the 
domain  of  reality.    The  first  forms  into  living  shapes  that  which 

-* 

*  TbeQerman  word  is  stronger  t  "uriilOtiUcb,*>  that  is,  vitli  oHginai  sad- 


govcrns  us  internally.  Here  it  appears  as  the  involuntary  forrrin? 
power,  of  which  man  is  not  master,  but  which  first  rightly  un\oils 
nis  most  internal  condition.  The  very  fact  that  he  is  unablo  to 
destroy  the  forms  which  furcc  themselves  upon  his  imagination,  and 
to  supply  their  place  with  others,  exhibits  him  to  us, in  this  activity, 
as  the  product  of  a  **  w:)l-lcss"  power.  To  havo  fallen  so  com- 
pletely under  this  power,  that  the  imagination  must,  as  it  were, 
make  living  the  imago  which  rests  upon  the  ground  of  feeling,  that, 
in  opposition  to  all  better  knowledge,  it  comes  forth  victurious— > 
this  makes  the  tone  of  the  man,  at  such  moments,  perfectly  unfree, 
and  the  man  himself  the  mere  instrument  of  a  natural  [)owrr.  This 
is  shown  in  Charlotte  at  the  moment,  when,  with  her  husband  in 
her  arms,  she  is  not  able  to  banish  tlio  image  of  the  Captain,  when 
each  of  the  two  impassioned  poisons  commits  the  crime  of  thoutjhU 
and  the  imagination,  by  its  right,  which  it  maintains,  announces  the 
strength  which  the  natural  force  of  feeling  has  enveloped  the  indi- 
▼idual. 

Af^er  such  a  crime,  which  appears  in  the  soft  element  of  the 
imagination,  ought  wo  to  wonder  that  reality  also  demands  its 
tribute,  and  obtains  it  the  sooner,  the  more  intimate  the  individual 
has  made  himself  with  the  object  of  his  affection,  the  more  he, 
while  apparently  guiltless,  has  filled  himself  with  that  object  ?  But 
reality  properly  avenges  only  the  innocent  compliance  on  this 
willingly-moving  power,  and,  at  the  same  time,  reveals  the  truth  of 
this  innocence  and  of  this  play  of  imagination.  But  here  also  tbe 
character  of  the  surprise  must  not  be  denied.  It  is  not  a  situation 
derived  from  the  subject  (person),  nor  designed  by  that  subject, 
that  must  unfold  to  us  the  power  of  the  heart.  This  would  pre- 
suppose a  familiar  intercourse  with  the  enemy  watching  within,  an 
open  compact,  which  it  would  be  difficult,  nay,  impossible  to  break 
—•nay,  the  individual  would  already  havo  parted  with  moral  shame. 
The  more  involuntary  all  appears  to  be,  the  more  chance  has  intro- 
duced  the  fatal  situation,  tne  more  decidedly  does  the  sensationi 
which  has  hitherto  been  kept  back  by  circumspection  break  forth. 
Here,  for  the  first  time,  it  is  clear,  what  little  command  the  most 
sensible  and  most  confident  natures  have  over  themselves,  and  how 
all  real  moral  consistency  must  be  gained  by  a  struggle  with  the 
evil  one.  It  is  not  until  reality  opens  the  precipice  to  wiiich  the 
individuals  are  led  by  the  "  afitinity"  of  their  feelings,  that  they 
completely  recognise  it,  and  trembling  shrink  back. 

All  must  be  combined  to  augment  the  danger  for  Charlotte 
and  the  Captain,  and  to  make  manifest  the  astonished  feeling. 
Charlotte  filled  with  the  image  of  the  friend,  who  is  now  about  to 
depart,  on  a  waving  boat,  at  the  breaking  in  of  darkness,  confided  by 
remarkable  circumstances  to  her  friend  as  a  beloved  burden,  which 
he  is  to  carry  to  terra  firma^  and  finally  clasped  in  the  arms  of 
this  man,  who  is  so  passionately  moved,  and  is  so  dear  to  her,  is 
no  more  able  to  oppose  a  safe  resistance  to  the  elements  which 
thus  storm  upon  her ;  her  strength  seems  for  a  moment  to  succumb 
to  such  a  special  coincidence  of  circumstances  and  her  nature 
otherwise  so  certain  of  itself  to  depart  from  its  equilibrium.  Ttiis 
moment  of  s&lf-forgetfulness  is  however,  at  the  same  time,  a  turning 
point  for  Charlotte.  It  only  serves  to  collect  again  the  usual 
strength,  which  has  been  forced  back  and  to  summon  it  to  energetic 
resistance.  With  a  nature,  which  is  always  accustomed  to  be 
conscious  of  itself, — to  command  itself,  such  a  moment  of  self- 
forgetfulness  makes  an  epoch  for  our  entire  life,  shows  it  the 
danger  in  which  it  is  floating,  and  summons  ^ywy  power  to  meet 
it.  VsUt  if  man  has  once  comprehended  his  inmost  emotions  in 
words,  he  appears  before  them,  to  a  certain  degree,  in  the  cha- 
racter of  a  master.  Hence  Chariotte's  clear  moral  mind  cele- 
brates here  —  juH  where  it  seems  to  have  lost  itself  —  its  most 
beautiful  triumph,  which  in  the  most  eloquent  exhortation  to  self- 
controul  manifested  itself  \^ith  as  much  dignity,  ai  with  a  spirit 
truly  feminine.  "  We  cannot  prevent  this  moment  from  making 
an  epoch  in  our  lives,  but  it  depends  on  ourselves,  whether  it  will 
be  worthy  of  us.  You  must  depart,  dear  friend,  and  you  will 
depart.  I  can  only  forgive  you— I  can  only  forgive  myself,  if  wo 
have  tbe  courage  to  change  our  position,  since  it  does  not  depend 
on  ourselves  to  alter  our  sentiments.*'  In  these  words  the  usual 
position  of  Charlotte  is  expressed  in  the  most  concentrated  and 
all-sided  manner.  In  this  self-possession,  what  a  trembling  of  the 
heart,— in  the  victory,  what  an  uneasy  care,  not  to  tempt  the 
strength  once  more  and  play  a  thougntless  game  with  diin^er! 


6n 


TfiE  MUSICAL  WORLD. 


Wo  here  penetrate  the  self-consciousnesf,  of  a  mor»1,  self-coh- 
f rolling  nature,  which  at  once  considers  the  moment  as  a  warning 
to  its  moral  dignity,  to  vihich  it  has  to  respond,  with  a  conscious- 
ness of  guilt,  which  can  only  be  atoned  by  persevering  in  the 
former !  How  equally  removed  from  a  fluttering  palliation  of  what 
has  happened,  and  a  presumptuous  confidence  in  one's  own 
strengtn !  How  clearly  at  last  does  her  pure  sense  distinguish 
that  which  is  inevitable  and  not  to  be  annihilated  in  the  sonti- 
ments,  from  that  which  belongs  to  the  freedom  of  man,  and  by 
which  therefore  his  guilt  can  be  alone  conditioned.  For  It  is  not 
until  that  which  is  not  to  be  destroyed,  that  region  of  feeling 
which  lies  bevond  her  power  is  knoWn  as  such,  that  the  individual, 
by  means  of  bis  freedom,  is  able  to  escape  its  consequences.  Here 
first  begins  the  imputation  of  guilt.  Fot-  the  last  giound,  for  the 
sentiment,  which  has  attained  the  immediateness  of  feeling,  the 
indi'^idual  can  no  more  be  made  responsible,  but  he  can  bo  made 
so,  if  he  does  not  voluntarily  endeavour  to  free  himself  from 
the  dark  power  he  has  recoRuised.  Hence  all  that  Charlotte  can 
require  or  herself  and  her  friend  is  to  change  their  positions.  This 
first  brine:s  to  the  light  of  day,  that  which  ripens  in  tho  deepest 
abyss,  this  first  calls  forth  the  &talit^  of  an  invincible  sentiment  io 
a  tragic  conflict,  in  which  it  )s  certain  of  victory, 

{To  be  continued,) 

H*  I^  iirereiit  miittnderstandiof ,  U  may  be  stated  that  the  copfright  of  this 
tianslatiaii  belongt  soUly  to  tbe  translator. 

iONNET. 

[No.  XLVIL 

Thbbk  was  a  time  I  hoped  to  find  repose- 
Hoped  that  life's  troubles  Would  ere  long  be  past— 
ISmdil  troubles  those;  they  wei-e  not  such»  as  cast 

On  the  heart,  scorch  it  till  It  wildly  glo^s.-^ 

Yei  I  then  hoped  that  I  should  shortly  done 
The  gate  upon  all  wdrldly  troubles  fakt, 
And  calmly  seek  in  tnine  own  soul  at  last 

That  holy  fount  which  for  the  chosen  flows. 

But  all  those  tranquil  hopes  are  now  no  more ; 
They  were  young  dreams  of  what  eould  never  be« 
tis  mine  to  float  on  waters  without  shore. 

Without  a  goal : — repose  is  not  for  me. 
And  I  wiU  bid  the  anery  billows  roar, 
Hating  repose.    Rolf  on,  thou  stormy  sea. — N.  D. 

a^— »i^<l  I      ■«■■   ■    ■■! •       III        ■  I  Willi     H^ 

DMMATIC   INTCLLIOENOe. 

Peimcbs&'s. — This  theatre  closed  for  the  season  on  Saturday 
night  'the  entertainments  consisted  of  some  minor  pieces, 
the  firincipal  parts  of  which  were  sustained  by  Mr.  Charles 
Mathews.  Mr«  Maddoxi  in  the  course  of  the  evening,  deli- 
vered the  following  address : — 

"  Ladieft  and  Gentlemen, — After  having,  with  the  exception  of  a  vaca- 
ti6D  of  ten  days,  kept  open  house  continually  for  two-and- twenty  months, 
I,  thanks  to  your  kind  patronage,  bring  my  season,  for  the  seventh  time, 
to  a  successful  termination.  My  expenditure  has  been  great,  but  your 
generous  support  has  not  only  enabled  me  to  reimbuise  myselft  but  has 
given  me  a  fair  margin  of  profit  into  the  bargain.  1  do  not,  ladies  and 
gentlemeti,  nuke  so  unwise  a  boast  as  to  say  that  *  This  is  the  only  thea- 
tre ia  which  the  legitimaie  drama  has  found  a  refuge'— or  hasard  so 
u«»founded  an  assertion  as  that,  '  even  when  Shakspere  speakst  it  is  to 
scanty  audiences/  on  the  contxmry,  Shakspere  does  speak  here,  has 
spoken  here,  to  anything  but  'scanty  audiences/  as  crowded  audiences 
and  my  pocket  cai^  testify.  I  think  that  we  are  as  '  legitimate*  as  any- 
body. Mr.  Macieady  and  Mrs.  Butler  are  '  legitimate,*  lawful  children — 
true  representatives  of  our  divine  bard.  And  iS  not  the  talented  Miss 
Cushman — whom  I  first  had  the  honour  of  introducing  to  a  British 
public — •  legitimate,*  toot  And,  by  the  way,  1  am  proud  to  tell  you  that 
I  have  formed  Sn  en^gement  with  that  lady  to  appear  in  Shakspetian 
plays,  in  conjunction  with  Mr.  Macready,  on  the  opening  of  our  next 
campaign.  If  that  be  not  'legitimate,'  1  know  not  what  is.  After  all,  the 
true  test  of  public  opinion  is  wen-filled  benches,  such  as  I  now  see  around 
roe.  and  the  very  first  aeason  that,  in  making  up  my  accounts,  1  find  that 
I  am  a  loser,  I  shall  think  '  there  ia  something  rotten  in  tbe  sUte  of 
Denmark/  and  that  my  mode  of  catering  for  your  amusement  is  un« 
palatable :  bat  until  that  time  arrives  I  shall  pursue  my  present  course, 
exerting  all  my  energies  to  please,  to  give  you  every  satisfaction;  and, 


when  I  isme  my  programme  for  the  forthcoming  season,  f  feel  convinced 
that  the  important  engagements  it  will  announce  will  secure  a  contlnb« 
ance  of  your  kind  patronage.  For  the  unvarying  success  whidh  MA 
attended  my  labours  as  lessee  of  this  theatre,  I  beg  to  tendef  you  fttf 
most  sincere  thanks ;  and,  furling  the  banner  of  the  Princess's  for  a  Ptw 
weeks,  in  the  name  of  myself  and  the  ladies  and  gentlemen  of  this  esta<« 
blishment,  I  most  gratefully  and  respectfully  bid  you  farewell." 

We  are  very  well  pleased  to  hear  that  Mr.  M&ddox  lias 
obtained  a  fair  **  margin  of  profit,"  as  he  poetically  calls  it,  to 
reimburse  him  for  his  expenditure,  and  we  agree  .with  hitn 
that  it  would  be  unwise  to  make  a  boast  **  that  his  was  the 
only  theatre  in  which  the  legitimate  drama  had  found  a  refbge*' 
— simply  because  it  would  not  be  true.  Certainly  Mr.  Maddoic 
has  flown  his  endeavours  at  the  highest  quarry  of  leghimacy, 
and  if  he  has  not  always  succeeded  in  running  down  the  game 
to  the  best  advantage,  it  must  be  attributed  to  combination^ 
of  circumstances  over  which  he  could  have  no  control.  It 
is  only  at  the  Princess's  Theatre  that  one  of  the  greatest 
actors  of  modern  times,  Macready,  has  now  a  chance  of  being 
seen.  In  the  double  engagement  of  Macready  and  Miss 
Cushman,  the  manager  is  determined  to  take  the  theatrical 
town  by  storm ;  and  if  these  great  artists  bo  well-supported 
by  a  creditable  company — wc  don't  want  all  Cushmans  atid 
Macreadys — we  have  much  faith  in  the  issue,  and  prognos- 
ticate a  plenary  harvest  to  the  treasury  of  the  Princess's. 
Now  have  we  some  hopes  of  seeing  King  John  performed,  and 
Henry  the  Eighth^  and  other  plays  of  Shakspere,  not  hack* 
neyed  of  late,  and  performed  to  perfection  as  fat  as  thi 
principal  parts  are  concerned.  We  cannot  conclude  without 
wishing  Mr.  Maddox  every  success  in  his  endeavour  to  uphold 
the  Shaksperian  drama  at  this  theatre,  and  trust  that  the  issii^ 
of  the  season  approaching  may  be  such  us  his  fondest  expects* 
tions  would  warrant. 

Mr.  Maddox  liberally  granted  his  theatre  on  Thursdftir 
night  for  a  performance  for  the  benefit  of  the  deceased  actor, 
Mr.  Walton.  The  Wife  of  Sheridan  Knowles,  Mrt.  Fahn^ 
Biitler  taking  the  part  of  the  heroine,  and  Mr.  Cresvrick  that 
of  the  hero ;  the  farce  of  Somebody  ElsCf  with  Mr.  C.  Mathews 
and  Madame  Vestris  as  Hans  and  Minnie  ;  the  Jacohite%  with 
Mr.  Buckstone  as  John  Duck ;  and  the  farce  of  Early  Closing^ 
constituted  the  entertainments  of  the  evening.  The  house 
was  well  attended. 

Sadler's  Wells. — A  section  from  the  late  Drury  Lane 
Operatic  Company  have  been  giving  entertainments  at  this 
house  for  some  time  past.  The  corps  consist  of  the  Misses 
Rainforth  and  Rebecca  Isaacs,  and  Messrs.  Allen,  Borrani, 
Uomcastle,  &c. ;  the  bsnd  is  by  no  means  indiflferent,  and 
the  choruses  seem  well  trained.  We  strolled  eastwards  a  few 
nights  since,  and  saw  Maritana  very  creditably  perfortned  at 
the  Sadler's  Wells.  Allen's  Don  Ca;sar  was  decidedly  the 
best  operatic  Don  we  have  seen,  and  the  other  parts  were  well 
filled,  Maritana  being  sustained  by  Miss  Hainforth  in  her 
usual  unpretending  and  expressive  manner.  The  operas 
already  performed  by  the  Company,  besides  Maritana^  wa 
understand,  have  been  Sonnembula^  Norman  &c.  Mr.  TuUy 
is  the  conductot,  and  Mr.  Qriesbach  the  leader — both  highly 
efficient  officers. 

Surrey.— A  son  of  the  celebrated  John  Reeve  made  his 
first  appearance  on  the  stage  on  Monday  evening  at  this 
theatre.  He  took  his  father's  great  part  of  Marmaduke  Magog, 
in  the  Wreck  Ashore^  and,  taking  all  things  into  account* 
acquitted  himself  very  creditably.  As  yet  he  is  a  mere  novice 
in  many  of  the  ways  and  appliances  of  the  stage,  and  at  times 
appeared  sufficiently  awkward  in  consequence;  but,  ne^er^ 
theless,  the  true  vis  comica  was  apparent,  and  the  paternal  p 
whim  and  raciness  were  not  wanting,  and  the  shuffling  gait/^^ 


THE  MUSICAL  WORLD 


623 


and  broad  grin,  that  were  wont  to  set  the  Adelphi  audiences 
in  a  roar,  were  by  no  means  faintly  reflected.  Mr.  Reeye's 
person  is  good  :  he  sings  and  dances  right  well,  and,  in  short, 
hat  apparently  every  requisite  to  make  a  good  comedian. 
After  the  piece  he  was  called  for  and  received  with  great 
applnuse.  Mr.  Buckstone  played  his  original  part  of  Jemmy 
Starling. 

Astlbt's,— A  new  grand  equestrian  piece,  entitled  The 
Prince  of  CypruB^  or  the  Horse  of  the  Elements,  was  pro- 
duced on  Monday  evening  with  the  most  brilliant  success.  It 
is  in  reidity  one  of  the  most  gorgeous  and  surprising  spectacles 
ever  got  up  even  at  this  house.  The  scenery  is  magnificent 
in  the  extreme,  and  the  dresses  and  accessaries  of  the  scene 
on  the  same  scale  of  grandeur.  The  feats  of  horsemanship  are 
novel  and  Striking  ;  nor  is  the  story  indifferent  for  a  piece 
of  this  kind.  The  plot  is  sufficiently  interesting,  and  the 
fortunes  of  the  Prince  are  watched  with  anxiety  from  the 
beginning.  Barry,  as  Squire  to  the  Prince,  was  excellent, 
and  kept  the  audience  in  a  continual  scream  of  laughter  while 
he  was  on  the  stage.  The  only  drawback  to  the  performance 
was  an  accident  that  happened  to  Miss  Henry,  who  was  per- 
forming the  Princess.  In  descending  from  her  horse,  in  the 
second  act,  she  slipped  and  injured  her  ankle  so  much,  that 
her  plac6  was  assigned  to  another  artiste  in  the  establishment. 

DEATH  OF  MRS.  EQERTON. 

Mrs.  Eobrton,  the  well-known  tragic  actress,  expired  at 
her  residence  in  Chelsea,  on  Tuesday,  the  3rd  instant.  She 
was  coteitlpotaneons  with  Mrs.  Siddons,  Mrs.  Powell,  Miss 
0*Neil,  and  Mrs.  Hartley.  Mrs.  Egerton  was  bom  at  Tor- 
rington  in  Devonshire,  in  the  year  1782.  Her  father  was 
the  Rev.  Peter  Fisher,  rector  of  Torrington.  She  made  her 
first  appearance  on  the  stage  at  Bath  in  1603.  It  was  here 
she  first  saw  Egerton,  her  future  husbartd,  who  was  a  per- 
former in  the  satiie  company  iii  which  she  was  engaged.  In 
a  few  years  she  hiadfe  great  prdgress  in  her  studies,  and  her 
name  had  reached  the  metropolis,  In  1810  she  appeared  at 
Covetot  Garden  itl  Juliet.  Mri.  Siddbhs'  retirement  from  the 
stage  in  1809  had  lefl  the  tragic  throne  vacated,  and  it  was 
expected  that  the  new  actress  would^  when  time  and  ex- 
perience had  wrought  their  good  results  in  her^  hftVe  stlpplifed 
the  space  left  void  by  the  great  ex-tragedian.  But  a  more 
dangerous  rival  than  Mrs.  Siddons  statt^d  iip  in  the  person  of 
Miss  O'Neil,  who  in  a  few  years  after  the  death  of  the  great 
actress  burst  upon  the  London  public,  like  a  sunrise  at  mid- 
night. More  dangerous  than  Mrs.  Siddons,  we  have  said, 
inasmuch  as  Mrs.  Egerton  had  to  stand  comparison  tide  by 
side  with  Miss  0*Neil,  and  from  playing  the  same  parts,  wai 
more  exposed  to  relative  criticism.  The  consequence  ivsks 
that  Mrs.  Egerton  abdicated  the  higher  provinces  of  tragedy, 
and  condescended  to  tidopt  the  juvenile  and  melodrama.  She 
soon  found  the  latter  to  be  her  itue  forte,  and  indeed  nothing 
of  the  kind  could  hardly  be  better  than  her  Ravina  in  the 
Miller  and  his  Men^  Meg  Merrilies,  Helen  Macgregor,  Madge 
Wildfire,  &c.,  &c.  Upon  her  husband  assuming  the  govern- 
ment of  Sadler's  Wells,  she  quitted  Covent  Garden.  The 
first  piece  in  which  she  appeared  at  this  theatre  was  Joan  of 
Arc^  and  so  successful  was  her  performance  of  the  heroine, 
that  the  piece  ran  the  whole  season.  She  afterwards  joined 
the  Surrey  corps,  and  subsequently  was  incorporated  with  the 
Olympic  company.  When  Joanna  Baillie*s  tragedy  of  De 
Montjori  was  revived  for  Edmund  Kean  at  Drury  Lane,  Mrs. 
Egerton  was  engaged  to  play  Jane  de  Montford.  In  1832, 
Egerton  and  Abbott  became  lessees  of  the  Coburg  Theatre, 


which  name  they  changed  into  that  of  the  Victoria.  After  ^ 
few  yeftrs  performancefe  at  tliis  theatre,  Mrs.  Egerton  felt  thftt 
her  powers  began  to  fail  her,  and  she  retired  ftoni  the  stag^ 
altogether.  She  died  at  the  age  of  sixty-five.  Mrs.  Egerton 
was  a  member  of  the  Covent  Garden  Theatrical  Fund,  Her 
remains  were  interred  in  Chelsea  church  last  Saturday. 
.  ■       ,  •       ■        i 

Art    ANALYSIS   0^  THE   HUMAN   VOICE. 

Compiled  by  Frrdxrick  WtasTER,  Pro/etior  of  Elocution  to  IkeRayeii 
Academy  of  Mutic. 

(CONTINUBb   FROM  PAOB  490.) 

If  there  should  be  at  any  time  a  doubt  as  .to  the  extent  of  the 
concrete  interval,  let  stress  be  applied  at  its  summit.  When  the 
interval  is  a  note,  the  two  sounds  will  form  the  commencement  of 
the  diatonic  scale  :  for,  with  a  little  ozperience,  the  course  of  thi^ 
scale  can  always  be  recognised  upon  the  execution  of  its  first  aud 
second  decrees.  The  dipthongal  sound  of  a  does  then,  in  this 
case,  pass  through  the  concrete  interval  of  a  tone  ;  the  movement 
being  divided  between  the  s.ounds  of  a  and  e,  the  first  gliding 
imperceptibly  into  the  lasL  But  as  the  question  here  refers  to  the 
extent  of  the  interval  traversed,  and  to  its  upward  direction,  as  well 
as  to  its  concrete  progress,  it  is  necessary  to  guard  against  the 
utterance  df  the  literal  element  with  any  emotion :  for  if  it  be  done 
in  a  plaintive  manner,  with  surprise,  interrogation,  or  other  impres* 
sivc  sentiments,  or  as  if  it  were  the  close  of  a  sentence,  tt)e  concrete 
will  be  some  other  interval  than  the  tone,  or  will  move  in  a  aowh- 
ward  direction  t  this  lone  or  second  being,  as  will  be  shown  here- 
after, the  instinctive  mode  of  intonation,  by  which  the  mind  denotes 
its  simple  thoughts  exclusively  of  feeling  or  passion.  I  have  called 
the  first  part  of  the  concrete,  or  that  of  a,  in  the  above  instance, 
the  Radical  Movement :  beesMse^  with  a  full  beginning  or  opening, 
the  following  portion  of  the  concrete  proceeds  from  it  as  from  a 
base  or  robt.  I  havfe  balled  the  last  piirt,  or  that  of  c.  In  Iho 
example,  the  Vanishing  Movement,  from  its  becoitiing  ^i-kdualiy 
weaker  as  it  rises^  and  finallf  dying  away  \\\  the  upper  extreme  of 
the  tone.  It  must  strike  the  reader  that  these  terms  ban  have  only 
a  rofercoce  to  the  two  extremes  of  the  concrete,  since  the  graduid 
change  of  the  radical  into  the  vanishing  movement  prevents  our 
assigning  an  exact  point  of  distinction  between  them.  When  a 
single  alphabetfc  sound,  capable  of  prolongation,  is  uttered  with 
propriety  and  smoothness,  fand  without  emotion,  it  commences  full 
and  somewhat  abruptly,  lind  gradually  decreases  in  its  upward 
movement  until  it  becomes  inaudible :  having  the  ineremottb  of 
time  in  rise,  and  the  'decrements  df  fullness  equally  progressive. 
Let  us  call  this  movement  the  Equable  Concrete,  The  varieil 
mode  of  the  vocal  function  in  Song  and  Recitative,  may  help  to 
illustrate  the  nature  of  this  equability  of  the  rising  movement  of 
speech.  The  long-drawn  voice  of  oiie  continued  pitch,  which  we 
hear  in  Song  and  Recitative,  is  prodded  in  two  ways,  tiht—by 
giving  the  greatest  proportion  of  time  and  Volume  to  one  bbritiniioiid 
pitch,  or  to  a  level  line  of  sound,  If  I  tnay  so  enll  it,  iti  the  radical 
place  ;  and  by  subsequently  passing  concretely,  lightly,  and  rapidly 
through  the  vanishing  portion.  Let  us  call  this  the  Protracted 
Radical,  Secondly—- by  passing  concretely,  lightly,  and  rapidly 
through  the  radical, .  and  then  prplongiiig  the  voice  with  greater 
voiiime  on  a  level  line  at  the  highest  pomt  ol*  the  vanish,  let  us 
call  this  the  Protracted  Vanish.  Thus  far  then  intonation  exhibild 
threb  modifibations  of  the  radical  and  vanishing  movement — the 
Equable  Coticrete  of  speech,  the  Protracted  Radibal,  and  ihb 
Protracted  Vanish,  both  of  which  dre  bsed  iii  Song  and  Recitative. 
But  we  shall  have  occasion  to  learn,  as  we  proceed,  the  tarious 
relationships  of  the  concrete  to  all  the  simple  and  compounded 
intervals,  to  the  alphabetic  elements,  to  time  and  to  force.  I  have 
spoken  of  the  radical  and  vanishiiig  movement  through  a  tone,  with 
8l  view  to  explain,  by  that  intervaC  the  naturb  of  the  concrete  rise, 
and  its  divisioh  into  the  parts  thai  have  been  named.  But  in 
taking  a  wider  survey  of  this  subjebt  wo  shall  Ibarn  thai  this  func- 
tion, with  all  its  properties,  is  performed  oh  every  other  interval  of 
the  scale.  Thus,  if  we  ascend  concretely  from  the  seventh  to  the 
eighth  degree,  by  tbo  alternate  use  of  a  and  «,  as  represented  by 
ihb  sixth  diagram,  that  is,  by  laying  a  stress  on  the  two  extremes 


524 


THE  MUSICAL  WORLD. 


of  this  interval,  the  Toice  will  have  a  plaintive  character  very  dif. 
ferent  from  that  of  the  tone,  or  interval  between  the  first  and 
second.  Now  the  interval  from  the  seventh  to  the  eighth  place  of 
the  diatonic  scale  is  a  semitone.  This  plaintive  concrete  tncrefore 
when  attenuated,  or  made  what  I  ha^e  called  equable,  by  gradually 
diminishing  the  stress  at  its  upper  extreme,  as  represented  in  the 
seventh  diagram,  is  the  radical  and  vanishing  movement  of  a  semi- 
tone.  Again,  if  wo  ascend  concretelv  upon  a  and  e,  from  the  first 
to  the  third  place  of  the.  scale,  by  laying  a  stress  on  e  -n  that  third 
place,  the  enect  of  this  continuous  movement  will  differ  from  that 
of  the  toife  and  of  the  semitone  :  for  it  will  resemble  a  moderate 
degree  of  interrogation  made  on  the  elemeut  a  This  concrete 
when  attenuated,  or  made  equable  by  diminishing  the  stress  on  its 
upper  extreme,  is  the  radical  and  vanishing  hiovement  of  a  third 
By  a  process  analogous  to  that  just  proposed  for  distinguishing  the. 
interval  of  a  third,  we  may  ascertain  tne  concrete  movement  of  a 
fifth,  and  of  an  octave.  For  these,  with  stress  at  their  upper 
extremes,  have  an  interrogative  expression  like  that  of  the  third, 
but  each  successively  more  emphatic  or  earnest  in  its  degree,  and 
then  by  diminishing  the  stress,  as  directed  in  the  former  cases,  we 
have  respectively  the  radical  and  vanishing  movements  oT  the j^fth 
and  the  octave.  In  this  manner  then  the  ear  perceives,  under  their 
Tarious  degrees  and  characteristics,  the  several  vocal  movements  of 
a  rising  radical  and  vanishing  semitone— of  a  tone  or  second — 
of  a  major  and  a  minor  third — of  a  fifth-^and  of  an  octave.  But 
theise  intervals  have  their  proper  significations  in  the  expression  of 
speech,  and  will  be  particularly  noticed  elsewhere.  I  say  nothing 
here  of  a  radical  anq  vanishing  fourth,  sixth,  and  seventh,  nor  of 
higher  raises  than  the  octave ;  not  because  the  voice  does  not 
perform  these  intervals,  but  because  a  reference  to  the  above-named 
points  is  sufficiently  precise  for  the  purposes  of  our  history. 
{To  be  continued.) 

SHAKSPERE'S   HOUSE. 

Thb  announcement  which  appeared  in  the  London  journals 
on  Satniday,  the  7th  inst.,  relative  to  the  sale  of  Shakspere's 
bu-th-place  at  Stratford-on-Avon,  historically  considered, 
requires  but  little  comment.  The  gentlemen  of  Warwickshire 
have  aronsed  themselves  at  the  eleventh  hour.  To  avoid  the 
foreclosing  of  a  mortgage  of  very  trifling  amount,  the  Shaks- 
perian  property  was  allowed  to  pass  into  the  hands  of 
strangers.  The  whole  of  the  premises  in  Henley-street  were 
purchased  by  a  licensed  victualler,  named  Courts  whose  son 
still  holds  possession ;  but,  from  family  disagreements,  a  final 
appeal  is  to  be  made  on  the  16th  of  next  month  to  the  ordeal 
of  a  public  auction,  and  the  produce  of  this  memorable  sale 
will  be  divided  among  the  legal  expectants.  Thus  far  all 
seems  fair  and  equitable ;  yet,  from  opinions,  gossipings,  and 
gatherings,  attained  throughout  the  wide  range  of  the  county 
— ^in  Coventry,  in  Kenilworth,  Warwick,  and  Birmingham — 
there  appears  to  be  a  conflict  of  feeling  and  an  apathy  of 
action ;  and  in  the  same  spirit  that  Walter  Savage  Landor 
deprecated  the  *<  chattering  and  chewing"  of  the  annual 
festivals  at  Stratford-on  Avon,  so,  too,  did  a  writer  in  the 
Morning  Post  of  the  25th  of  April,  1846,  speak  of  the  non- 
sense enacted  at  the  Town-hall — the  folly  of  polkas  performed 
by  ''.children  at  half  price,"  and  the  one  flute  and  a  harp, 
that  was  to  do  honour  to  the  immortal  memory  of  Shakspere ! 
The  same  writer  predicted  that  ere  long  every  relic  of  Shak- 
spere having  been  exhausted— the  mulberry  tree^  which  a 
thrifty  wight,  not  inaptly  named  '•  Sharp,"  purchased  from 
the  Rev.  Mr.  Gasbit,  entirely  used  up — they,  the  townsmen 
of  Stratford,  would  next  sell  the  house  itself !  to  be  "sawn 
into  quantities,"  and  distributed  for  various  considerations. 
The  recent  advertisements  of  Mr.  Robins,  the  auctioneer, 
prove  but  too  truly  the  accuracy  of  the  writer.  The  birth- 
place of  Shakspere  has  now  become  a  matter  of  pounds, 
sbillinga,  and  pence  !    That  the  present  unseemly  struggle 


might  have  been  avoided  at  the  time  that  the  la^t  descendant 
of  Shakspere  iell  into  difficulties,  and  mortgaged  the  property, 
is  evident — a  very  trifling  subscription  among  the  inhabitants 
of  the  borougli  of  Stratford  would  have  seenred  the  hallowed 
building  from  the  chances  uf  a  public  auction;  but,  alas! 
it  wouldi  seem  that  what  time,  the  destroyer,  has  spared, 
meanness,  folly,  and  cupidity,  have  at  length  endangered.  From 
information  gathered  upon  the  spot  within  the  last  few  days, 
it  appears  that  no  less  than  four  Americim  speculators  are  on 
the  sdert,  minute  questions  have  been  asked  as. to  the  sound- 
ness of  the  frame  work,  and  the  possibility  of  removing  the 
timbers  to  North  America.  Private  oflfers  have  been  made, 
said  to  be  to  the  amount  of  from  four  to  Jive  thousand  pounds. 
The  sum  of  three  hundred  pounds  is  stated  to  have  been 
offered  for  the  collection  of  the  visitors'  books,  or,  more  cor» 
rectly  speaking,  the  albums  kept  for  visitors.  These  books 
contain  the  autographs  of  many  of  the  illustrious  dead,  and 
also  of  the  living — Sir  Walter  Scott,  Ijockhart,  Byron,  Moore, 
Sheridan  Knowles,  Charles  Dickens,  and  indeed  every  name 
distinguished  in  literature  and  science.  A  very  eurious  one 
appears,  dated  July  12,  1847  : — 

"  Sir  Thomas  Phillips,  Bsrt.,  Middkhall,  the  discoverer  of  Shalnpere's 
marriage  hond.^' 

And  among  a  variety  of  Russian  nohility  appears,  written 
in  excellent  style — *'  Helena,  Grand  Duchess  of  Russia"  The 
variety  of  all  descriptions  of  adulatory  verse  is  highly  amusing, 
but  the  best  is  that  inscribed  on  a  tablet,  and  said,  to  have 
been  written  by  Lucicn  Buonaparte  :—   .    . 

"  The  eyes  of  genius  glinen  to  adsiire 
How  mempry  haiU  the  sound  of  Shakspere's  lyra! 
One  tear  he  shed  to  form  t  crystal  shrine. 
For  all  that's  g^eat,  immortal,  and  divine  1" 

If  Lucien  did  not  write  quite  so  well  as  Kapoleon 
slaughtered,  at  all  events  the  compliment  of  the  Corsican  is  to 
be  duly  appreciated.  These  albums,  or  visitors'  books* 
unquestionably  form  a  curious  collection — curiosities  in  cal- 
ligraphy and  orthography,  and  memento9  of  the  "  good,  bad. 
and  indifferent."  Not  less  interesting  are  the  pencilled 
memorials  of  visitors  on  the  waUs  and  ceiling  of  this  time- 
honoured  room.  The  following  bca,utiful  passage'  of  Shak- 
spere's own  writing  may  be  faintly  traced«  and  its  application 
is  not  inapposite  :-*- 

**  He  makes  sweet  music  with  the  enamelled  stones. 

Giving  a  gentle  kiss  to  every  sedge 

He  overtaketh  in  his  pilgrimage; 

And  so  by  many  winding  nooks  he  strays, 

With  willing  sport,  to  the  wild  ocean." 

And  it  is  just  possible-  that  some  wag,  in  order  to  check  the 
garrulity  of  the  middle-nged  sybil  who  at  present  shows  the 
building,  has  quoted  the  lines  from  AiVs  Well  that  Ends 
Well^ 

**  Love  all,  trust  a  few. 
Do  wrong  to  none  1  be  able  for  thine  enemy 
Rather  in  power  than  use,  and  keep  thy  friend 
Under  thine  own  life's  key ;  be  checked /or  $Uence, 
But  never  taxed  for  speech."    • 

The  excellent  moral  philosophy  of  this  passage  must  strike 
upon  the  hearts  of  all  who  can  think  i  there  are  various  others, 
gleaned  from  the  same  source,  artd  applied  to  the  same  purpose. 
Apart,  however,  from  poetical  or  historical  recollections,  it  if 
necessary  to  place  the  statement  of  the  Shaksperian  Society* 
dated  August  2,  1847,  with  that  afforded  to  the  writer  on  the 
morning  of  Thursday  lost,  in  the  very  room  in  which  8hak* 
spere  was  bom — and,  moreover,  in  the  presence  of  another 
gentleman  from  London,  who,  by  permission,  took  notes  of 


THE  MUSICAL  WORLD. 


525 


.the  con  venation.  Mr;  Court  as  did  also  Mrs.  Court,  entirely 
•objected  to  thiit  part  of  the  following  extract  from  the  eitciilar 
-put  forth  by  tta  society  marked  in  italics :— > 

'  '*  Tfi^t  portkm  of  the  property  which  befongt  to  the  Court  family, 
and  which  is  to  be^ftolit  on  the  16th  of  September,  consists  of  the  rooms 
whtch  have  been  alwtys  exhibited  as  the  house  in  which  the  poet  was 
born,  and  of  the  Swan  and  Maidenhead  pobUc*house,  ou  the  east  side  of 
it;  but  there  are  likewise  within  the  area  of  the  property,  on  the  western 
yAdt,  belongmg  to  Airs.  Izod,  four  tenements,  three  of  which  were  sp- 
parfently  erected  or  converted  into  habitations  at  the  beginning  of  the 
last  century,  for  before  that  period  they  seemed  to  be  unnoticed ;  and 
the  foQith« '  which,  fiom  the  continuation  of  the  framed  timber  front, 
and  from  the  old  doorways  communicating  internally,  evidently  forms 
part  of  the  birth-place,  but  which,  in  177 1,  was  separated  from  it.'  The 
committee  have  much  satisftiction  in  stating  that  they  have,  within 
the  last  few  days,  purchased  of  Mrs.  Isod  ilit  four  tenements  above- 
mentioned,  for  the  sum  of  £320,  which,  as  It  puts  them  In  actual 
possession  of  a  part  of  the  house  in  which  Shalcspere  was  bom,  cannot 
but  be  regarded  as  a  most  important  acquisition  at  the  present  moment. 
The  price  which  the  committee  have  givto  for  this  part  of  the  property, 
and  for  the  advantage  of  at  once  securing  it,  may  probably  be  referred  to 
as  some  indication  of  the  amount  required  for  the  purchase  of  the  larger 
and  more  valuable  portion  of  it,  which  they  understand  reallictfnm  the 
rental  of  the  tun,  and  the  exhibition  of  the  birth-plaee,  from  £80  to  £100 
•/  awnmal  income.  The  committee,  at  the  same  time  that  theji  do  not 
ffenture  to  announce  any  more  definite  eHimate  of  the  value  of  the  pro- 
perty^  which  is  to  be  sold  on  the  16th  of  Sep* ember,  with  it  to  be 
understood  that  a  very  considerable  amount  will  be  required  to  carry  out 
their  views  as  regards  the  purchase  of  the  property,  and  the  placing  it  in 
tlie  moat  favourable  position  for  its  future  conservation,  independently 
of  effecting  the  further  intentiona  of  the  coasmittee  already  indicated." 

The  annual  income  from  the  business  of  the  inn,  and  the 
gratnities  arising  from  showing  the  birth-place,  is  said  to 
exceed  £300,  per  annum,  and  sometimes  much  more ;  in  fact, 
varying  according  to  the  enthusiasm  of  the  visitors,  and  their 
•everal  characters :  very  large  sums  have  been  given  for  the 
privilege  of  sleeping  in  the  chief  apartment — ten,  and  even 
twenty  guioeas*  And  taking  into  consideration  that  the  gra- 
tuities from  an  annual  influx  of  an  average  number  of  four 
thousand  visitors  is  rarely  less  than  half-n-crown,  the  state- 
ment of  the  present  holders  of  the  property  appears  to  be 
correct.  Without  impugning  therefore  the  statement  hazarded 
by  the  society  which  is  at  present  so  nobly  exerting  itself,  and 
from  the  evidence  of  the  visitor's  books,  the  property  is  far 
more  valuable  than  has  been  estimated,  and  will  consequently 
require  additional  exertions  for  its  obtainment.  The  suggestion 
of  Harriet  Martineau  is  in  itself  excellent,  if  practicable.  She 
aays— 

"  In  every  town  and  neighbourhood  set  on  foot  a  penny  subscription. 
Speak  of  the  matter  all  of  you,  wherever  you  go.  You  will  all  of  you 
give  your  pennies.  Such  of  you  as  can  spare  a  little  time,  and  do  not 
mind  a  little  trouble,  make  yourselves  agents  and  coUeetors.  If  you 
want  informatton,  or  desire  to  transmit  your  funds,  write  to  '  C.  H. 
Braoebridgc»  Esq.,  the  Hall,  Atherstone,  Warwickshire.'  Mr.  Bracebridge 
is  the  honorary  sccrttary  of  the  Stratford  Committee.  He  will  forward 
drcolars  to  any  of  vou  who  wish  for  a  printed  account  of  the  boslne-a. 
One  thing  you  will  be  glad  to  hear.  Lord  Morpeth  has  written  to  the 
eommlttee  to  say  that  the  Woods  and  Forests'  department  will  accept  the 
charge  of  preserving  the  house,  if  it  is  once  bought.  It  will  thus  be 
taken  care  of  without  further  charge;  and  all  we  have  to  do  is  to  raise 
the  porchaae-money  now.  I  virill  say  nothing  about  the  disgrace  in  the 
eyes  of  the  world  if  this  object  is  not  accompliabed,  for  I  do  not  wish  to 
appeal  to  your  fears.  My  appeal  is  to  your  better  affections — to  your 
reverence  and  love.  By  all  the  noUe  thoughts  that  Shakspere  has 
aroused  in  you,  I  appeal  to  you  to  lionour  him  now.  By  all  hit  noble 
thoughts — by  the  plUlosopby  of  Brutue  and  the  mirth  of  RotaHnd-^by 
the  remorse  of  Macbeth  and  the  innocence  of  Deidemoiia— by  the  dreams 
of  Hamiet  and  the  fidelity  of  Imogenr-^by  the  misery  of  Othello  and  the 
patience  of  Cordelior^l  appeal  to  yon  to  honour  Shakspere  now.  And 
according  to  your  love  and  reverence  of  him,  be  quick  and  diligent  in 
your  work." 

It  is  a  pleasing  task  to  announce  that  steps  are  being  taken, 
botb  in  Coventry  and  Waiwid^,  for  the  carrying  oat  this 


suggestion.  In  Kenilworth,  small,  comparatively  speaking, 
as  the  place  is,  the  subject  is  warmly  mooted.  Strange,  how- 
ever, it  may  be  to  say,  the  town  of  Stratford-on-Avon  is  the 
dullest  in  the  whole  movement ;  the  inhabitants  appear  to  be, 
with  a  few  exceptions,  "  waiters  of  Providence,"  sitting  still 
and  waiting  for  the  wind  to  blow  them  along.  The  Royal 
Shaksperian  Society,  as  stated  in  the  Morning  Post^  already 
alluded  to,  has  been  divided  against  itself;  3iouldy  has 
quarrelled  with  Bullcalf — Wart  has  entered  his  execution 
against  Feeble — and  Dogberry  has  u^ade  his  protest. 

'*  There  are  a  sort  of  men  whose  visages 
Do  cream  and  mantle  like  a  standing  pool. 

•  •  •  • 

As  who  should  say— I  am  Sir  Oracle, 
And  when  1  ope  my  lips  let  no  dog  bark." 

Without  offering  any  invidious  allusion?,  there  can  be  no 
harm  in  hoping  that  a  little  more  life  and  spirit  will  be 
evinced  by  the  inhabitants  of  Stratford,  and  that  while  calling 
upon  Hercules  they  will  put  their  own  shoulders  to  the  wheel. 
As  far  as  the  patronage  of  the  townsmen  of  Stratford-on- 
Avon  extends  to  the  drama,  and  just  within  bow-shot  of 
where  Shakspere  died,  is  the  theatre.  This  classically  arranged 
building  has  been  closed  since  the  winter,  and  the  pieces  then 
played,  and  most  heroically  applauded,  were  adaptations  from 
Jack  Shepherd^  a  trifle  of  dancing^  and  a  few  songs.  The 
same  class  of  amusement  is  at  this  time  being  pursued  at 
Warwick.  The  latter,  however,  being  an  assize  town,  there 
may  be  some  cogent  reason  for  such  exhibitions.  With  regard 
to  the  sacred  spot  that  holds  the  ashes  of  Shakspere  in  the 
chancel  of  the  parish  church,  it  is  true  that  the  visitor  may 
see  the  bust  of  Shakspere,  and  remember  the  oft-quoted  lines 
on  Malone : — 

'*  Stranger,  to  whom  this  monamert  is  shown. 
Invoke  the  poet's  curses  on  Malone — 
Whose  meddling  zeal  his  barbarous  laste  displays. 
And  daubs  his  tombstone,  as  he  marr'd  his  plays." 

But  the  valedictory  inscription  said  to  have  been  written  by 
himself,  commencing — 

*<  Good  friend  for  Jesus'  sake  forbear," 
is  ear^uilg  covered  over  with  matting,  and  entirely  hidden 
from  the  view  of  the  pilgrim  stranger. 

REVIEWS   OF   NEW   MUSIC. 

"  Let  Voltif^eurt,"  Deuxieme  Quadrille  MilUaire,  composed  and  dedicated 
to  Monsieur  Hknri  Hswitt,  of  Corh,  by  Augustus  Wiisbbckkr. 
Ewer  and  Co. 

The  quadrilles  dedicated  to  Mens.,  the  gentleman  from  Cork- 
how  strange  Monsieur  Paddy  sounds  —  though  very  light,  are 
indeed  very  pretty.  They  have  all  the  requisites  of  music  of  the 
sort,  at  leaist  of  such  as  is  only  intended  for  the  piano.  Some  of  the 
tunes  are  quite  cxhiliratins'.  The  accompanimenU  ate  simple  to  a 
degree,  there  being  scarcely  a  modulation  in  the  whole  set,  if  we 
except  the  finale. 

'^The  ShepheriPt  Mountain  Sons: ;"  Ballad,  tuni^  by  Miss  Raimforth,  Ac. 

fVfUten  and  compottd  by  J.  Halvord.    S.  Nsimn,  New  Bond^lreet. 

There  is  something  characteristic  in  the  above  song,  but  the 
strain  is  not  elevated  beyond  the  common,  and  the  form  is  not 
symmetrical.  It  is  moulded  too  slavishly  aHer  the  fashion  of  the 
old  ballads,  without  possessing  a  particle  of  their  grace  and  tender- 
ness. The  Shepherd's  Sang,  however,  has  a  catching  tune,  and 
that  is  the  first  germ  of  popularity  in  music.  Mr.  Halford's 
numbers  are  very  so  so  I 

*'  The  lAmeriek  Lattet  Polka,'*  eompoted  for  the  piano  by  AuousTua 
Wkisbscxsr.    Ewsr  and  Co. 
When  we  read  the  name  of  these  dances,  we  expected  to  have 


m 


THE  MtTSIOAL  WOKLD. 


.found  them  taken  from  Irish  sabjecti^  or  the  characteristic  of  Irish 
music  copied.  We  found  neither.  What  then  ?  Why;  we  were 
inclined  to  call  the  Limerick  Lasses  Polka,  or  rather  Polkas^  for 
there  are  four  of  them,  a  decided  misnomer.  Nevertheless,  these 
Polkas  are  cleverl^r  written,  and  exhibit  a  pretty  fancy,  if  not  a 
decided  originality  in  the  author.    The  last  is  the  best. 


HER   MAJESTY'S  THEATRE. 

The&b  has  been  nothing  new  since  our  last.  Mdlle.  Lind 
ias  played  three  times: — on  Saturday,  in  Roberto;  on  Tuesday 
in  /  Masnadieri ;  and  on  Thursday  in  La  Sonnambula.  The 
ballet  performances  have  offered  no  change.  On  Saturday  and 
Thursday  the  hotises  were  immense ;  on  Tuesday  the  audience 
was  far  less  numerous — the  failure  bf  Verdi's  opera  being  in- 
contestable. As  there  are  yet  two  more  performances  to  take 
place,  iuid  our  analysis  of  the  season  will  occupy  ^n  unuiual 
quahtity  of  space,  we  shall  defer  it  till  next  week. 

To-night  La  Figlia ;  on  Tuesday  Le  Nozze  di  Figaro^  and 
on  Saturday  the  last  night  of  the  season. 

I  ■■---■_ 

R6YAL  ITALIAN  OPERA. 

On  Saturday  the  Lucrezia  Borgia  was  performed,  with  the 
ballet  of  the  Peri.  We  have  nothing  new  to  record  of  the 
opera,  or  the  performance,  except  that  it  appeared  to  us  that 
Grisi  sang  better  than  on  anv  former  occasion  in  Lucrezia. 
Sooth  to  toy,  we  never  heard  her  sing  mol-c  divinely  than  she 
did  on  Saturday.  Her  "  Come,  e  hello,"  was  perfectly  fault- 
less, ttnd  was  Warbled  by  her  with  all  the  thrilling  expression 
and  brilliant  intonation  that  Won  us  from  ourselves  when  first 
We  heard  her  in  the  Puritafii,  And  then  her  last  song, ''  Era 
desso  il  mio  figlio," — wh6  that  has  a  heart  could  have  an 
iinwet  eye  and  listen  to  such  strains  ?  As  warbled  by  Grisi, 
they  might  draw  tears  from  the  iron  lids  of  Vulcan.  The 
performance  of  Lucrezia  Borgia  is  one  of  the  most  complete 
triumphs  of  the  Royal  Italian  Opera,  and  was  as  splendid  as 
ever  on  Saturday  night.  The  chorus,  "  Bando  e  triste,"  was 
ds  usual  encored,  as  was  also  the  trio  in  the  second  act  by 
Grisi,  Mario,  and  Tamburini ;  and  Alboni  received,  according 
to  custom,  a  double  encore  in  the  ballata  of  the  last  scene 
in  the  third  act.  All  the  performers  were  called  for  after 
each  act,  and  Grisi  was  summoned  three  times  at  the  fall  of 
the  curtain.  Verily*  there  is  a  Grisi-mania,  as  well  as  a 
Lind-mania.  By  the  way,  why  did  Mario,  who  sang  so  finely 
on  Saturday,  omit  his  grand  scena  in  the  last  act  ?  The  house 
was  exceedingly  full. 

The  Gazza  Ladra  was  repeated  on  Tuesday  fbr  the  third 
time ;  and  here  again  we  have  nothing  new  to  notice.  That 
the  opera  with  such  a  cast  as  that  including  Grisi,  Tamburinii 
Alboni,  Mario,  Marini,  Tagliafico,  Polonini,  &c.  should  create 
Such  fk /firore  as  it  did  previously,  was  inevitable.  We  have 
ho  eiptession,  save  that  of  unqualified  praise,  to  bestow  on 
the  performance  of  the  Gazza  Ladra. 

When  we  heard  the  Semiramide  the  first  night  of  the 
season  at  the  Royal  Italian  Opera,  we  avowed  that  we  had 
never  heard  it  beforet  We  may  conscientiously  aver  the  same 
of  the  Dvnna  del  Lago,  produced  on  Thursday  last,  for  until 
then  we  had  never  been  present  at  a  complete  representation 
of  Rossini's  delightful  work.  We  had  fotmerly  listened 
to  the  music  interpreted  by  all  the  great  artistes.  Donzelli, 
Rubini,  Zuchelli,  Pisaroni,  and  Blasis,  had  we  seen  in  one 
cast ;  and  in  another,  Curioni,  Rubini,  Tamburini,  Brambilla, 
and  Grisi.  The  greater  part  of  the  music  was  familiar  to  us 
from  hetiring  it  often  \  yet,  somehow,  had  the  opera  an  unfixed 
idea  in  our  mind,  and  we  could  hardly  even  be  prevailed  upon 
td  give  an  opinioii  of  the  work,  so  vague  atid  incomplete  was 


Prindpal-  Bards, 


the  impression  it  had  produced.  We  can  only  account  for 
this  by  supposing  that  heretofore  we  had  never  heard  the 
whole  of  the  musiei  and  thai  what  we  had  heard,  excepting 
the  solos,  duos,  and  quartets,  had  never  been  given  in  a  com- 
plete form.  The  opera  was  sacrificed  to  the  singers.  No 
such  sacrifices  took  place  At  Covent  Giirden  on  Thursday. 
Rossini  was  regarded  before  the  artistes.  The  representation 
of  La  Donna  del  Lago  on  that  evening,  was  one  of  the  most 
complete  ever  witnessed  on  any  stage.  Indeed,  if  we  were 
compelled  to  award  the  palm  of  excellence  to  the  production 
of  one  opera  at  Covent  Garden  above  the  rest  during  the 
season,  we  should  not  hesitate  to  affix  our  fiat  to  the  Donna 
del  Lago.  I'he  getting  up  of  this  opera  is  truly  a  magnificent 
climax  to  the  season.  After  the  production  of  so  many 
opei*as,  each  of  which  was  a  triumph,  it  must  have  been  gra- 
tifying to  the  directors  to  find  that  the  last  vigorous  stru^ygle 
in  a  glorious  cause  was  the  most  successful  of  all,  and  that 
the  public  responded  with  the  utmost  enthusiasm.  Before 
further  allusion  to  the  o^era,  it  is  necessary  to  give  a  list  of 
the  dramatis  personce,  which  was  as  follows : — 

t.^itt.  V    f  ^*"ff  ^f  Scotland,  under  the  name  ">  «j..  ^^^^  m-rSri 
James  v.,  1^    oj Hubert,  Knight  <^  Bfumdon.    j  Signer  Mario, 

Douglas  of  Angus,       ...        Signor  Marintj 
Roderick  Dhu,  -  -  -        Signor  Bettini, 

Malcolm  Grveme,         *  .  •        Madllc.  Alboni, 

Ellen,  ....        Made.  Grisi, 

AJbina,         .  .  .  .    '   Made.  BeiUnii! 

8erano,        ....        Signer  Lavia, 

Signor  Rovcre, 
Signer  Tagliafico, 
Signor  Polouini, 
Signor  P.  Ley, 
Signor  Piacentini, 
Signor  TuUi. 

The  completeness  with  whicli  the  opera  was  done  may  be 
instanced  by  the  single  fact,  that  the  shigers  who  played  the 
principal  bards  were  among  the  leading  members  of  the  com- 
pany, and  had  to  make  their  appearance,  unnamed  and  un- 
recognised^ merely  to  join  in  the  Jinale  to  the  first  act ;  and, 
indeed,  the  assistance  they  rendered  to  this  inimitable  morceau 
could  not  be  over-estimated.  The  finale  was  sung  throughout 
in  a  manner  that  would  have  roused  to  musical  fury  the 
dormant  faculties  of  the  composer  himself.  It  is  one  of  the 
grandest  compositions  of  the  great  maestro^  and  is  surpassed 
by  nothing  in  his  works,  if  we  except  the  finale  to  the  second 
act  of  GuiUaume  Tell.  The  music  of  the  Donna  del  Lago 
h  of^en  beautiful,  and  always  original.  It  is  a  pure  specimen 
of  the  romantic  opera.  Here  we  find  no  violent  feelings  re- 
quired to  be  embodied;  no  terrible  situations  demandifig 
forced  efforts  fifom  the  fcomposer;  neither  deftunciAtions, 
madness,  fear,  tears,  fire,  rapine,  or  death.  None  of  the 
furies— those  particular  friends  of  Verdi — are  summoned  from 
the  horrid  cell  to  mop  and  mow  before  the  groundlings.  AU 
18  calm  and  unforced  ;  natural  and  e&sy ;  touching  and 
beautiful.  Who  but  a  genius  that  felt  the  greatest  confidence 
in  his  own  power  would  have  undertaken  to  illustrate  the 
exquisite  though  simple  story  of  the  Lady  of  the  Lake  by 
music  ?  Who  would  have  d&red  to  do  it  that  did  not  feel 
within  himself  an  ever- springing  fount  of  melody,  which  alone 
could  give  a  beauty  and  a  meaning  to  the  subject  ?  The 
Donna  del  Lago  is  positively  flooded  with  melody.  From  first 
to  last  there  is  hardly  a  phrase  but  what  has  something  new 
and  striking.  We  paid  the  utmost  attention  to  the  opera  on 
Thursday  night,  and  only  found  two  morceaux  we  could  have 
wished  elsewhere.  All  the  remainder,  so  we  thought,  was 
unexceptionably  beautiful.  Thcjse  morceaux  were  the  caba- 
ktta,  "  Cielo  I  in  quel  estasi,"  to  the  duet,  **  Sei  gia  spos*t ;" 


THE  MUSICAL  WORLD. 


62lr 


and  the  last  motivo  of  Malcolm's  song,  "  Ah !  si  pera,"  the 
song  itself  being  one  of  the  loveliest  things  in  the  opera 
These  excepted  we  think  the  Donna  del  Laao  an  opera  per- 
fect at  all  points.  The  singing  of  Gri9i,  Alboni,  and  Mario 
we  never  heard  surpassed — might  we  not  say  equalled  ?  "What 
a  splendid  refutation  to  the  remark  we  have  sometimes  read^ 
and  sometimes  been  compelled  to  listen  to — viz.  "that  Grisi 
was  only  great  on  great  occasions,  and  that  tragedy  only 
could  call  forth  her  powers"— was  the  Diva's  performance  on 
Thursday !  In  her  freshest  day  her  voice  was  never  fresher, 
never  more  delicious,  never  more  pure.  On  her  lovely  brow — 
how  lovely  she  looked  ! — sat  consciousness  winking,  as  though 
she  would  say  to  the  audience,  **  Come,  put  tragedy  and  acting 
out  of  the  question,  and  answer  candidly,  can  Jenny  Lind  sin^ 
like  that?"  And  she  looked  as  if  she  knew  they  could 
but  answer  in  the  negative.  She  was  encored,  with  Mario, 
in  the  favorite  duet  of  the  second  act,  which  contains 
the  air,  "  Aurora  ah  sorgerd/'  the  prominent  strain  of  the 
opera.  Stie  and  Mario  were  also  excellent  in  the  andante 
movement  of  the  duet,  **Sei  gih  sposa,"  which  was  exquisitely 
given.  Hitario  was  in  finer  voice  than  we  have  heard  him]this 
season,  and  seemed  to  relish  the  music  with  his  whole  heart 
and  soul.  He  sang  most  splendidly  in  the  duet.  Grisi  and 
Alboni  were  encored  in  the  duet  of  the  second  act,  *'  Clel ! 
quel  destin  terribile,"  a  most  exquisite  piece  of  music,  and 
admirably  suited  to  exhibit  the  vocal  powers  of  the  two  incom- 
parable artistes.  We  do  not  think  we  ever  heard  ensemble- 
singing  so  absolutely  faultless  as  that  of  Grisi  and  Alboni  in 
this  duet.  The  scena  finale  rests  entirely  with  Elena,  and 
here  Grisi  surprised  every  one  of  her  hearers  by  her  execution 
of  the  most  difficult  passages,  and  by  the  precision,  power, 
and  beauty  of  her  voice.  She  herself  never  sang  this  brilliant 
morceau  with  more  perfection,  and  the  simultaneous  shout  of 
applause  that  shook  the  house  when  the  curtain  fell,  evidenced 
the  delight  of  the  audience  at  hearing  Grisi  once  more  in  her 
fiiTOurite  character.  Alboni,  in  Malcolm,  appeared  in  the  most 
important  part  she  has  yet  sustained.  Much,  no  doubt,  was 
expected  from  the  great  contralto  in  Malcolm,  a  character 
which  Pisaroni  formerly  made  herself  so  famous  in,  and  the 
recollection  of  whidi  had  not  faded  from  the  memory  of  many 
who  witnessed  Alboni  on  Thursday.  We  do  not  hesitate  to 
J^ve  the  pfreference  to  Alboni  over  Plsaroni,  in  this,  or  any 
other  part  Pisaroni  never  had  the  voice  of  Alboni,  and 
though,  perhaps,  as  much  a  mistress  of  the  art  of  singing, 
and  gifled  with  a  more  powerful-toned  organ^  she  never  pro- 
duced the  same  effect  upon  an  audience  as  Alboni.  The  fair 
eoniraUo*9  opening  icena,  '*  Elena,  O  tu,"  and  the  last  motivo 
••  O,  quante  lagrime,''  were  incomparably  better  sung  than 
•iref  we  heard  them  before.  We  really  do  not  think  it  would 
\Avt  been  possible  to  have  found  a  flaw  in  her  singing. 
Uevei^  was  a  voice  toore  adapted  to  a  love-wail  than  Alboni's. 
There  is  such  a  honey- sweetness  in  the  tones,  such  a  hidden 
pathok,  a  sub^plaintiveness,  added  to  the  most  intense 
exptessioh,  that  U  tnakes  it  the  happiest  vehicle  for  the 
heart's  love-utterings.  Alboni's  Recitative  singing  proves  her 
to  be  the  consummate  artist,  as  hiiich  as  her  aria  and 
eaMTIkft.  The  opening  recitative  to  the  ''£lena,  O,  tu," 
WM  ttiftgnifleently  given.  Her  most  beautiful  effort  during 
the  feVening  was  the  love  song,  •'  Ah  si  pera,"  a  composi- 
tion worthy  of  Rossini,  and  full  of  fine  feeling.  No  words 
cui  do  justice  to  Alboni's  reading  of  this  song*  It  made  the 
whole  house  pulsate  as  If  it  had  been  one  heart— and  a  heart 
ihbved  with  hti)t  delight.  Mario,  in  every  respect,  was  in- 
comparable in  the  disguised  king.  He  was  dressed  to  per- 
fection and  looked  extremely  handsome.     He   sang  moat 


beautifully  throughout.  He  restored  the  fine  song,  "Pace 
non  trovo."  in  the  second  act,  and  gave  it  with  immense 
effect.  He  was  encored  in  the  *'  Aurora  ah  sorgerari,"  in  the 
last  act,  given  behind  the  scenes.  Marini  was  excellent  in  the 
first  part  of  the  opera.  His  want  of  upper  notes  told  much 
against  him  in  the  quartet,  "  Cielo  il  mio  labhro  aspira,"  but 
he  came  out  in  the  fine  scene,  *'  Taci,  lo  voj^lio,"  and  in  the 
cabalctta  produced  a  great  effect  by  his  forte  singing.  To 
Sigilor  Bettini  was  given  decidedly  the  most  onerous  character 
of  the  opera ;  as  in  Roderick  Dhu  he  has  neither  catching 
melodies  to  sing,  nor  is  the  part  invested  with  any  histrionic 
interest.  We  never  heard  a  singer  who  could  give  the  music  of 
this  part  with  any  particular  effect  excepting  Donzelli.  The 
overpowering  voice  of  that  extraordinary  tenor  was  just 
suited  to  the  music  of  Roderick  Dhu,  and  the  singers  since 
his  time  have  done  little  else  than  fail  in  the  part.  Signer 
Bettini  gave  the  music  all  the  boldness  and  breadth  it 
demanded.  He  sang  with  great  taste  and  expression 
in  the  quartet,  •*  Cielo,  il  niio  labbro."  The  fall  of 
the  curtain  was  the  signal  for  an  absolute  furore.  First, 
in  answer  to  the  uproar,  came  on  all  the  principals ;  the  n 
Grisi,  ^er  se ;  then  again  Grisi ;  then  Costa  was  called  for, 
and  came  on  with  Grisi ;  then  Alboni,  when  Costa  led  both 
on  ;  and  then  the  tumult  was  appeased.  We  were  much  pleased 
that  the  audience,  though  at  the  eleventh  hour,  deemed  Signot 
Costa  worthy  a  special  summons.  No  small  part  of  the  succesa 
of  the  season  must  be  attributed  to  his  skill,  judgment) 
and  determination.  In  every  opera  his  band  and  chorui 
have  wrung  applause  from  very  opposition,  and  perfection  wai 
attained  where  perfection  was  never  dreamed  of  before.  The 
manner  in  which  he  managed  the  chorus,  the  band  on  the 
stage,  and  his  own  orchestra,  in  the  working  out  the  three 
different  subjects  of  the  ^na/e  to  the  first  act  of  La  Donna 
del  Lago,  would  be  enough  to  rank  him  among  the  first  of 
conductors.  We  shall  have  more  to  say  of  Signor  Costa's 
good  conductorship  next  week,  when  we  shall  furnish  a  resume 
of  the  season. 

Mdlle.  Plunkett  appeared,  after  the  opera,  in  the  Spanish 
pas,  La  Manola  ;  and  then  followed  La  Jiosiera,  in  which 
Mdlle.  Fuoco  achieved  her  usual  success. 

To-night  La  Donna  del  Lago  will  be  repeated,  with  a  new 
divertissemeni  called  La  Nayade,  composed  by  Signer  Casati 
for  the  charming  and  intelligent  Mdlle.  Plunkett. 

ORIGINAL   CORRESPONDENCE. 

To  the  Editor  of  the  Cluneal  World, 
Sir, — As  a  subscriber  to  your  Mutical  IVorld,  could  you  Inform  me^ 

through  the  columns  of  the  &ame,   whether  Mr.  Vincent  Novello  sod 

Mr.  J.  Alfred  Novello  are  Lay  Vicars  at  St.  Paul's  Catbedi-al.    By  doing 

so,  you  will  oblige.  Yours  truly, 

IVcitmintltr,  Aug.  5,  1847.  A  Siibscriber. 

[Perhaps  cither  of  the  Messrs.  Novello,  who  are  subscribers  to 

the  Musical  World,  would  oblige  our  correspondent  by  an  answer.] 

To  the  Editor  of  the  Musical  World. 

Mr.  Editor,— In  your  nurober,  giving  the  notice  of  the  Melodist's 
Meeting,  it  Is  said  that  prizes  are  annually  given  for  English  vocal  com* 
nositions,  and  I  can  often  see  that  some  such  prize  has  just  been  awaided^ 
but  can  never  hear  of  them  before- hand.  Now  perhaps  you  can  tell  me 
how  to  learn  when  premiums  are  held  out  to  competitors,  as  it  is  rather 
tantalizing  to  be  tiways  *'  t  day  after  th2  fair."  By  so  doing,  you  wiU 
greatly  oblige 

July  21,  1847.  A  Country  Professor. 

CHURCH    MUSIC. 

To  the  Editor  of  the  Musical  W^HiT  ^  ^  ^_T  ^ 
Sir,— Having  been  informed  by  a  musical  friend  that  if  I  wishdd  to 
hear  the  musical  portion  of  the  senice  efficiently  performed  I  must  go 


628 


THE  MUSICAL  WORLD. 


1o  St.  Phillips',  Stepney,  on  Sundny  fortnight  I  did  so,  and  was  much 
pleased  to  observe  it  was  performed  afier  the  manner  of  our  cathedral 
service.  The  choir  numbered  sbout  twenty  and  consisted  chiefly  of 
amateurs  who  had  been  trained  by  a  chcir-maAter,  under  the  direction  of 
the  incumbent  and  his  ct:ratp,  both  of  whom  joined  ably  in  the  musical 
portion  of  the  service,  setting  a  good  example  to  ihe  congregrtion.  The 
Psalms  for  the  day  were  chanted,  Decani  and  Cantoris,  to  one  of  the  fine 
old  Gregorian  chants.  The  Te  Deum  an'l  Jubilate  was  King's  service  in 
V\,  one  of  the  most  uneful  services  we  have.  The  anthem  was  the 
"  £lessed,"  by  Kent.  If  1  were  disposed  to  be  critical  I  might  make 
some  suggestions,  such  as  the  advantage  that  would  be  gained  by  ladies 
sitting  neiir  the  choir  and  singing  the  verse  parts  instead  of  the  boys, 
but  where  the  service  is  generally  so  well  performed,  1  can  only  hope  that 
other  churches  in  the  neighbourhood  will  follow  the  example  of  St. 
Phillip's,  Stepney. 

On  Sunday  week  I  went  to  St.  Paul's,  Chelsea,  a  church  where  I  was 
informed  the  minister  had  been  paying  much  attention  to  the  improve- 
ment of  the  music.  From  its  locality  I  expected  to  find  a  highly  respectable 
congregation,  nor  was  I  disappointed,  for  long  before  the  time  of  the 
commencement  of  Divine  service  every  free  sitting  was  occupied,  and 
nearly  every  pew.  The  zeal  and  anxiety  of  the  congregation  to  get  seats 
put  me  in  mind  of  those  beautiful  lines  of  Dr.  Watts : — 

*'  How  did  my  heart  rejoice  to  hear 
My  friends  devoutly  say,  &c." 

JHere  also  I  was  much  delighted  to  find  an  efficient  choir  of  about  twenty, 
performing  Tallis's  matchless  service,  chanting  the  Psalms,  singing  Dr. 
Boyce's  Te  Deum  and  Jubilate  In  A,  with  the  other  portions  of  the 
service,  many  of  the  congregation  having  provided  themselves  with  the 
music,  and  thereby  rendering  themselves  as  competent  to  take  part  in 
the  singing  as  the  choir.  How  very  desirable  It  would  be  If  this  plan 
was  generally  adopted ;  and  how  much  more  interesting  to  the  congre- 
gation If  they  would  take  the  trouble  to  qualify  themselves  to  obey  that 
part  of  the  service  when  the  clerk  says,  "  Let  us  sing  to  the  praise  and 
glory  of  God."  How  many  congregations  there  are  that  never  attempt  to 
sing  at  all  I  am  happy  to  observe  this  is  not  the  custom  at  the  above 
two  churches. 

On  Sunday  laSt  hearing  that  Divine  service  was  to  te  performed  in 
Exeter  Hall,  a  place  so  celebrated  for  Classical  Sacred  Music,  where 
so  much  has  been  done  by  the  Sacred  Harmonic  Society,  with  a  view 
to  create  a  more  improved  taste  in  the  minds  of  the  public  for 
sapred  music  generally,  1  was  anxious  to  hear  how  the  singing 
would  be  conducted,  and  expected  to  hear  some  individual  with  sten- 
torian lungs  lustily  singing  the  treble  part  of  the  tune,  ss  is  the  case 
at  the  religious  meetings  annually  held  there,  and  In  most  dissenting 
congregations,  but,  to  my  surprise  and  astonishment,  the  first  musical 
sound  that  greeted  my  ear  was  from  a  tuning  fork  from  which  the  pre- 
centor gave  the  key  note  to  an  efficient  choir,  consisting  of  three 
melodious  female  voices,  and  about  as  many  esch  alto,  tenor,  and 
bass  voices,  the  precentor  singing  the  tenor  part,  and  with  much 
skill  and  judgment  guiding  the  whole.  The  shrill,  piercing  tone  of 
the  treble  voices  kept  the  vast  assembly,  which  consisted  of  from 
1500  to  2000  persons,  well  up  lo  concert  pitch,  and  the  effect  on  all 
musical  cars  must  h&ve  been  most  harmonious  and  spiritualizing. 
It  appears  that  the  reason  of  Exeter  Hall  being  used  for  Divine  worship 
arises  from  the  .circumstance  of  the  enlargement  of  the  Scotch  Church 
in  Crown  Court,  over  which  the  Rev.  Dr.  Cumming  is  pastor,  and  it  is 
expected  that  the  Hall  will  be  used  for  this  purpose  for  the  next  three 
months.  The  Doctor  preached  an  eloquent  and  appropriate  discourse 
from  the  18th  chapter  of  St.  Matthew  and  the  20th  verse,  "  For  where 
X^o  or  three  are  gathered  together  in  my  name,  there  am  I  In  the  midst 
of  them."  From  the  impressive  manner  with  which  the  learned  preacher 
treated  his  text  I  should  infer  his  preaching  in  Exeter  Hall  will  add  much 
to  his  already  well-known  popularity  and  usefulness  as  a  preacher  of 
the  Gospel.  >^f(er  the  servlc(f  a  collection  was  made  to  defray  the  in- 
cidental expenses,  a  system  I  much  prefer  to  the  one  usually  acted  on  in 
many  churches  and  chapels  for  a  respectable  person  (if  not  a  seat- 
holder)  td  be  kept  standing  till  a  certain  portion  of  the  service,  and 
then  perhaps  obliged  to  fee  the  pew- opener  to  get  a  decent  seat.  If  it 
could  be  ascertained  I  doubt  not  but  there  Is  more  money  drawn  from 
the  pockets  of  the  public  in  this  way  than  would  serve  to  maintain  an 
efficient  chorus  in  all  the  places  of  worship  in  the  metropolis. 

I  remain,  sir.  yours,  Ac.  M.  M. 


FOREIGN   INTELLIGENCE. 

Boulogne  Sur  ^Ikr.— (From  our  own  Correspondent^  Aug, 
Sih,   1847.)— Dear  Editor,— Want  of  interest  in  musical 


matters  has  delayed  my  letter  to  you,  and  as  I  am  on  t ho  eve 
of  starting  for  Belgium.  I  shall  be  brief  in  my  communications. 
The  Misses  Pyne  have  returned  for  the  season*  and  have 
announced  their  annual  concert  for  next  week.  These  excel- 
lent cantatrices  stand  in  high  favour  here,  and  consequently 
enjoy  the  best  patronage.  Mons.  Sina,  the  intimns  of  Beetho- 
ven, escapes  from  the  heated  Paris  to  enjoy  the  gaieties  and 
sea-breezes  at  Boulogne.  He  is  a  fine  violinist,  and  celebrated 
in  Paris  for  his  masterly  performances  of  the  sonatas  of 
Beethoven,  v^hich  he  knows  by  heart,  I  hope,  some  of  these 
days,  in  succeeding  to  obtain  a  copy  of  an  "  original  letter"  of 
the  **  Immortal  Maestro,'*  which  has  never  been  presented  to 
the  musical  public  in  any  form.  It  was  written  soon  after  the 
completion  of  his  Op.  59 — the  Razoumofsky  quartetts.  It 
proved  to  me  that  in  these  days  Beethoven  must  have  been 
in  possession,  not  only  of  aU  the  faculties  of  mind,  bat  like- 
wise of  a  very  jocose  disposition.  Yesterday  Miss  L.  Eyre, 
from  Colchester,  gave  a  matinie.  by  invitation,  to  hear  her 
performances  on  the  pianoforte  and  harp.  She  is  a  pupil  for 
the  pianoforte  of  Miss  Bianchi,  of  Ipswich,  to  whom  the  credit 
is  due  of  perfecting  a  most  clever  pupil,  who,  if  she  continue 
in  her  labours  of  study  with  assiduity,  cannot  fail  to  assume  a 
most  respectable  position  amongst  our  best  pianists.  Miss 
Eyre's  harp  playing  is  also  very  creditable.  It  appears  that 
she  does  not  confine  herself  to  one  school  or  style,  for  in  the 
prog.ammes  of  her  ensuing  soirees^  Miss  Eyre  announces  the 
names  of  Weber,  Liszt,  Thalberg,  Chopin,  Beethoven,  Scholhoff, 
Stephen  Heller,  Prudent,  &c.,  as  well  as  harp  solos  by  Bochsa. 
Mr.  C.  W.  Glover  (the  **  celebrated  composer  and  pianist'*^  as 
he  announces  himself)  gives  a  matinte  this  day.  My  de- 
parture to  St.  Omer  will  preclude  me  from  attending  it. 
M.  Godefroid  is  expected  here,  and  I  hear  that  the  MM. 
Oberthiir  (harpist  at  the  Haymarket  Opera)  and  Gollmick, 
the  pianist,  intend  visiting  Boulogne  shortly.  My  next  letter 
will  probably  be  from  Aix-la-Chapelle. 

I  remain,  my  dear  Editor,  yours,  &c.  H.  Z. 


PROVINCIAL. 

WoRCtsTKii. — ^Mr.  Wilson,  the  Scottish  vocalist,  gave  one  of  his 
entertninments  last  evening,  at  the  Natural  History  Society's  Isrge  hall, 
which  was  filled  with  beauty  and  fashion.  Criticism  upon  Mr.  Wilson  is 
superfluous ;  we  shall,  therefore,  only  say  that  "  The  l^aird  o'  Cockpen" 
and  "  Allister  M'Allister,"  were  received  with  cordial  greetings,  while 
the  more  pathetic  ballads— "The  land  o'  the  leal,"  "John  Anderson," 
"  The  Stuarts  of  Appin,'*  and  "  L<jrd  Ullin's  daughter"— held  their  cus- 
tomary, command  over  the  sympathies  of  the  audience. 

Mr.  Bennett  has  concluded  an  engagement  with  the  Misses  Smith, 
who  will  give  a  Concert  at  the  Theatre  on  each  of  the  RegatU  nights. 

Miss  Lloyd,  of  Leominster,  was  ou  Tuesday  elected  oigaoist  al  the 
parish  church  of  Tenbury,  in  the  room  of  Mias  Walker,  of  SbitoD  Park. 
the  period  of  whose  engagement  had  expired.  -  The  proft-ssional  assist- 
ance of  Mr.  Done,  of  Worcester  Cathedral,  was  called  in  by  the  church- 
wardens in  determining  the  meriu  of  the  candidates.  The  salary  is  £25 
per  annum. — Berrow*i  Worcester  Journal* 

STRATFORD-VPON-AvoN.-*The  gala  of  the  Madrigal  Club  at  the  Vic- 
toria Spa  was  well  attended.  The/efe  being  held  in  the  grounds  of  the 
Queen's  Hotel,  Bishopton,  increased  the  pleasure  of  the  party,  and  the 
arrangements  made  by  Mr.  and  Mrs.  Cranmer  were  so  complete  that 
perfect  satisfaction  could  not  fail  following  their  exertions. 

Liverpool. — Jenny  Lind  will  appear  in  an  opera  at  the  tiverpool 
theatre  on  the  5th  of  September.  She  may  possibly  sing  at  a  concert  a 
night  or  two  after.  Madile.  Lind  has  been  invited  by  the  Bishop  of 
Norwich  to  stay  at  his  palace  during  the  concerts  to  be  given  in  that 
city. 

The  celebrated  French  actress,  Madile.  Rachel,  will  appear  at  our 
Theatre*Royal  on  Monday,  Wednesday,  and  Friday,  the  16th.  18tb,  an4 
20th  lest.  The  places  in  the  boxes  for  these  nights  are  rapidly  fiUiog  up. 
-^Lirerpool  Mail,  .        t  %i  %i  ^  n^ 

Digitized  by^^UUy  It: 


THE  MUSICAL  WORLD. 


629 


TO    THE  EDITOR   OF    THE   LONDON   AND    LIVERPOOL 

ADVERTISER. 

Sib, — ^My  attention  has  been  drawn  to  the  following  paragraph,  which 
occurs  in  a  letter  inserted  in  your  journal  of  the  24th  ult.,  and  headed 
•*  The  Stage  As  it  Is" :— "  Much  sympathy  uitb  the  project  was  ex- 
pressed, and  the  house  was  crowded  nightly,  but  somehow  nobody  paid 
eicept  the  poor  leasee ;  and  when,  arter  the  lapse  of  a  month,  no  one 
could  be  discovered  bold  or  devoted  enough  to  follow  in  the  wake  of 
Mr.  Stephens,  and  expend  three  thousand  pounds  for  the  benefit  of  a 
noa-paying  public  in  the  production  of  another  original  ply — with 
'  Martinuzzi'  the  scheme  began,  and  with  that  distinguished  cardinal  it 
ended,  George  Stephens  not  only  paying  the  '  piper,'  but  the  dancers 
alao,  under  which  category  may  be  classed  every  one  who  could,  on  any 
pretext  whatever,  obtain  access  to  the  theatre."  May  I  be  permitted,  as 
the  principal  party  concerned,  to  state,  that  scarcely  half  the  above- 
mentioned  sum  of  three  thousand  pounds  was  expended  on  a  fcheme 
which  had  its  source  in  no  personal  point  of  vanity,  but  was  embraced 
with  the  sole  aim  of  enlarging  the  arena  of  the  English  drama.  If  ! 
apprehend  rightly  what  is  intended  by  the  phrase  "  paying  the  dancers 
alao,"  the  infeience  would  certainly  not  be  correct.  There  was  no  temp- 
tation whatsoever  held  out  to  the  playgoing  public  that  I  am  aware  of. 
save  the  performance  on  the  boards.  As  respects  your  correspondent's 
criticism, "  Martinuzzi"  would  not  have  been  that  piece  of  mine  which 
I  should  hare  selected  for  representation ;  and  few  competent  critics  ran 
well  entertain  a  humbler  opinion  of  the  merits  of  the  tragedy,  as  put 
upon  the  stage,  than,  sir,  your  obedient  servant, 

July  98/A,  1847.  Georgb  Stbphxks 

MISCELLANEOUS. 

HuR  Majbsty*s  Theatre. — It  has  been  found  impossible 
to  produce  ^'  Le  Nozze  di  Figaro"  until  Tuesday  next,  when 
it  will  be  brought  out  with  Lind  ks  Susanna,  supported  by 
Castellan,  Lablacbe,  Staudigl,  Coletti,  &c.  The  next  week  is 
the  last  of  Mademoiselle  Lind's  performance.  On  Monday 
the  23rd,  she  leaves  London  to  fulfil  her  engagements  at 
Manchester,  Liverpool,  Dublin,  and  Edinburgh. 

Madame  Catuinea  de  Dibtz,  the  pianiste,  has  recently  been 
married  to  Capt.  Shaw. 

Mr.  Pabslob,  who  was  for  many  years  prompter  at  Covent-garden 
Theatre,  died  last  Friday  morning,  after  a  lengthened  period  of 
mental  disturbance  and  bodily  suffering.  Having  on  Saturday  week 
become  very  violent,  he  was  removed  to  Lambeth  workhouse,  prior 
to  being  placed  in  a  lunatic  asylum,  but  death  terminated  his  suffer- 
ings before  his  removal  could  be  effected.  He  had  been  a  long 
time  an  annuitant  upon  tho  Covent-garden  Fund,  and  his  widow  will 
now  be  entitled  to  the  benefits  derivable  from  it.  Mr.  Parsloe  was 
from  boyhood  on  the  stage,  and  being  well  acqaamted  with  alt  that 
pertained  to  the  theatrical  profession,  he  was  considered  a  most 
efficient  and  attentive  prompter.  Manv  years  ago,  he  lost  an  eye 
by  the  stroke  of  a  harlequin's  sword,  whilst  acting  pantaloon, 
having  volunteered  to  do  so  at  a  minute's  notice,  in  place  of  Barnes, 
who  was  taken  ill  during  the  performance  of  the  pantomime. 

Jules  db  Glimes  left  Lonaon  for  Brussels,  on  Sattifday. 

Rachbl. — There  is  some  hope  that  this  inimitable  actress  will 
give  yet  two  performances  at  the  St,  James's  Theatre,  after  the  ex- 
piration  of  her  provincial  tour. 

LaoPOLD  BE  Mbtbe  left,  on  Wednesday  morning,  for  Vienna, 
vid  Hamburgh. 

M.  EscuDiEB,  editor  of  La  France  Muncale,  has  returned  to 
Paris. 

The  DAQUBBEBOTTPE.-^We  paid  a  visit,  a  short  time  since,  to 
Mr.  Beard's  Photographic  Institution,  2,  King  William  Street, 
when  we  were  shewn  several  likenesses  of  musical  notorieties, 
which  greatly  pleased  and  surprised  us.  That  some  of  the  like- 
nesses taken  by  the  Daguerreotype  are  not  truly  resemblances,  we 
can  readily  understand,  because  the  Daguerreotype  does  nothiog 
more  than  return  back  a  most  faithful  reflection  of  the  countenance, 
exactly  as  it  looks  when  taken.  Now  there  are  few  of  us  who, 
under  the  process  of  having  the  huinan  face  divine  transferred  tp 
representation,  do  not  endeavour  to  look  their  comeliest,  and  by 
this  very  means  destroy  the  general  aspect  under  which  alone  we 
are  known  and  recognised.  One  attempts  to  look  literary,  another 
esiayt  lUgnity,  if  he  be  in  office*- oroounge,if  he  be  a  soldier ;  the 


ladies  invariably  strive  to  appear  winning,  and,  of  course,  take  the 
worst  means  in  the  world  to  do  so,  the  whole  countenance,  lender 
such  efforts  wearing  an  aspect  of  painful  restraint ;  in  brief,  the 
submitting  your  countenance  to  be  taken  by  the  Daguerreot^'pe,  is 
a  test  of  moral  courage  and  presence  of  mind,  the  ordeal  of  which 
few  can  go  through  without  exhibiting  some  signs  of  weakness.  In* 
every  instance  the  photographic  likeness  must  be  an  exact  tran- 
script of  the  face  in  every  look,  turn,  and  lineament,  under  which  it 
presents  itself  to  the  instrument.  We  throw  out  these  hints  to 
put  on  their  guard  such  of  our  friends  as  intend  to  be  daguerrootyned, 
and  to  pray  them  noi  to  endeavour  to  look  one  way  or  anotner, 
but  Icavo  it  all  to  chance.  Wc  have  seen  some  likenesses  with 
Mr.  Beard's  new  discovery  of  colouring,  which,  in  point  of  finish, 
apparently  surpass  any  miniature.we  ever  saw.  and,  in  point  of  simi- 
litude, are  just  as  true  as  if  they  were  reflected  from  a  mirror.  The 
daguerreotype  lil&enesses,  before  tlib  addition  of  the  colouring,  were 
vQty  objectionable,  as  they  represented  every  face  with  the  pallid 
hue  and  peculiar  uncomplcxion  of  death.  By  means  of  Mr.  Beard's 
discovery,  every  shade  of  complexion  may  be  added  after  the  picture 
has  been  taken,  and  this  requires  a  most  experienced  and  accom- 
plished artist  to  effect.  Tho  photographic  portraits  we  have  seen 
in  King  William  Street  are  among  the  most  extraordinary  specimens 
of  modern  art  which  wc  have  seen  for  some  time,  and  this  is  sayingf 
a  good  deal  at  a  time  when  every  week  and  day  sends  forth  a  new 
invention. 

Gloucestee  Musical  Festival. — A  meeting  of  the  stewards 
was  held  in  this  city  yesterday,  when  it  was  resolved  to  delay  the' 
detailed  announcement  of  the  meeting  for  one  week  longer,  in  order 
that  tho  whole  of  the  arrangements  may  be  fully  published.  We 
are  glad  to  say  that  matters  are  progressing  favourably. —  (xlouceS" 
ter  Chronicle,  .  -.. 

The  Kino  of  Bavaria. — A  curious  story  has  lately  l>ecn  circu- 
lated respecting  this  monarch,  who  is  said  to'  have  dreamed  thatlie 
saw  three  rats,  one  of  which  was  very  fat,  another  very  lean,  and 
the  last  stone  blind.  The  King  sought  an  explanation  of  bis  drearn, 
and  was  informed  by  the  gipsy  that  the  fat  rat  represented  his 
favorite,  Lola  Montes^  the  lean  one  bis  people,  and  the  blind  oih» 
himself. 

Mrs.  Waenee  has  taken  the  Marylebone  Theatre.  Mr.  John 
Cooper  is  engaged  as  stage-manager. 

M.  DupoNCHBL  has  engaged  Ceritoand  St  Leon  for  the  Academie 
Royale  in  Paris.     He  is  also,  we  hear,  in  treaty  with  Uosati. 

Jenny  Lind. — The  sale  of  tickcu  for  Mademoiselle  Lind's  eon- 
cert  on  the  15th  September,  has  now  been  completed,  and  we 
understand  that  upwards  of  £1800  was  drawn.  It  is  currently 
reported  among  the  musical  profession  that  Jenny  Lind  will  he 
induced  to  give  a  second  concert  in  Glasgow. — North  British  Mail, 
[Indeed!  How  condescending ! ] 

Shakspeee's  Birth-place  — So  great  is  the  curiosity  excited  by 
the  sale  of  this  relic  of  the  immortal  bard,  that  the  catalogues  are 
already  selling  at  half-a-crown  each. 

Not  Bad  foe  a  Yankee.— An  American  countryman,  fresh 
from  the  magniflcent  woods  and  rough  clearings,  was  one  day 
visiting  the  owner  of  a  beautiful  seat  in  the  Brook-line«  and 
walking  with  him  through  a  little  grove,  out  of  which  all  tho 
underbrush  had  been  cleared,  paths  had  been  nicclv  cut  and 
gravelled,  and  the  rocks  covered  with  woodbine,  suddenly  stopped, 
and,  admiring  the  beauty  of  the  scene,  lifed  up  his  hands  and 
exclaimed,  "  This  is  Nature  with  her  hair  combed." 

Lord  Lansdownb  ha)  appointed  a  son  of  Mr.  Severn,  the 
painter,  to  a  situation  in  the  Council  Office. 

Tom  Thumb  is  building  a  handsome  palace  in  America.  When 
it  is  completed,  never  will  an  edifice  nave  been  raised  upon  so 
small  a  foundation  I— Punch, 

Pbince  Albbet  has  intimated  his  intention  to  contribute  £2t0 
to  the  fund  for  the  purchase  of  Shakspere's  house,  an  assurance  of 
the  strong  interest  felt  by  his  Royal  Highness  in  the  preservation, 
as  national  property,  of  a  ■  dwelling  connected  with  the  greatest 
name  in  English  literature. 

Mdlle.  Ploneett.— a  new  <foper/tM«n«i/,  c(  roposed  expressly 
for  this  charming  danseuse  by  the  clever  Signer  Casati,  of  Milan, 
will  be  produced  at  the  Royal  Italian  Opera,  to-night,  under  the 
tide  of  la  Nayade.  Digitized^  VrrCJOy  IC 


4i90 


THE  MUSICAL  WORLD. 


Drdrt  Lanb  Theatre — Among  the  engragcmcnts  made  by 
M.  JulUen  are  Madame  Viardot  Garcia,  Miss  ^irch,  Miss  Dolby, 
(wQ  hope  this  is  true),  Hcrr  Pischek,  Herr  Staudigl,  Mr.  Hoove.% 
Mr.  Whitworth  Jones,  Mr.  Clement  White,  &c.,  &c. 

Me.  French  Flowbbs.— We  understand  that  Madame  Spohr, 
wife  of  the  celebrated  composer,  has  undertaken  to  translate  this 
gentleman's  '*  Essay  upon  Fugue,*'  into  German. 

Olympic  Thbatrk.^U  is  reported  that  the  old  company  of 
Drury  Lane  Theatre,  discarded  by  the  present  Lessee,  will  tak« 
refuge  at  this  theatre  and  perform  English  operas  during  the  winter « 

Mbterbbee. —  We  learn  from  Berlin,  by  a  letter  of  the  6th,  that 
M.  Meyerbeer,  not  having  recovered  his  health  at  Frauzembr»innen, 
has  gone  to  Marienbad,  with  the  intention  of  proceeding  to  the 
waters  of  Gastein,  in  the  circle  of  Salzburg,  within  the  Austrian 
states.  He  is  not  expected  to  return  tq  Berlin  before  the  end  of 
November. — Morning  Herald. 

Thb  Bishop  of  Norwich  has  offered  rooms  in  his  palace  to 
Jeqny  Lind.  The  Standard  is  in  great  alarm  at  this  new  instance 
of  horrid  liberalism.  **  It  is  very  right,  very  proper  that  jackdaws 
should  build  in  the  church  ;  they  have  vested  interests  there,"  savs 
the  Standard:  "  but  farewell  to  the  primitive  purity  of  the  Estab- 
lishment, when  it  gives  a  roosting-place  to  nightingales !" — Punch, 


SHAEgPSARS'g  BIBTH-PLACB, 

AT  STRATFORD-UPON-AVON. 


ITO   CORRESPONDENTS. 

AnalyM  0/  Her  Mafesty's  Theatre,  the  Royal  Italian  Opera,  the  Amateur 
SocMty,  and  the  Musical  Union,  will  appear  in  our  next  number,  of 
fchich  two  ihoutand  extra  copies  vnll  be  printed,  to  answer  the  demand 
likry  to  arise  from  the  unusual  interest  and  variety  of  its  contents 


ADVERTISEMENTS. 


Wairen^s   2tO   Guinea   Cottage   Piano-Fortes 


The  House  in  which  Shakspssre  wts  born  is  announesd  for  Sali  Irf  ^^^^ 
Anction  on  the  16th  of  September  next.  A  Committee  hw  been  formed  at 
Stratford-upon-Avon  fbr  the  parpoie  of  obtaininr  Donations  to  enable  tbem  to 
parchase  and  save  from  ftirther  decay  and  deaecnftion  the  walla  which  sheltered 
the  cradle  of  William  Shakspeare.  liieir  intentions  an  set  ionh  in  sn  Addresa 
which  hat  already  been  publiabf  d  in  fev^ra)  of  the  kadiuff  newspapers,  (Hid  which 
is  m  proip-ess  of  extensive  distribution.  ^^ 

His  RojHit  Higrhness  the  Prince  Albert  has  been  grwioBslr  pleased  to  1 

the  Committee  with  his  especial  patronage,  and  has  fertber  evinced  tht  1 

imerestwhich  His  Royal  HighBeas  takes  in  thU  National  Ol^ect,  by  •  PoDaU9ii 

The  Committee  have  also  the  satisfoction  to  state  that  the  foHowinr  Nobtettca 
and  Gentlemen*  connected  with  Warwickshire  by  property  or  otherwise,  hofo 
been  pleased  to  hoooor  the  desiipi  with  their  patrowue. 

In  the  event  of  the  property  being  purchased,  the  Chief  Commissioner  of  Woods 
and  Forests  has  signiiled  that  that  department  of  Government  "would  willingly 
Uke  charge  of  Shakspeare's  House,  as  a  just  object  of  national  care." 

A  List  of  the  Stratford  Committee  is  subjoined,  and  also  of  Bankers,  |o  wbov 
Donations  may  be  paid.  A  List  of  the  Donations  wiU  be  pttblished  horsalMr  fnd 
preserved  at  the  Birth-place. 

It  must  be  obvious  that  fipom  the  near  approach  of  the  Sale,  an  early  announee- 
ment  of  Subscriptions  is  indispensable  to  enable  the  Oommitlce  to  esfry  o«t  t^  ^ 
intentions. 

PATmON. 

HIS  ROYAL  H1GHNB88  THB  PRINCE  ALBBKT. 

PRBSIDBHT. 

THE  RIGHT  HON.  THE  EARL  DBLAWARR, 
High  Steward  of  StntftMrd-npon*Avon. 

iriOB  PBBSinBNTS. 


The  Earl  Of  Warwick^Lofd  LWntsnant 

of  the  Connty  of  Warwick, 
The  Rizht  Hon.  the  Barl  of  Denbigh, 
The  Right  Hon.  the  Barl  Howe, 
The  Right  Hon.  the  Earl  Amherst, 
The  Viscount  Vllliers, 
The  Right  Hon.  tho  Viscount  Ufford, 
The  Right  Hon.  the  Lord  Kedesdale, 
The  Right  Hon.  the  Lord  Leigh, 


The  Lord  Brooke,  M.P. 

The  Hon.  Of  B.  Percy, 

The  Right  Hon.  Sir  Robstt  PesI,  Bsrtf 

Sir  Robert  Throckmorton^  Bart. 
Sir  Gray  feUpwith,  Bart. 
Sir  Charles  Dooglas,  li*P. 
E.  J.  Shirley,  Elq7«.P. 
W.CoUins,BBq.,M.P. 


ARE  NOW  SELLING  AT  THE 

MannliActoryy  7I9  I«eadenhall  Street 

{Removed from  1  and  2,  Liverpool  Street,  Bishopsgate  Street,) 

These  Instruments  are  well  manufactured  of  the  best  seasoned  wood,  FINE 
FULL  TONE  AND  GOOD  TOUCH.  A  two  years  warranty  given  with  each  Instrn. 
ment.  ESTABLISHED  TWENTY-ONE  YEARS.  The  onlv  house  in  London 
where  a  wood  sound  instrument  can  be  obtained  at  the  above  low  price,  (for  cash 
only)!   SMALL  PROHT  AND  QUICK  RETURNS! 

jgiiN  WAERBNj  71^  IieadenhaU  St.j  oppo8it«  Aldca^e  Pamp« 


MUSIC. 

WANTED,  by  a  YOUNG  MAN  from  the  ROYAL  ACADEMY,  »  SITUATION 

ASSISTANT   TO   AH    OBGAHIST, 
TEACHER   OF  THE    PIANO-FOf^TEf 

The  Adveriiser  being  chiefly  desiroos  of  employment,  he  wonld  bo  snkiaMwith 
H  moderate  Salary,  if  m  London,  or  if  in  the  Country,  with  Board  and  Lod|(inf| 
willioat  Salary*  «nd  would  be  happy  to  make  himself  ifenerally  nsefm  in  mi 
dtnation.  "nle  most  satisfsctory  testimonials  can  be  produced.  Ap|xy  tn 
A.  Bbarb,  of  Mr.  GooDrsLLow,  Organist,  Wincanton,  Sonfraet. 


The  Right  Hon*  the  Viaconnt  MonrBTH  and  Thf  Bight  Hon;  tlie  LMr4  B^lb#. 
MRRB  have  consented  to  act  ai  President  and  Vice-Prefident  of  the  Londbii 
Committee.  The  names  of  other  Noblemen  and  Gentlemen  ftfinn  whom  answen 
haye  not  yet  been  rceeived,  will  hf  published  in  a  fhw  days. 

STRAT70Rn  CoMMiTTBB.— Thomaa  Thompson,  Esq..  M.D..ChahmaB  1  Thf 
Mayor  of  Stratford-uponAf^j  Mr.  Adams;  Mr.  Aihinson :  Rev.  W.  Bvtc^ 
M.A.  i  Rev.  J.  Clayton,  M.A.,  Vicar  ofStratford-upon-Ayon :  Mr.  Flpwer ;  K.  D. 
Ford/Esq. ;  E.  Getley,  Esq. ;  Mr.  Gibbs:  W.  J.  Harding,  kaq.  1  E.  H.  HoMM, 
Esq. )  Chandoa  Wren  Hoakyna,  Esq.  1  W.  O.  Hnnt,  Esq.  1  W.  Q.  U«7dM;  I 
Rev.  T.  R.  Medwin,  Jl.A.  j  D.  Rice,  Esq. ;  T.  Umbers,  Esq.  |  Mr.T  Wwj 
J.  Webb,  Esq. ;  R.  B.  Wheler,  Esq. 

Honorary  Secretary— Charles  Holt  Bracebridge,  Esq, 

Treasurer— W.  Sheldon,  Esq.,  Mayor  of  the  Borough  of  Stratford-upon-Avon. 

Secretary— Mr.  E.  Ashwin,  Treafurer  of  the  Borough  of  Stratford-upon-Avon. 

The  following  London  Bankers  have  kindly  consfnted  to  receive  Subscriptioni: 
Messrs.  Glynn  and  Co.,  67,  Lombard  Str«>et;  Jones,  Lloyd,  and  Co.,  4S,Lothbttry; 
Herrie>  and  Co ,  16,  St.  Jamrs  Street :  Drummonds  and  Oo..  4f,  Chiring  Croaa  1 
Coutts  and  Co.,  M,  Strand  t  Smith,  Payne,  and  Co.,  Iling  William  Street.  Snb; 
sqriptions  may  also  be  psid  through  Smith,  Payne,  and  Co.,  to  the  acoonnt  61 
the  Treasurer  of  the  Committee,  at  the  Old  Bank,  stratibrd-upon-Avon. 

Committee  Room,  Stratford-upon.Avon,  August  3, 1947. 


Brown  4s.  6d.  per  bottle. 
Pale  6s.  ditto. 


SpatentI 

9s.  per  bottle. 


I0s.9er  doy.  UrgMtl|p^ 
eBdmlveof  cnfcifK*  IbOHi 


LAiidQn< 


i€ 


THE   STANDARD   OF   COCNAC/* 

WHICH  tl  f  HB  BBST   lOllBiail   BEA1IBT. 


THE  PATENT   BRANPY  AND  THB  GENUINE  SELTZERS  WATW, 
•rotected  by  &e  Patent  Metallie  €apsale,  the  only  sure  and  aiif-evMtnt  aniigiim 
against  adniterationieanbf  obtained  ihrvmhovt  the  lOMfloiB  «|^«r^«Pf<#t 
pricea  abqve  n«nUoned>  or  %t 


», 


^••'[^iMrtf 


'^^^ww^tm^m 


THE  MUSIOAIi  WOULD. 


9dl 


PEE    MAJESTY'S    THEATRE. 


On  TUESDAY  ITEXT,  August  ITth, 

yrai  be  nrlved  Monrt'i  c«l«bnted  Opart,  ratitled, 

LE  NOZZE  Dl  FIGARO, 

SvMima      ....      MadUa.  JBNNV  IiIMD, 
Coimt«s«   .      ^      .      .      W»df.  CASTEIiMkN, 
Cniembino         ...      Made.  80I«ARI| 
Marcelllna        -       •      -      MadU«.  FAGIANI, 
Coimt  AlauvriTm      -  BMr.  OOIiSTTI, 

ncaro         ....      Herv  BTAUDIGIij 
'    Antonio       ....       81^.  BOIJkRI, 
BasUlo         ....       Sic.  OUIDI, 
I>on  Cursio       -      .      •      Big,  DAI  FIOKI,— tnd 
Doctor  Bartolo        -      -      81*.  XJkBIJkOHB. 

Tocoocliidewith  rarioiu  BntortainwenU  in  th«  BAIiIiBT  DBPARTMBMT, 

In  which  Mdlle.  Taqlioht,  MdDe.  R6a4Ti,  and  Mdlle.  Cbrito,  Iff.  9t.  Lbon, 

•ad  Iff.  Pan  ROT  will  appear. 
%*  Pit  Tlcketi  may  be  obtained  at  usual  at  the  Box-office  of  the  Theatre,  price 

lOe.  td.  each    Anplicatlont  Ibr  Boxei,  Fit  Stalls,  and  TIckeU  to  be  mad* at  the 

Boa>office^  at  the  Dieatre. 

NEW    AND    SELECT    MUSIC, 

puauaHan  oaiT  by 

4  WILLIAMS,  80,  (Fountain  Oonrt,)  Cheaptid»,  A 170,  Qt.  DoTor  Boad. 

N.  J.  SFOKLK'S  LAOT  NSW  SONO, 

"COUNTRY 

It  the  hett  song  yet  writtta  by 
alao  by  the  moat  eminent  temait 
VyH.LtnwIl.. 

"JENNY     LIND'S     dream;* 

The  Word!  by  Reginald  Moreton,  the  Mn«ic  by  (that  Justly  rising  composer) 
J.  J.  Haite.  The  pecnHar  circvmataneea  ander  wnlch  these  words  were  written 
cannot  fail  excitinir  interest,  and  it  is  one  of  the  most  beantitnl  melodies  ever 
paodnccd,  and  Vef  la  such  a  modorata  oompasa  for  the  Tolee  that  any  singer  can 
««etnta  i^with  ease.  The  acconpptntaienis  am  «Mr»ba|  unanged  WitU  «ac|i 
judgment. 

THE     CYCLOPiCDIA     OF     MUSIC, 

Price  Threepence  per  Sheet,  the  full  music  size,  printed  fh)m  engraTed  plates, 
and  wsrrantedcorrecf;  embracing  already  upwards  of  1900  Bhrets  various,  and 
new  works  are  contipnally  being  added.  Tataloguer  forwarded  on  receipt  of  a 
postage  stamp. 

VieLIN     MU»IC. 

Thirty-two  of  the  most  celebrated  CHcrtures  as  Solos  for  the  Violin,  each  6d. : 
as  Duets  fbr  two  violins,  each  Is. ;  ifteeo  Overtures  as  Trios  fbr  two  violins  and 
Violoncello,  each  Is.  6d. ;  forwarded,'  postage  firee,  on  receipt  of  one  postage 
smpp  extra  ibr  evei^y  Od.  publishing  price. 

WILLIAMS'   SCRAP   BOOK   FOR   FLUTC  OR  VIOLIN, 

In  Nos.  at  6d.  each,'  each  number  containing  from  12  io  86  Airs.  In  this  work, 
Baay  be  had  "  Jullien^s  Polka,  •'  JulHla*ji  Celbrius,"  Airs  from  *<The  Bohemian 
Oiri.*'  "  Daughter  of  St.  Mark,"  "  Ethiopian  Melodies,"  &c.  &c.  Any  No.  for- 
warded p^stag^  firee  oa  receipt  of  two  stampa  extra  beyond  |h9  pi^JsWng  price. 


m^majumta  aji»04  «fnw  OKJs^^^t 

N  T  R  Y      LIFE," 
I  by  that  taleated  oamposer,  and  sang  hy  Um  and 
Dale  vocalists  with  unanimous  encores.    The  Poetry 


VERDI'S  I  MASNADIERI. 

The  following  Vocal  Pieces  from  Um  sbovc  new  Opera  are  now  ready  t— 
*'  Lo  »quardo  avea  degrangeli,^  sung  by  MadUe.  JsifNY  Lind. 

*<a]Dio.^as<eipatfmo," ginior  CUattoiii. 

"  Di  ladroni  attorniatto" Dftto.  * 

**  Carlo  Vive"  (Scena  ed  Aria) Madlle.  Jbnny  Lind. 

«Qualmari,qualterra"(Duella). {^IJSSJo^mVnV.'''''* 

«Cariofa,*«»Jo-(Duettlwl,  IliSS^L^A^TcHi!'''- 

Knhe*B  Fantasia  on  favourite  subjectSy  ^. 
Glover's  Morceaux  de  l*Opera,  Ss. 
The  whole  of  the  Vocal  Muic  wiU  ha  r^dy  in  a  Jew  days;  alao  Pianoforte 
Arrangements  by  Callcott,  Bbnbdict,  Holmbs,  ftc. 

'  ADDISON  and  9OD8OJN,  BIO^  Rejgent  Btrfat.    * 

PIAMTOFORTBS, 

At  KENHAT  &  CO/s,  15,  Bermer's  Street,  Oxford  St. 

Bvmr  deacription  of  Piccolo,  Cottage,  and  Osbinei  Pianoiwtet,  of  the  beat 
asatevlda  aad  tha  lowe&t  price*.    Established  upwards  of  40  yeava. 

A  lirlety  of  -flecOhd^huM  Instruments  ahraya  on  sale,   lastramtnta  taken  la 

kmeiv4T  ^  90.,  If ,B«rAfr*4  9m^  OMM  mn^ 


ITALIAN 


OPERA, 


CO  VENT    ««Gr*K*^»^    GARDEN. 
LAST  NIGHT  BUT  VWO. 

ne  Nobility,  Qeptry,  aad  Subscribers  are  respeotAilly  inftonaad  that 

On  ^TUESDAY  NEXT,  AUOUgT  17il|. 

ym  be  repeated  ROSSINPS  celebrated  Op«r^  ^ 

LA    DONNA    DEL    LAGO, 

<B«iai  the  list  prodnctkm  of  tha  leason.  aad  will  embrace  the  cntive  strength  of 
^^^  ■    -  •     A  EXTRA  r 


the  Compaay,  with  aa  i 


.  BAND  and  CUORUa) 
Madama  GRISI, 
MadUa.  AXiBONI, 
Vadlla.  BBLUffl, 
Siiraor  MARIO, 
Slgnor  BVTTINI^ 
Rignor   ai AEINI, 


Malcolm  Grttmej  .      -      - 

Albina, 

JavaofltlMFiftli,  •  .  * 
Rhoderiek  i|to«  •  -  • 
PouvUm  of  AncnOj 

Tte  prindpal  Bards  by 

Blyaon  I*AVIA,  TULU,  FIAOBMTZNI,   LST,,   POZiOMXNI, 

TAOLIAFIOO,  aad  ROVBRB. 

OoM«etor,       -  M.  OQRTA, 

To  p9  IWowed  Vy  theNfwDiTirtUtaaicat,iaT»oTableaax,enUtlcd 


Oaasposed  by  Bigaor  Casati.    The  Mnaic  by  Bbluwi. 

In  which  Madlle.  Plunk btt  will  appear,  supported  by  tfadlle.  Bbbtin^ 
MadUe.  naMsLiasB,  Madlle.  Hblbgmauz,  M.  Gomtib,  9k. 

To  caaduda  with  a  9«leetioB  Awn  the  popular  Ballet  of 

LA    nOSI&RA, 

la  vhfa^  Madlle.  Fuooo  (with  sO  the  principal  Artistes)  wiU  appeer^  and  a 
numerous  Corps  de  Ballet. 

%*  Tickets,  Stalls  and  Boxes,  to  be  obUined  at  the  Box  Oflce,  in  tha  Tlifl«tr^ 
Boir  ^reet,  and  at  Messrs.  Cramer,  Beale,  and  CO. 'a  901,  Regent  Street. 

Tha  Idoort  will  he  opened  at  Bight,  and  the  parformencea    fommeaae  it 
hair  iMMC  Bight  oV^kwk. 


JENNY  |4N9'8  SWgPISH  MBLOQISSa 

THE      MUSICAL      BOUQUET, 

No.  150,  Just  published,  contains  the  **  Slumber  Song,"  and  «*  Oh  I  tell  me  not' 
the  gentle  flower,"— the  two  for  Sd.,  beautifully  illustrated.  Also,  No.  152  con- 
tdbs  *« Mildly,  oh  Moon  of  Nighc.*^  and  *'Uve's  revMHH.'^Uie  two  toad, 
this  alenot  work  also  coataina  No.  li$  and  14«,  *<My  Konnaady,"  smNT  by 
Jinny  Lind,  in  **  Rt^bert  le  Diable,*'  with  a  supob  portrait.  Also  tlie  fellowiM 
for  ad.  each.  The  *'  Barcarolle,"  by  Auber.  lUka  on  alia  from  *<  La  Fille  da 
Regiment.  t^uStdrille,  by  Mnsard,  from  '<  Robert  le  Diable."  The  same  fhmi 
*•  La  Fine  du  Regiment."  ••  Pestal."  ••  Summer  Night,"  the  ••  Wsnderer," 
«  9ri  King,"  "  Stantkrd  Bearer,"  *«  My  Heart's  on  the  Rhiqe,**  Heary'jussen^s 
Songs,  and  the  Ethiopian  Melodies.  AU  the  bKknumoers  are  in  print;  Osts 
gratis.   London :  Office  900^  High  Holborn}  and  W  Stbanob,  21,  Paternoster 


THE   CONCERTINA, 

•  a,     MBW     BOWD     atHRH^n 

JOSEPH   SQATES. 

Manufacturer  and  Tfeacher  of  the  Concertina,  begs  to  inlbrn  Ihe  Nobility  and 
Gentry  that  be  has  RBMOVBD  firom  Frith  Street  to  sa.  New  Bo^  Street,  where 
be  continues  to  supply  this  charming  and  fashionable  instrument,.  With  every  recent 
improvement,  at  from  46r5  to  jei5  each.  Publisher  of  Oiuiio  MOndi's  **  Ruoi- 
M  BNTS,"  9nd  Edition,  and  his  other  Works.  ^ 


T^a  Atrapllatorj,  or  Idqfild  Hair  Vnn  i 

The  only  Dyt  that  really  answers  for  all  colours,  and  dofi  not  require 
re-doing,  but  as  the  Hair  grows,  as  it  never  fades  or  acoittrcs  that  unnatural 
red  or  purple  tint  common  to  all  other  dyes.  BOTANlO  WATER  AND 
bear's  GREASE.— When  the  Hair  |a  becoming  thin  and  fisllftig  oiT,  the 
only  effectual  remedy,  besides  shaving  the  head,  iathe  use  of  the  two  above- 
named  articles,  applied  alternately—the  BoUnic  Water  to  deanso  the  rooU 
from  scur(  and  as  a  stimulant,  and  the  Boar's  Grease  aa  a  aaudsbtr*  The 
NEW  TOOTH-PICK  BRUSH,  thoroughly  deansSng  between  tha  Teo^b, 
when  ascd  up  and  down,  and  polishmg  the  surface  when  used  croesways. 
Thohair  warranted  never  to  come  out     The  UNION  AND  THIPLf 


HAIR  BRUSHES.      The  Double  ANTI-PRESSURB  NAIL  BRUS 
The  Medium  SHAVING  Bi^USH.    Tha  Railway  STROP  and  POWDE 
The  above  new  and  elennt  articles,  in  addition  to  a  very  exteniilva  aMprt- 
ment  of  beauUful  PERFUMES  art  tba    «ol^    MANl)rACTURnan4 
INVENTIOli  of  Mci«n.  ROSS  and  SONS,  U9,  aad  iaa,Rii>|Httata-stewi» 
London.         ^  ..    Digitized  by  V^CTDVie-.  - 


59^2 


THE  MUSICAL  WORLD. 


LIFE  ASSVBAirCE  AND  AKKVITT  SOCIETY, 
3,  PARLIAMENT  STREET,  LONDON.     , 


PROPi^ALS  aie  enterteined  by  tbU  Society  tor  «very  yariely  of  ASSURANCE 
or  ANNUITY  coniiogeot  on  one,  /im,  or  tkrte  lives.  Policies  of  Airarance  are 
frranted  from  j^te  up  to  jtijUfiO.  The  Payio^nts  of  Premiurot  may  be  made 
Anmualtji,  Hulf'jfforljf  Quart erlff,  or  MonthtyyOit  may  b«  compounded  for  by  one 
liagie  payiDent,  commonly  called  the  Umgle  preminm^  or  they  may  be  nuuie  on 
4f*ee^diM9  or  atren4inQ  scales.  ,  .       ^ 

MILITARY  and  NAVAL  MEN  (not  in  actual  War  service),  are  Assured  at  the 
ordinary  rate<« 

ENDOWMENTS  for  CHILDREN  on  their  attaininjc  the  age  of  14  or  21,  and 
PROVISIONS  for  OLD  AGE  (by  which  a  party  aecnres  a  sum  payable  to 
him&elf  on  attainini^  the  age  of  60  or  65,  .or  to  nis  fwnily,  io  case  of  previous 
death),  are  granted  by  this  Society,  on  a  plan  presenting  several  ADVANTAGES 
not  offered  by  other  Societies. 

PARTIES  desirous  of  pruvidln^  for  .the  RENjEWAX'  FINE  |n  their  LEASES' 
can  do  saVith  facility  in  this  Society. 

TKMI*ORARY  POLICIES  of  Assu'-ances  are  granted  to  Borbowbrs  in 
BUILDING  SOCIETIES  on  Rates,  otTerinfr  peculiar. advantages  to  the  Families 
of  the  Borrt>w«rs  and  Security  against  the  heavy  loss  their  deaths  would  occasion. 

Protpectuies  and-  farther  information  ran  be  obtained,  free  of  expense,  fh>m 
the  Actuary,  3,  Parliament-street,  London,  or  Arom  any  of  the  Society's  Agents 
ia.the  Country. 

A,  SCKATCHLEY.  Aclua^y  and Steretmy. 

ProfeBBional  Life  .Assnranoe  Company, 

connecting  the  Clerical,  Legal,  Military.  Naval,  and  Medical  Proiissions ;  and 
holding  out  advantages  to  the  Public  not  hitherto  offered  by  any  similar  Institution. 
-  Inoprporated.— Capital  j^350,000.  -Established  upon  the  mixed,  mutual,  and 
proprietary,  priocwte.— Rates  essentially  moderate.— Every  descri)[)tiOii  of  policy 
gf^ut^.  Immediate,  survivorship,  and  deferred  annuities;  and  endowmepts  to 
widows,  children  and  others.— Every  policy  (except  only  in  cases  of  personation,) 
indisputable^—llie  assured  permitted  to  go  to  and  reside  in  Canada,  Nova  Scotia, 
New  Brunswiek,  Australasia,  Maderia,  CApe  of  Good  Hope,  and  Prince  Edward's 
Island,  without  any  additional  premium.— Medical  ,roen  remunerated  for  their 
reports.— Loans  granted  on  real  or  oersooal  security.— One  tenth  of  the  entire 
pi^ts  appropriated  for  the  relief  oi  the  assured  while  living^  arid  of  his  widow 
ana  orphans.  Annuities  granted  in  the  event  of  blindness,  insanity,  paralysis, 
accidents,  and  any  other  bodily  or  mental  affliction  disabling  the  parties.— Persons 
of  every  class  and  degree  admitted  to  all  the  advantages  cif  the  corporation.— 
Rates  for  assuring  j^lOO  ai  the  age  of  25 ;  S5 ;  45 ;  and  55,  respectively :  namely^ 
ill  14a.  6d. ;  tf  2  5s.  6d. ;  1^3  4s.  Sd. ;  and  j£'4  18b.  6d.— Prospectuses  with  foil 
details  may  be  had  at  the  ( HRce.- Applications  requested  firom  parties  desirous  of 
baooasing  AgOMts.— OiSces,  76,  Cheapaide,  London. 

Edward  Baylia,  Actuary  and  Secretary. 


M.  C.  BVASIS. 

Notes  upou  Dancing^— Historical  and  Practical 

BY     C.     BIiABIS^ 

Ballet  Master  of  the  Royal  Itslian  Opera,  Covent  Garden ;  Finishing  Master 
of  the  Imperial  Academy  of  Dancing  at  Milan ;  and  Atithor  of  several  Works 
upon  Theatrical  Art }  published  in  Italy,  France,  and  Engiaad. 

M.  C.  BZaASIS,  1^  TaTistock  Row,  Corent  Garden. 


THB  PATENT  HARMONIUM.-CAUTION. 


OIO.  LUFF  and  SON  having  discovered  that  several  inferior  imitations  of 
their  taeaaiiful  Instrument,  THE  PATENT  HARMONIUM,  have  been  sold 
under  the  same  name,  in  London,  Liverpool,  and  other  places,  caution  Purcfaasecs 
either  to  visit  their  establishment,  or  to  write  for  their  illustrated  Prospectus,  and 
the  name  of  their  Country  Agent;  this  will  ensure  the  possession  of  a  genuine 
Patent  Harmooinm. 

GBO.   ImVTF  and    son, 
Manufacturers  of  Patent  Pianofortes,  in  every  variety  of  style  and  fuhion,  war- 
ranted to  keep  well  in  tune,  and  prepared  for  extreme  climates.    Price  lists  and 
drawings  forwarded  by  post,  or  enclosed  in  Book  or  Music-sellers  panels  to  order. 
Gbo.  Lvrr  and  Son,  103,  Great  Russell  Street,  Bloomsbury. 


NEW    MUSICAL    WORKS 


rUBLlBBED  BY 


MESSES.   J17LLIEN   ft   CO., 

Kftogal  inusical  (iDonsetbatots, 


214,  BKSBHT  RBER. 


TSQIS' ETUDES    CARACTEBISTIQirES, 


En  forme  de  Caprices  pour  Violon  Solo,  avec  A'cconOpagnennent  de  1 
composes  et  dedi^es  k  Son  Altesse  Royale  MOnsbioneur  l&  Due  nm 
Cambridge,  par 

P.  SAINTON,  Profes«€Qr  a  PAcademio  Royate  de  Miial««% 

Price  8s.,  or  singly,  Nos.  I.  and  IIj,,  3s^;  N9.  111.,  is. 


A    TREATI  BE 

ON  THE     . 


ART    OF    SINCINC. 

Giving  Rules,  Biercises,  and  Exaid^let  adapted  to  «v«rf  «pedii  of  Vaiet, 

Accompanied  by 

Specimens  of  tte  moBt  Eulaent  Mastem  of  tliB  AncUvt  9m£ 
Modem  Sd&oole. 

Dedicate  to  RoaaiNi,  by 
G.  DUPRBZ^  Member  of  the  Oonsenratoire  ReyUe* 

Part  the  First,  price  8s. 


THE     MODERN    TUTOR 

FOR  THE 

PIANO-FORTE, 

Commencing  with  the 

FIRST   RUDIMENTS   OF   MITSIC, 

And  gradually  proceeding  through  a  Progressive  Course  of  Study  up  to  the 

MOST  REFINED  STYLE  OF  MODERN  PIANO-FORTE 

PLAYlNe, 

ninstratad  with  nnmerow  Examples  aid  BMrases 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Masters  of  the' 

Modem  School ; 

Interspersed  with  Morceaiuz  from  the  Works  of 

Spohr,  Beetho^tem,  Mosmrt,  Roeelnij  BeUtnij 

Hsier/f  ftc. 


BVLBS    FOB    THE    POEKATIO  V .  OF   THE   SAVE 

With  Selections  froin  the  Piano-forte  Compositions  of 
HerSi  Dobler,  Tkalberv^  *e.. 

Composed,   Arranged,  and   Fingered  hy  THOMAS    BAKER, 
Her  Majesty's  Theatre  and  the  Royal  Academy  of  Music. 

Price  completje,  15s. ;  or  in  two  parts,  8p.  each. 


Stcaiii  Pvtaa^ '^ 
by  AViLLiAM  Spincbr  Johnson,  80,  St.  Martin'a  Laae^  in  tfts  nartah  ofBt«- 
Martin's  in  the  Fields,  lAtbetiDunty  of  Middlesex:  where aUcammonioittiOBO 


P.infed  and  PnWiahe^l,  for  the  Proprietors,  at  the  **  NaL 

'  William  Spincbr  Johnson,  80,  St.  Martin'a  Laae^  in  tlis  nartah 


for  the  Editor  are  to  be  addressed  post  paid.  To  W  had  of  G.  Purkeas*  X>ee»: 
Street,  Soho ;  ^tran^e.  PftteiTiost^r  Row ;  Wisebeart,  Dahlia  i  ^nd^U  PocdgMJteiV 
City  Agent,  Mr.  G.  F.  Demdng,  %,  Buddersbiiry,-^turdty,  Augu8il«|  wm 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  BEOORD  OF  THE  THEATRES,  MUSIC,  LITERATURE,  FINE  ARTS, 
FOREIGN  INTELLIGENCE,  &c. 

Tenu  of  SirtMrertytioa»  9»  Anavm,  ie».  Stamped ;  18».  Unstamped :  to  be  forwarded  br  Sf oner  Order  or  PoS«a«0  Btampa 
to  the  PnbUaber,  "Wi  8.  Johnson,  ''  Nassau  Steam  Press,"  60,  St.  Martin's  Lane,  Charlns  Orossi 
^S^ToaiiySObserlbers  only  (whose  names  are  re«istered  at  the  Office)  are  entitled  to  an  Admission  to  the  Annual  Gonoort. 


No.  34— Vol.  XXII. 


SATURDAY,  AUGUST  21,  1847. 


fPRICB 


TMHBBFBNCE. 
STAMPED,  FOURFENCB 


THE   OPERATIC   SEASON. 

The  season  1847  having  tenninated^  it  becomes  our  duty 
to  review  the  events  which  have  -signalized  its  progress.  We 
commence  with  the  Royal  Italian  Opera,  a  resum^  of  which 
has  been  furnished  us  by  our  coUaboraieury  Desmond  Ryan. 
The  extreme  length  of  his  review  renders  it  impossible  for  us 
to  insert  th^  notice  of  Her  Majesty's  Theatre,  which  we  have 
prepaid  ourselves,  with  some  preliminary  and  general 
zemarks.  until  next  week.  Elsewhere  will  be  found  our 
account  (rf  Le  No99e  di  Figaro  and  Mdlle:  Lind's  Susanna. 

ROYAL    ITALIAN     OPERA. 

liEvnw  ov  the  season. 

The  year  1847  will  be  long  memorable  in  musical  annals 
for  the  establishment  of  a  socoird  Italian  Opera  in  London. 
It  will  be  memorable  for  the  unparalleled  feeling  of  partizan- 
•hip,  engendered  in  consequence  of  that  establishment ;  it 
will  .b«  iqemofa^e  fdr  the  breaking  up  of  that  system  of 
managerial  policy  which  considered  art  as  nothing,  and  self- 
aggrandisement  as  everything;  it  will  be  memorable  for 
monopoly  overthrown,  and  reformation  effected,  whose  in- 
fluence will  be  surely  felt  for  many  a  lustrum  to  come. 

When  we  look  back  to  this  time  twelvemonths—^  poor 
year — and  remember  that  there  was  then  scarcely  a  breath 
uttered  respecting  the  new  Opera:  when  we  call  to  mind 
that  it  was  as  late  as  Christmas-eve  when  Covent- Garden 
Theatre  was  entered  by  the  artizans  to  commence  the  entire, 
dilapidation  of  ihat  huge  house,  to  build  it  up  again  and 
make  it  ready  for  performance  by  the  spring;  when  we 
consider  the  powerful  opposition  against  which  the  advance- 
ment of  the  new  speculation  had  to  contend,  the  immense 
sums  of  money  to  be  procured  for  so  expensive  an  under- 
taking, and  the  short  time  allowed  for  completion  ;  and, 
finally,  when  we  behold  the  theatre,  thoroughly  perfected, 
opening  the  first  week  in  April,  a  period  earlier  even  than  at 
one  time  was  announced,  it  seems  to  us  like  some  event  in 
a  dream  or  fairy  talis,  or  an  act  of  invisible  agency,  as  surpris- 
ing as  the  enchantments  of  Maugis,  or  Morgana. 

The  causes  whence  arose  this  establishment  require  not  to 
be  considered  too  curiously  by  us.  The  principal  singers,  the 
chorus,  and  nearly  the  entire  orchestra,  with  the  conductor, 
thought  themselves  aggrieved  by  Mr.  Luroley,  and  deserted 
his  theatre  to  lend  their  services  to  the  new  speculation. 
There  is  no  doubt  Mr.  Costa's  secession  from  Her  Majesty's 
Theatre  the  year  previously  was  one  of  the  assistant  causes 
ia  the  establishment  of  the  new  Opera.  Mr.  Costa  had 
always  been  held  in  the  highest  respect  and  esteem  by  the 
members  of  his  orchestra,  and  these,  when  they  found  an 
opportunity  of  serving  under  their  former  leader,  did  not 


hesitate  to  desert  Mr.  Lumley's  standard  and  take  refuge  in 
the  ranks  of  the  enemy ;  especially  since  they  considered  that 
Mr.  Lumley  was  the  aggressing,  and  Mr.  Costa  the  aggrieved 
personage,  and  that  for  other  reasons  they  had  equal  cause  of 
complaint  in  their  own  cases.  We  have  not  taken  the  trouble 
to  ascertain  tb6  exact  discrepancy ;  considering  it  unneces- 
sary for  the  purposes  of  Uiis  journal.  Meanwhile,  the 
project  once  set  on  foot,  the  new  i>roprietors  of  Covent 
Garden  were  busily  securing  a  company  composed  of  all  the 
first-rate  artists  that  could  be  procured  in  Europe.  They 
had  already  engaged  Grisi,  Persian!,  Mario,  Salvi,  Tamburini, 
and  Ronconi,  all  of  whom  had  great  names,  and  were  known  to 
the  English  public.  Certainly  these  alone,  of  themselves, 
would  have  made  a  magnificent  company,  and  might  reason- 
ably be  supposed  to  satisfy  the  exigences  of  any  musical 
theatre  ;  but  the  proprietors  had  determined  that  the  lyrical 
drama  performed  at  Covent  Garden  should  be  "  on  a  scale  of 
efficiency  in  every  department  never  before  attempted  io 
England,"  and  fot  that  purpose  it  was  necessary  the  operatic 
corps  should  be  considerably  enlarged.  Italy  was  searched 
for  singers  of  reputation,  and  among  others  Marini,  Rovere, 
Steffanoni,  and  Alboni  were  engaged.  Great  care  was  next 
taken  to  render  the  band  and  chorus  as  complete  as  possible. 
In  the  orchestra  Sainton  and  Blagrove  were  placed  among  the 
first  violins,  the  former  as  chef  d'attaque,  and  the  stringed 
quartet  was  encreased  in  power  and  numbers,  such  violinists 
as  Mr.  Dando  consenting  to  swell  the  corps  of  the  ripieni, 
and  Mr.  Jarrett  willingly  joining  in  the  corps  as  third  horn. 
Every  department  of  the  band  was  carefully  revised  by  the 
indefatigable  conductor,  and  though  perfection  was  not 
obtainable  in  all  points,  there  was  brought  together,  as  was  sub- 
sequently proved,  a  body  of  instrumentsdists  such  as  was 
never  heard  in  this  country  before,  and  most  likely,  such  as 
was  never  surpassed  in  any  country  at  any  period.  The 
chorus  was  also  enlarged  and  improved ;  a  great  change  for 
the  better  being  hardly  less  efiected  here  than  in  the  band. 
Early  in  January  the  new  company  issued  its  prospectus. 
One  of  its  most  popular  acts  of  administration,  and  one 
which  certainly  conferred  a  grace  and  gave  an  importance  to 
the  establishment  at  its  outset,  was  the  appointment  of 
Mr.  Beale  as  manager.  The  general  esteem  in  which  Mr. 
Beale  was  held,  the  high  respectability  of  his  position  in 
society,  his  great  influence  in  musical  circles,  his  worth  and 
independence  as  a  man,  and  his  character  as  a  gentleman, 
lent  to  the  new  speculation  a  weight  and  a  seeming  it  could 
not  boast  of  before,  and  attracted  thereto  universal  attention. 
From  the  appointment  of  Mr,  Beale  to  the  management  may 
be  dated  the  first  dawn  of  the  success  of  the  Royal  Italian 
Opera.  The  prospectus  was  issued  in  January,  it  ran  as 
follows:—  Digitized  by  V^iOOy  ItT 


I 


'534 


THE  MUSICAL  WORLD. 


t  GARDEN, 
irfect  performuice  of  the 


liis  country.  T^ndS  t|e 
B  of  Cimarosa,  }aoz3flf 


ROYAL  ITALIAN  OP£R 

Est^Ushed  fyr  the  nurpose  of  renler 
Lyric  prtii)aa  than  hfl  hiljberto  hft^ 
Q|^clb|  Ind  Kanace^ent  of  tfr.  WM]^'^VlS 
course  of  the  Reason,  some  <n  the  estaHRhed  Wrks" 
Roasini,  Meyerbeer,  and  others  of  the  more  modern  Italian  school,  including 
operas  by  Bellini,  Donizetti,  Mercadante,  and  Verdi,  on  a  scale  of  the  utindat 
perfection  in  every  depa^r^ment;  to  which  Intent  the  management  has  assem- 
bled a  company  embiucing  the  grealest  and  most  viaiied  talent  io  Europie. 

Primi  Soprani— MesdameB  Grisi  and  Persian!,  Ron(^  an^  Sfc#knoni  (of 
La  Scala,  Milan,  her  first  appearance).  Contralti-^fl^dnAeit  MkkA  {of 
La  Scala,  and  the  Imperial  Theatre,  Vienna,  her  first  appearance),  and 
Corbari.  2Vnori— Signori  Mario,  Salvalor  Laviaj(of  the  Imperial  Theatre  of 
St  Petersburg,  his  first  appearance),  Tulli  (of  San  Cario,  Naples,  his  first 
appearance),  Salvi  (of  La  Seala,  Milan,  and  first  appearance  on  the  Ita- 
lian stage  in  England).  Primi  Bassi  ^ortioni— Signori  Tamburini  and 
Giorgio  Ronconl.     Primi  Bassi  Profondi—Signon  Marini  (of  San  Carlo, 


appear 
le  Tinpe- 


Naples,  La  Scala.  Milan,  and  the  Imperial  Theatre,  Vienna,  his  first 
•ncejj^ngelo  Alba  (of  Madrid,  his  first  appearance),  Polonini  (of  the  impe- 
rial TlKBtre,  Vienna,  hia  fiitt  appearimoe).  Primi  Bassi  Cbmiet— Signori 
Pietro  Ley  (of  Madrid,  his  first  appearance),  Agostino  Royere  (of  the  Thea- 
tres Royal,  Naples,  Milan.  Vienna,  &c.,  first  appearance.  Seconde  Donne— 
Meidames  Antonietta  MoUidori  (of  La  Scala,  Milan),  Amalia  Linari,  and 
Luicina  Bellini.  Sscondo  TVnore—Signor  Emmanuel  Siano  (of  San  Carlo, 
Naples.    Director  of  the  Music ^  Composer  and  Conductor—Mr,  Costa, 

A  powerfiil  and  numerous  chorus  of  chosen  and  experienced  singers  will 
complete  the  vocal  department  Chorus  Master— &gnor  Bonconsiglio. 
Proni^/er— Signor  Monterasi.  The  orchestra,  formed  of  artistes  possessing 
the  highest  executive  powers,  will  comprise  among  its  members  the  following 
distlngnlshed  professors,  v\t,— First  ^'ottni— Messrs.  Sainton.  H.  Blagrove. 
Dando.  Willy.  Griesbacb.  Watkins.  Case.  Thiriwall.  Thomas.  MeUon. 
Patey.  Zerbml.  Browne.  Goffrie.  Hill  Second  Fio/jn*— Messrs.  Ella. 
Newsham.  W,  Thomas.  Payton.  H.  Westrop.  H.  Griesbacb.  Jay. 
Ferry.  MarshaD.  W.  Blagrove.  Betts.  Kelly.  Sort.  Wilklns. 
7i;fzor«— Meesrs  Moralt  Hill.  Alsept  Lyon.  Glanville.  Thomson. 
Hann.  Westlake,  Trust  R.  Blagrove.  P'iolonceilos—Mesixs.  Lindley 
Lucas.  Hatton.  Lavenu.  Philips.  Hancock.  Hausmann.  W.  Loder. 
Goodban.  Goest  Doubie  Basses^Measn,  Anfossi.  Howdl.  Casolam. 
Griffiths.  C.  Severn.  Pratten.  Campanile.  CastelL  Vaudreban. 
Harp— Mr.  E.  Perry,  Flutes— Messrs  Ribas  and  de  Folly.  06oe»— Messrs 
Barrett  and  Nicholson.  Clarionets — Messrs  Lazarus  and  Boote.  Bassoons— 
Messrs.  Bauman  and  Keating.  /f(»rn«— Messrs.  Piatt,  Jarrett,  Han»er  and 
Rae.  Ophicleide—M,  Prospere.  Trumpets— Meaan.  T.  Harper  and  Handley. 
Trombones— Messrs.  Ciom,  Smithies  'and  Healey.  Drums— iir.  Chipp. 
Triangle— Ur.  Seymour.    Bass  Drum—Ur.  Horton. 

The  military  band  oi  the  Coldstream  Guards  will  be  under  Ihe  diractioo  of 
Mr.  Godfrey.  An  organ  of  extensive  compass  has  been  erected  in  the  theatre 
by  Messrs.  Plight  and  Son.  The  Scenery  by  Messrs.  Grieve  and  Telbin. 
Poet  and  Translator  of  the  Libretti,  Signor  Maggionj. 

The  Ballet— Oi  a  brilliant  and  costly  character,  will  close  the  performance 
of  the  evening,  and  no  divertissement  will  be  suffered  between  the  acts  of 
operas.  The  directof  has  the  pleasure  to  announce  that  he  has  concluded  an 
engagement  wi^  If  Ue.  Fanny  Elssler ;  ahd  during  the  season,  the  following 
eminent  danseuses  will  appear— JPrcfliierM  Danseuses—HWe.  Oumilatre. 
Mile.  Plunkett.  Mile  Bertin.  Mile  Neodo^.  Mile.  Marietta  Baderna. 
Mile.  FuocD.  Mont.  Petipa.  Mons.  Delferier.  Mons.  Auguste  MabiHe. 
Mile  Aurial.  Mile.  Demelisse.  Mile.  Celeste  Stephan.  Mile.  Delecbaux. 
Mile.  Levallois.  Mile.  Duval.  Mile.  Rita  Pereda.  Mlie.  ArnaJ.  Mile. 
AnnaMonroy.  Miss  Genge.  Miss  Hartley.  Miss  Barnett.  Mis«  Kendall. 
Misa  Rose  Cohan.  Miss  Laura  Mauricew  Miss  Chester.  Mto  Marsteii. 
Miss  L.  Paris.  MissC.  Paris.  Miss  Maskdl.  Miss  Lee.  Miss  Kirby. 
Miss  E.  Claie.  Miss  Brown.  Miss  R.  Wright  Misa  Clifford.  Miss  Ward, 
with  a  numerous  body  of  Coryphees  and  Figurantes.  Moitres  de  Ballet— 
Mons.  Albert  (  of  tlie  Grand  Opera,  Paris),  and  Mons.  Blasis  (of  |the  theatre 
la  scala,  Milan.)  Leader  of  the  Ballet— Mr.  Alfred  Mellon.  Begisseurds 
la  Danse— Mr.  O'Brian.  CcwpMer— Signor  Alesandro  Curmi  f  o?  the  San 
Carlo  Theatre,  Naples).  ^ 

Among  the  names  of  the  composers  whose  works  are 
promised  we  find  those  of  Cimarosa,  Meyerbeer,  and  Merca- 
dante. But  we  had  no  opera  of  Cimaroea,  nor  of  Meyerbeer, 
nor  of  Mercadante.  So  far  the  proprietors  may  be  said  to 
have  broken  the  pledge  of  their  prospectus,  but  when  it  is 
considered  that  almost  all  the  operas  produced  at  the  new 
theatre  had  unpairalleled  ssccess,  and  that  they  were  con- 
sequently repeated  oftener  than  was  intended,  it  will  be  seen 
that  Uiis  alone  precluded  the  possibility  of  giving  all  that  was 
IMTomised  ;  and  a  still  more  cogent  reason,  and  one  in  which 
the  public  entirely  sympathised,  compelled  the  management 
to  depart  from  the  minute  terms  of  the  prospectus — ^viz.,  the 
immense  succesa  of  Alboni,  and  her  favouritism  with  the 
public,  which  demanded  she  should  be  heard  as  frequently  as 
possible,  and  necessitated  the  production  of  operas  in  which 
she  would  have  a  part.     Moreover  it  must  not  be  forgotten 


li^at  fsvery  opein^  p|:odi^ce.(|  reoui^ed  as  nuv^  time,  pains,  and 
e^pepsQ  *^''  an  ef^tire^jr  t^^w  work.  V^iJtb  feg^d  to  die 
^nplpal  Ifti^j^  Dpmujbd,  ^tridb  faith  has  l^eo  prese^i^d,  if 
we  except  one  of  the  oasai  projondi,  Signor  Angelo  Alba,  who 
did  np^  appi^ar,  aft^  w^ose  place  was  supplied  by  Signor 
Tagliafico  from  the  ItaUeu$  at  Paris.  Fpni  the  impression 
Tagliailipo  made  in  many  of  his  performances,  we  are  inclined 
to  ihink  that  tlie  lR,oyal  Italian  Opera  lost  nothing  by  the 
exchange.  With  regard  to  the  other  portions  of  Iflie  pros- 
pectus, every  item  has  been  scrupulously  observed  ;  so  thai 
on  the  whole,  it  may  be  fairly  inferred,  that  the  directors  of 
the  Kayai  Italian  Opera  publidied  their  proi^pectus  wil&  an 
eye  to  its  strict  fullfilment,  laying  down  no  more  ^n  was 
compassable,  and  intending  no  more  than  was  within  their 
means  :  that  nearly  every  thing  therein  promised  was  carried 
out,  and  that  the  departures  from  the  prospectus  were  perfectly 
warranted  by  circumstances,  and  agreeable  to  the  feelings 
of  the  public. 

On  Tuesday,  April  the  6th,  tiie  v«ry  day  announced  months 
previously,  the  Royal  Italian  Opera  bpened  with  Seimramide. 
The  management  could  not  have  selected  a  better  op«ra 
under  all  circumstances.  In  jthe  first  place  the  brilliant 
overture,  and  splendid  instrumentation  of  Semiramide,  would 
a  priarif  tax  the  highest  powers  and  resources  of  the 
orchestra.  In  the  next  place  the  choruses  were  numerous 
and  on  a  grand  scale,  and  would  perfectly  display  the  com- 
pleteness of  the  choral  department;  and  las^y.  the  three 
principal  characters  of  the  opera  would  give  Grisi,  Alboni, 
and  Tamburini  fine  scope  to  exhibit  their  rocal  and  histrionic 
capabilities.  In  addition  to  these,  the  magnificence  of  the 
scenery  required  for  Sernvramide^  together  with  the  costliness 
of  die  dresses,  the  scenic  accessories,  &c.,  and  the  provision 
of  a  military  band  on  the  stage,  must  necessarily  afford  an 
opportunity  for  conveying  a  complete  idea  of  the  manner  in 
which  the  Royal  Italian  Opera  management  intended  to 
produce  operas  on  the  stage.  Therefore  the  Semirandde^ 
agreeing  with  all  these  requirements,  was  happily  selected. 
Never  shall  we  forget  the  opening  night  of  the  theatre.  The 
pit  was  half  filled  with  people  who,  we  conscientiously 
believe,  never  entered  the  walls  of  an  opera  house  before. 
These,  we  presume,  were  attracted  solely  by  the  open- 
ing of  a  new  theatre,  and  paid  their  eight  riiilUngs  to 
behold  Covent  Garden  converted  into  a  "house  for  singing.** 
Upon  entering  the  Pit  the  light  seemed  somewhat  duU,  and 
the  hangii^  had  rather  a  dingy  appearance.  The  shape  of 
tiie  house  was  pronounced  on  all  aides  irreproachable  and 
a  great  improvement  on  the  ancient  ^eatre.  While  the 
eyes  of  every  body  in  attempting  to  acan  the  ornaments,  the 
ceiling,  the  proscenium,  the  hangings,  the  facades  &c.  and 
were  endeavouring  to  penetrate  a  sort  of  base  that  aeemed 
to  envelope  the  whole  house,  suddenly  the  whole  area  of 
the  theatre  wat  flooded  with  a  b'ght  so  pure  and  brilliant 
that  one  might  have  fancied  it  was  brottd  daylight.  **  The 
lustre,  the  lustre,"  shouted  simultaneously  a  thousand  voices, 
and  then  there  followed  such  a  shout  of  applause,  and  sueh  a 
dapping  of  hands,  as  must  have  wanned  the  heart  of  ol^ 
Covent  Garden,  which  had  not  felt  such  cheering  for  many 
years.  And  now  that  every  portion  <^  the  honse  was  so 
plainly  visible  its  real  beautieii  became  apparent.  Perhaps 
there  is  not  in  the  world  a  more  elegant  theatre  than  Covent 
Garden.  Witness  the  magnificence  of  its  painted  proscenium, 
tlie  splendor,  yet  chasteness  of  its  ornaments,  the  fitness  of  its 
decorations,  and  the  symmetrical  proportions  of  the  whole. 
Certainly  we  have  heard  exertions  taken  to  a  portion  of  its 
embellishments,  and  of  its  deeoni|d^B8p  j^ich  wonld  not  seem 


THE  MUSICAL  WORLD. 


636 


to  be  eAtirely  ungrounded.  The  painted  entablatures  of  the 
filing  have  been  pronounced  too  heavy,  and  discordant  in  color 
with  Uie  brightness  of  the  house.  We  are  inclined  to  agree  with 
Ihis  opiAion.  The  curtains  havft  been  considered  too  dark, 
fuad  it  has  been  said  that  they  render  the  appearance  of  the 
Ixueea  duU  and  sombre,  and  are  not  in  keeping  with  the 
brilU^Boy  and  lightness  of  the  re»t  of  the  theatre.  From  this 
we  t^e  l^Te  to  dissent  The  hangings  are,  in  color,  of  a  fine 
^mson,  and  to.  make  them  a  shade  brighter  would  be  to 
i»ring  them  to  the  confinea  of  scarlet  a  very  bad  night  color* 
^hoae  who  flndlault  with  the  (draperiea  of  Uie  Royal  Italian 
OpeJm  K^  aach»  and  such  only,  as  have  been  accustomcMl  to 
the  glittering  goi^ousness  of  the  hangings  oi  Her  M^esty's 
Theatre,  imd  can  espy  nothing  beautiful  save  what  dauletb 
•tttposes  and  astonishes.  The  occupiers  of  the  boxes,  at  all 
•vents,  will  have  to  thank  the  choosers  of  the  Covent  Garden 
deeoration^,  as  the  Qolor  suits  admirably  the  complexion  of 
the  ladies.  With  these  exceptions  the  house  wa«  the  theme 
ftf  universal  admiration.  The  lustre  was  pronounced  the 
moat  iplendid  ever  hung  in  a  theatre,  and  the  proacenium  the 
most  qiegnifioent  both  in  design  and  execution  ever  beheld. 
The  provision  of  stufied  chairs  in  the  pit  gave  entire  satiatac- 
tion,  another  great  improvement  on  the  old  ayatem*  Al^d 
now  the  meml^ra  of  the  orchestra  began  to  roi^e  their  ap- 
peamnce,  and  we  recognized  the  faces  we  bad  kuown  90  many 
yeata  at  Her  M^jesty'a  Theatre.  After  a  while  Signer  Costa 
appeared  and  was  greeted  tumultuously  from  all  parte  of  the 
houde.  Then  there  was  a  pauae  interrupted  occasionally  by 
the  tuning  of  an  inatrument ;  then  the  tap  of  the  Conductor'^ 
{ia<e»  OA  the  tin  reflector — a  call  to  order  and  attention — 
them  an  uplifting  of  the  Won-— and  the  overture  commenced. 
It  waa  an  anxioua  moment  lor  Sig.  Costa.  The  instant  the 
baad  was  heard  its  power  was  lelt  The  overture  waa 
magmfieently  played.  The  quickness  and  preciaion  of 
the  alle^.  paaaagea»  the  mellowneaa  and  auavity  of  the 
AiufenM^i  the  accttracy  of  the  solos  and  the  thunder 
(tf  the  fortes  were  never  equalled  in  our  hearing.  The  band 
waa  laultleaa.  We  have  opened  the  theatre  to  our  readers* 
but  we  ahall  not  tax  their  patience  by  leading  him  through  the 
mimUia  of  this  stirrhkg  night.  It  ia  unneceasary  to  allude  to 
the  enthuaiaatio  reqeptSon  aeeorded  to  Qrisi  and  Tamburini- 
Theae,  as  they  were  expected,  caused  no  surprise.  Nor  need 
we  apeak  of  dbe  perfection  of  the  chorus,  nor  the  splendour  of 
the  acenery  •  But  we  cannot  pass  over  one  event  of  the  evening, 
w^h  cauaed  the  greateat  surprise,  and  the  iasue  of  which  has 
had  an  influence  on  the  deatmieaof  Covent  Garden,  as  gratify- 
ing aa  it  was  unexpected,  without  dwelling  on  it  for  some 
apAce  of  time.  We  apeak  of  the  debut  of  the  new  omirakQ, 
Siignora  Alboni.  So  little  was  known  of  thia  lady  in  E^^and, 
U^t  we  could  kam  nothing  of  her  but  what  waa  vague  and 
wsatiafactory.  In  our  article  in  the  Muakal  World  9i 
^bniary  the  6th,  descanting  on  the  pioapectua  issued  by  the 
Royal  Italian  Open,  we  made  mention  of  her  thus—;  **A1- 
hont  who  ia  the  only  &ignora  in  the  catalogue>  haa  a  sort  of  float- 
ing vepntation  that  ooxes  from  time  to  time  out  of  the  adeposity 
«l  ItsAian  Camivalsf  whether  deserved  or  not,  we  cannot  pre- 
taid  to  determine."  So  little  did  the  public  think  of  Signora 
Alboni,  that  wh<m  she  came  on  the  &rat  night  aa  Arafu^,  they 
leceiyed  her  with  the  utmost  indtfexence,  lookmg  upon  h&c 
iffitk  about  aa  little  interest  aa  upon  any  individual  in  the 
ehoma.  But  ahe  had  not  sang  three  bars  of  her  opening  recita- 
tive before  ahe  rivetted  the  attention  of  the  whole  houae.  The 
wondroua  beauty  and  purity^of  hear  tonea  went  right  home, 
Uiatantaneously,  to  every  heart  At  the  end  of  the  recitative 
th^aodMnoe  wan  excited  to  an  abaolttta  fiuronf  and  Albwi 


was  established  in  the  public  mind  as  a  great  singer,  and  for 
ever.  Great  as  was  Alboni*s  success  on  the  first  nigh^>  it  was 
only  a  foundation  for  repeated  trii^mpha  during  the  re^t  oi  t^ie 
a^MUion.  By  every  new  pi^t  in  which  ahe  has  appeared  ^e 
has  obtained  an  addition  to  Iier  reputation.  A  contraat  here 
naturally  suggests  itself  with  a  popular  sing^  belonging  to  the 
r^yal  eatf^b^liSbnent,  which  we  cannot  r^aiat  getting  fortl^.  The 
antipodea  sci^cely  preaept  a  greater  isontraat  than  is  afforded 
by  Jenny  Lind  and  Alboni,  i^hether  it  he  lA  their  persona, 
their  talent^,  or  their  fbirt^nes.  I'h^  Q|ie  cama  to  Lon4pn 
iieralded  by  aiich  a  naoie  aa  np  arfiate  ^yer  posaesaed  before; 
the  ot^er  came  aln^ost  unkfio>rn>  and  certainly  unreported- 
Jei^ny  Lind's  voice,  though  b^eautifhl,  is  not  faultless ;  Alum's, 
h^utiful  in  another  style,  is  without  f  flaw.  Jenny  t>ind*s 
talent  is  aa  artificial  s^  it  is  brilliant ;  Alboni's  as  natural  c^s  it 
is  charming.  The  Swedish  Kightingale  ia  fair-.haire4t  slight, 
and  hopi^y ;  the  Italian  Mavni  }%  dark,  a^u^,  and  yery 
handsome.  Pvit  in  the  aiqou^t  of  impression  produced 
on  the  p^blic  mind^  and  the  increa«e>  or  falling  qff  of 
that  imprasiion,  chiefly  consiata  the  grei^t  «intitheaia  betv^e^u  the 
two.  famoua  artiatea.  Nothing  could  surpaaa  the  impreaaion 
Jenny  Lipd  produce4  the  firat  night  she  appeared  in  Lqndpq. 
This  ^aa  an  anti-clima^  That;  iqtpv^aaion  haa  been  yyearing 
oi^t  ever  aince.  We  ^Q  not  mean  to  aay  that  Jenny  (ind  doea 
AOt  fi^ttracf  aa  large  audienoee  now  aa  01^  her  firat  comiiu|  to 
London.  That  woi^d  be  atati^  what  we  do  not  know.  But 
aupposingahe  doea,  we  can  ea^y  account  for  the  prolongation 
of  the  Lin4  attraction.  There  are  upwarda  of  200,000  people 
coming,  to  London  every  week,  ^1  atrangera.  Now  among 
ao  many  it  would  he  wonderful  indeed  if  Jenny  Lind,  with 
her  extraordinary  provincial  reputatiout  could  not  find  a  few 
thousiinda  nightly,  who,  out  of  mare  c^rioaity,  would  he 
induced  {o  hear  one  whom  the  ^ornta^  Posi  haa  dubbed 
a  better  m^ger  ikg,n  DfaUbran,  and  a  better  actress  <Aan  RaqheL 
^e  cannot  Icsse  sight  of  t)ie  fact  that  with  those  who  have 
heard  her  more  thap  qnce,  Jen^y  Lindas  exorbitant 
reputation  \%,  dedinii^.  Bc^t  the  case  is  directly  the  opposite 
lyith  Alboni.  TM  oltiaier  she  is  t^eard  the  n^ore  genuine  and 
enthuaiaatiG  are  tl^a  feelinga  ahe  excitea ;  and  we  have  little 
doubt  that  ere  a  year  paatsea  by,  tha  egmtraUa  of  the  Eoyal 
Itali4^9  Oper^  ^l  have  pulled  down  from  her  throne  of  pre- 
eminence the  sofTono  of  Hf r  Majeaty'^  Theatre.  The  firat 
performance  of  the  new  company  was  a  forerunner  of  the  many 
triumphs  0^  the  aeaaon.  Wa  never  witnessed  an  opera  so 
splendidly  executed  in  every  reapect  1^  the  Senuramide.  The 
chorna,  band,  and  principal  vioger^il  Ware  aa  powerful  1^  art 
and  indefatig^bility  could  render  them*  and  the  enthusiasm 
excite^  in  the  audience  was  the  legitimate  consequence  of  the 
finest  combination  of  first-rate  talent  applied  to  the  execu- 
tion of  a  gr^ at  work  in  the  oompleteat  form. 

We  mnat  now  give  a  general  glance  at  the  pedbrmancea  of 
the  aeaBon»  and  consider  the  canses  that  have  conduced  to 
the  success  of  the  new  establishment;  for  he  it  known,  that 
the  success  attending  the  Rpyal  Italian  Opera  perforj^ances 
haa  been  commenanrate  with  Uia  higheat  expectationa.  We 
muat  next  allude  to  the  principal  aingerai  endeavouring  to 
estimate  their  separate  influencef  ojk  the  |brtunea  of  the 
theatre ;  and  finely  devpte  a  few  lin^a  to  Signer  ^poatii's 
importanca  aa  a  conductor. 

Seventeen  cqperaa  have  been  given  by  the  new  co^p^ny  at 
Covent  Garden  during  the  aeaaon.  0(  theae,  five  vere 
Roasini'a :  namely,  Semkramidet  i'ftaliana  m  Algierh  U 
Barhiere^  La  Gt»sta  Ladra,  and  La  Donna  dd  Logo :  two 
were  Moaart'a  (and  audi  a  twaiu  1 1 !)  L^  Giovawu  aud  Le 
Noxxe  di  Figaro :  five  were  Donizetti'%  Jftuckk  di  Lofim^" 


536 


THE  MUSICAL  WORLD. 


mooTf  Anna  Bolena,  Lucrezia  Borgia,  UElhir  d*Amore^  and 
Maria  di  Rohan  :  three  were  Bellini's,  Sonnambula^  Puriiani, 
and  Norma :  and  two  were  Verdi's^  Emani  and  I  Due  Foscari. 
In  addition  to  these  there  was  given  on  two  occasions  a  scena 
from  Donizetti's  BeUy,  for  Mademoiselle  Alhoni.  Some  of 
the  ahove  performances  must  have  been  necessarily  better 
than  others.  Those  which  were  given  in  the  completest  form, 
and  in  a  manner  certainly  never  dreamt  of  before  in  this 
country,  were  Semiramide,  Barhiere,  Don  Giovannif  Figaro, 
Lucrezia  Borgia,  Norma,  La  Gaxza  Ladra,  and  La  Donna 
del  Logo,  The  other  operas,  though  carefully  and  completely 
performed,  did  not  draw  on  the  highest  resources  of  the  band 
and  chorus,  and  achieved  a  less  decided  effect.  The  great 
impression  produced  by  the  Maria  di  Rohan  and  the  Due 
Foecari  was  entirely  owing  to  Ronconi's  wonderful  acting, 
the  operas  being  considerably  below  average  merit.  TheZiKCta 
was  an  immense  hit,  due  for  the  most  part  to  Salvi  and  Ronconi, 
in  consequence  of  their  highly  impressive  acting  and  singing. 
Salvi's  Edgardo  was  one  of  the  great  hits  of  the  season. 
The  lUdiana  in  Algieri,  introdncmg  Marini  and  Rovere,  was 
played  three  nights.  The  music  captivated,  but  did  not  excite, 
and  so  the  performance  gave  much  pleasure,  but  awoke  no 
enthusiasm.  The  Sonnambula  pleased  for  a  few  nights,  but 
was  not  violently  successful.  We  suspect,  but  this  is  enire 
nous,  that  Persiani's  position  between  Grisi  and  Alboni  was 
anything  but  favorable  to  the  display  of  her  talents.  Persiani 
is  really  a  wonderful  artist,  yea,  the  most  wonderful  of  them 
all,  but  unfortunately  the  people  prefer  voice,  and  Persiani's 
organ  is  deficient.  The  Elisir  d'Amore  did  nothing,  though  it 
was  splendidly  performed,  and  Tamburini's  comic  acting 
should  have  been  su£Scient  to  guarantee  it  a  long  run. 
Emani  was  given  twi6e.  Introducing  Mademoiselle  Ste&noni. 
We  forget  what  impression  it  produced.  All  the  other  operas 
were  decidedly  great  triumphs,  the  performances  surpassing 
by  many  degrees  any  thing  of  the  kind  ever  done  in  England. 
To  give  some  idea  of  the  perfection  of  the  ensembles  in  these 
operas,  we  may  instance  the  Lucrezia '  Borgia,  in  which 
Marini,  the  primo  basso  who  in  Milan  played  the  Duke  with 
great  eclat,  undertook  the  part  of  one  of  the  conspirators, 
without  having  three  bars  of  solo  to  sing ;  and  Tagliafico, 
Polonini,  Pietro  Ley,  &c.,  all  stars  in  their  continental 
hemispheres,  did  not  deem  it  beneath  them  to  sing  in  the 
chorus.  The  Donna  del  Logo  offers  another  instance  of  this 
perfection  in  the  ensemble,  wherein  we  find  Rovere,  Tagliafico, 
Poloniniy  Pietro  Ley,  &c.,  undertaking  the  Bards,  who  come 
on  merely  to  sing  in  the  ^rst  finale.  That  the  chorus  in  general 
was  vastly  improved  was  evidenced  in  the  first  performance  of 
Semiramide.  We  never  heard  a  band  of  singers  display  so 
much  precision,  energy,  and  power.  The  female  choir  was 
absolutely  faultless,  and  shewed  the  training  they  must  have 
undergone  to  have  brought  them  to  such  perfection.  Of  the 
orchestra  we  do  not  think  it  necessary  to  say  more  than  we 
have  said  at  the  commencement  of  our  article.  It  is  univer- 
sally admitted  that  a  more  complete  and  magnificent  body  of 
instrumentalists  never  assembled  together  in  a  theatre.  Their 
performances  alone  at  the  Royal  Ittdian  Opera  would  be  well 
worth  paying  to  hear.  We  must  now  durect  the  reader's 
attention  to  the  principal  singers,  and  fairly  set  before  him 
the  value  and  importance  of  each  artist  individually,  and 
endeavour,  by  a  statement  of  fiicts,  simply  to  arrive  at  a  con- 
clusion of  how  much  service  the  artist  was  in  furthering  the 
success  of  the  season:  and  this  bringa  us  to  her  who 
has  been  the  most  important  and  influential  of  all  ihe 
vocalists  in  directing  the  fortunes  of  the  Royal  Italian 
Opera — Oiulia  Grisi. 


Of  the  seventeen  operas  produced  at  Covent-Garden  during 
the  season,  Grisi  appeared  in  ten.  These  were  Semiramide, 
Puritani,  Norma,  Lucrezia  Borgia,  Anna  Bolena,  Due  Foscari, 
Don  Giovanni,  Nozze  di  Figaro,  Gazza  Ladra,  and  La  Donna 
del  Lago,  Of  the  sixty  performances  of  the  season,  she 
appeared  in  no  less  than  forty-five.  This  alone  amounts  to  a 
strong  proof  of  her  overwhelming  importance  in  the  Covent 
Garden  company.  But  besides  this,  it  is  an  incontrovertible 
fact  that  Grisi  has  created  a  greater  sensation  this  year  than 
she  has  done  since  she  came  to  this  country.  The  causes  of 
this,  which  at  first  sight  would  seem  paradoxical,  may  be 
readily  found.  It  must  be  granted  that  when  Grisi  first  came 
to  London,  however  exquisite  her  voice  might  have  been  and 
finished  her  vocalization,  and  whatever  sensibility  and 
felicity  of  portrayal  her  acting  might  have  displayed,  she  fell 
short  of  the  loftiest  efforts  of  genius.  She  was  not  yet 
fashioned  to  stand  on  the  highest  pinnacle  of  fame.  She  was 
just  beginning  to  climb  that  hill  on  whose  summit  Malibran 
stood,  and  was  beginning  to  put  forth  those  wings  which,  at 
no  distant  period,  were  destined  to  waft  her,  yea,  to  the  same 
towering  height  as  Malibran.  Grisi  was  yet  young,  and 
Nature  had  done  so  much  for  her  that  it  rendered  her  some- 
what careless  of  improving  and  cultivating  her  genius.  The 
public  were  so  contented  with  her,  and  l£enr  applauses  were 
to  rapturous,  that  (he  seemed  to  have  gained  aU  she  desired. 
*^  The  force  of  favor  could  no  further  go,"«— so  thought  Grisi, 
but  she  was  soon  compelled  to  alter  her  sentiments.  In 
attempting  to  depict  some  of  the  sterner  characters  of  the 
Lyric  drama,  she  found  she  had  still  something  to  consider  and 
to  learn.  Stung  by  the  unworthy  comparisons  of  some  journal 
of  the  day,  her  genius  rose  withm  her,  and  she  was  determined 
to  do  or  die.  A  genius  like  Grisi's  seizes  and  embodies 
with  the  rapidity  of  lightning.  In  a  few  brief  seasons  she 
stood  pre-eminent  as  the  grandest  delineator  of  the  tragic 
passions  since  the  days  of  Pasta*  But  still  all  immediate 
competition  was  apart ;  there  was  no  Richmond  in  the  field 
to  claim  the  ''  golden  round "  from  her,  and  Grisi,  from  want 
of  some  extreme  cause  of  excitement,  occasionally  allowed 
her  intellect  toV<  rust  in  her  unused."  We  have  frequently 
had  cause  to  complain  in  >the  Musical  World  of  Grisi's 
apathy  and  indifference*  This  was  during  the  latter  years  of 
her  engagement  at  Her  Majesty's  Theatre.  We  are  now 
aware  that  there  was  a  £Eur  stronger  reason  than  natural 
indolence,  or  any  want  of  exciting  cause  from  the  absence  of 
competition,  to  account  for  Grisi's  apathy  and  indifference. 
For  the  last  two  years  of  her  engagement  all  friendly  in- 
tercourse had  ceased  between  her  and  Mr.  Lumley.  A 
misunderstanding,  or,  more  properly,  a  breach  had  taken 
place  between  Uie  artist  and  the  manager,  and  Grisi,  who 
thought  herself  insulted,  went  on  the  stage,  night  after  night» 
utterly  heedless  how  she  sang,  or  how  she  acted.  At  the 
very  first  oppartunity  she  broke  firom  her  bonds  at  Her 
Majesty's  Theatre,  and  flew  into  the  ranks  of  the  Coyent 
Garden  company,  determined  to  exert  her  genius  and  talents 
to  the  utmost,  and  show  the  world  what  LA  DIVA  could 
really  do  when  she  felt  inclined.  The  manner  in  which  she 
sang  on  the  first  night  of  the  opening  of  the  Royal  Italian 
Opera  proved  she  was  still  the  greatest  vocal  artist  in  the 
world.  Here  every  thing  seemed  to  lend  a  spur  to  her  genius 
and  exertions.  First,  she  was  naturally  anxious  to  establish 
the  new  theatre,  after  having  quarrelled  with  the  old  one — a 
powerful  motive  for  putting  forth  her  energies ;  next  she  had 
a  profound  regard  for  the  manager—a  sufficient  stimulus  to 
press  her  onward  in  the  cause;  and  lastly,  Alboni's  great 
success  (for  she  knew  beforehand  what  that  sacceis  would  be) 


THE  MUSICAL  WORLD 


637' 


was  enough  to  awaken  any  dormant  faculty,  and  make  her 
apply  it  to  the  best  advantage.  These  motives  combined, 
made  Grisi  exert  herself  to  sudb  extent,  that  those  who  heard 
and  saw  her  in,  what  some  call,  her  best  days,  declared  she 
was  never  half  so  great  as  at  the  present  time.  Almost  every 
opera  in  which  she  appeared  had  an  immense  success.  Her 
singing  was  pronounced  more  marvellous  than  ever ;  and  her 
acting  was  universally  allowed  to  be  equal  to  the  finest  efforts 
of  Pasta  and  Malibran.  Perhaps  there  was  yet  another  cause, 
chiefer  than  those  above  named,  why  Grisi  came  out  with  such 
determined  vigour  and  renovated  powers.  Had  not  the  coming 
of  the  popular  Jenny  land  something  to  do  with  those  astonish- 
ing and  arduous  nightly  displays  that  would  seem  to  wear  out, 
in  brief  season,  a  constitution,  unless  it  were  made  of  very  iron  ? 
'Was  there  not  in  the  whirlwind  of  passion  she  allowed  to 
sway  her  in  Norman  a  murmur,  or  underbreath, which  seemed  to 
say — "  With  this  blast  I  blow  into  invisible  fragments  for  ever 
the  frigid  efforts  of  the  Swedish  nightingale  V*  If  there  were  not, 
there  might  have  been,  as  that  was  exactly  what  did  happen. 
We  have  not  room  to  follow  Grisi  through  all  her  triumphs. 
At  no  period  of  her  career  in  England  has  she  been  received 
with  anything  like  the  amount  of  enthusiasm  she  has  encoun- 
tered this  season  at  the  Royal  Italian  Opera ;  and  at  no  period 
has  she  sang  more  divinely,  or  acted  half  so  magnificently. 
Hie  season  1847  at  the  Royal  Italian  Opera  has  been  the  true 
climax  of  Grisi's  reputation. 

Next  to  Grisi  we  consider  Alboni  to  have  been  the  greatest 
source  of  attraction  of  the  Royal  Italian  Opera  corps*  We 
are  aware  that  there  are  many  who  will  tell  yon  that  Alboni 
has  been  the  chief  loadstone  of  the  company,  but  in  this  they 
decidedly  err.  Nor  was  that  possible,  even  though  Alboni's 
qualities  were  superior  to  Grisi's  ;  seeing  that  Grui  on  every 
occasion  played  the  principal  part,  or  one  of  the  principal 
parts  in  tiie  operas ;  Alboni  only  in  four  operas  undertaking 
leading  characters.  Alboni,  like  Grisi,  appeared  in  ten  operas. 
These  were  Semiramide^  ItdUana  in  AlgUri,  Barbiere,  Maria 
di  Rohan^  Anna  Bolena,  Le  Nozxe  di  Figaro^  Gazza  Ladra^ 
Lnerezia  Borgia^  Emani^  and  La  Donna  del  Logo,,  She 
appeared  fort> -three  nights  out  of  the  sixty,  or  more  than  two 
nights  in  three.  Her  reception  in  Semirandde,  on  the  opening 
night,  was  tremendous.  We  never  witnessed  a  more  decided 
case  of  8nper7eminent  success.  The  whole  house  felt  it,  and 
acknowledged  it  by  yielding  itself  up  to  a  pitch  of  en- 
thusiasm to  which  an  English  audience  is  rarely  wound. 
The  entire  of  the  daily  press— -even  the  Morning  Post  could 
not  shirk  his  chagrined  pen  from  it — echoed  the  triumphant 
success.  From  that  night  we  have  marked  the  progress  of 
this  inimitable  artbte  in  public  favour, — for  be  it  remem- 
bered that  something  of  Alboni's  immense  success  on  the  first 
night  must  be  attributable  to  its  unexpectedness — and  we  now 
behold  her  placed  among  the  greatest  favorites  that  ever  adorned 
the  operatic  boards.  Her  performance  of  Malcolm  Grieme 
formed  a  splendid  climax  to  all  her  triumphs. 

Our  old  favorite,  Tamburini,  assuredly  follows  next,  as  the 
artist  who  has  tended  most  to  add  weight  and  importance  to, 
and  encrease  the  attraction  of  the  new  operatic  corps.  Tam- 
burini appeared  in  nine  operas  out  of  the  seventeen,  viz:— 
Senwrandde^  Sonnambtda^  Pwriianif  Anna  Bolena^  LEUHr 
d^Amwre^  Don  Giovanni^  NoMze  di  Figaro^  Gazza  Ladra,  and 
Lucreiia  Borgia.  He  appeared  forty  times  during  the 
season  in  entire  operas,  and  two  or  three  in  selections  on 
extra  nights.  The  service  this  great  artist  has  rendered  to 
the  Royal  Italian  Opera  cannot  be  sufficiently  estimated. 
His  admirable  singing  and  unsurpassed  acting  in  all  be  under- 
took, whether  it  was  light  comedy,  or  genteel  comedy*  or 


elegant  comedy,  or  serious  drama,  or  melo-drama,  or  tragedy, 
were  equally  the  theme  of  wonder  and  admiration.  His  Don 
Giovanni  alone  would  hav&  made  his  fame  European.  The 
Royal  Italian  Opera  would  certainly  lose  its  right  arm,  if  it 
lost  the  services  of  Signer  Antonio  Tamburini. 

Signer  Ronooni  has  been  one  of  the  principal  sources  of 
attraction  at  the  Royal  Italian  Opera,  or,  more  properly, 
would  have  been,  had  his  services  been  more  used.  He  only 
appeared  in  four  operas,  but  in  these  four  he  achieved  two  of 
the  greatest  triumphs  of  the  season.  Those  who  have  seen 
him  in  Maria  di  Rohan  and  /  Due  Foscari,  have  witnessed 
two  of  the  most  finished  and  powerfully  tragic  performances 
of  modem  times.  We  must  greatly  blame  die  management, 
however,  for  not  bringing  forward  Ronconi  oftener)  for 
though  his  main  power  lies  in  deep  tragedy,  and  few  of  the 
modem  masters  have  written  tragic  parts  to  suit  a  barytone, 
at  least  one  of  his  peculiar  quality,  yet,  from  his  repertoire 
of  140  operas,  there  would  surely  have  been  found  many 
which  the  public  could  have  been  pleased  to  hear.  It  will 
hardly  be  denied  that  among  the  greatest  triumphs  of  the 
season  must  rank  the  Maria  di  Ro^m^  and  /  Due  Foscari^  in 
which  the  acting  and  singing  of  Ronconi  were  immensely 
great,  and  certainly  entitled  him  to  far  more  consideration  than 
he  has  received  from  the  management.  What  a  pity  the  OieUo 
of  Rossini  would  not  fit  Ronconi's  voice.  What  a  magnificent 
performance  it  would  be.  It  is  Ronconi's  nusfortune  that  there 
IS  nobody  but  Verdi  left  to  write  for  him. 

Of  Madame  Persiani's  attractive  powers  we  do  not  fed  our- 
selves bound  to  make  statement,  as  that  lady,  from  some 
cause  we  are  unacquainted  with,  withdrew  herself  entirely 
from  the  Royal  Itidian  Opera ;  or— we  must  give  the  fair 
artiste  the  benefit  of  the  doubt— was  taken  ill,  and  could  not 
perform  after  four  or  five  representations. 

Signor  Mario  is  the  most  popular  and  accomplished  tenor  in 
Europe.  He  was  an  immense  addition  to  the  new  company, 
and  was  one  of  its  greatest  attractions.  He  appeared  in  the  fol- 
lowing nine  operas :  Sonnambuia,  Pnritanip  Luerezia  Borgia, 
Barbiere  (once),  Anna  Bolena^  Due  Foscari^  Don  Ctiovanni, 
Gazxa  Ladra,  and  Donna  del  Logo-  He  performed  thirty-two 
times  in  entire  operas,  and  five  or  six  in  single  acts  or  selec- 
tions. His  most  splendid  performances  were  in  Soanambula, 
Puritanic  Luerezia  Borgia,  and  La  Donna  del  Logo. 

Signor  Salvi  places  us  in  the  same  predicament  as  Madame 
Persiani.  He  seceded  from  the  opera  before  little  more  than 
half  of  the  season  had  passed.  His  success,  however,  was 
unequivocally  great.  His  debut  was  one  of  the  most  trium- 
phant ever  witnessed  on  the  stage. 

Signor  Marini  came  from  Italy  with  a  very  high  reputation. 
He  deserved  it,  in  some  respects,  and  belied  it  in  others.  The 
quality  of  his  voice  is  the  most  beautiful  we  ever  heard  in  a 
bass  ;  but  this  fine  organ  is  too  frequently  marred  by  dubious 
intonation,  and  its  power  lies  too  low  to  be  at  all  times  avail- 
able. As  an  actor  we  think  him  better  in  comedy  than  tra- 
gedy, although  he  came  to  London  with  a  great  serious  repute. 
His  Mustapha,  in  Italiana  in  Algieri^  was  capital,  and  he 
was  still  more  excellent  in  Basilio,  in  the  Barbiere,  His 
Figaro  in  the  Nozz/e  gained  him  many  admirers.  Taking  him 
all  in  all,  Marini  was  a  great  addition  to  the  Covent  Garden 
corps.  This  gentleman  deserves  the  highest  possible  praise  for 
permitting  hunself  to  be  cast  in  inferior  parts.  The  feeling  is 
ahkc  honourable  and  artistic.  Signor  Marini's  commanding 
voice  was  found  of  immense  advantage  to  the  general  tone  of 
the  opera,  on  many  occasions,  in  parts  hitherto  thought  of  no 
consequence. 

Signor  Rovere,  the  bufio,  danmLnrat  wnuse  %k  OMri  hands. 


lffR^<5^l9g^ 


y 


588 


THE  MUSICAL  WORLD. 


H6  wad  of  decided  utility  in  the  cast  of  the  bes^  operas  of  the 
season.  He  debuted  in  Taddeo  in  JL*Ital%ana,  and  acted  with 
extraordinary  comib  humdur,  but  which,  nevertheless,  appear- 
ed to  the  audiehee  soinewhat  execrated.  That  it  was  not 
so,  and  that  it  was  but  jfollowing  die  true  reading,  tvl3  aire 
reasbtlabl^  led  to  infer  from  his  isubseqilent  performances,  in 
not  oile  of  which  did  he  bettay  the  least  tendency  to  extrava- 
gahce.  Signor  Rovere's  Lepofellb,  Bartolo  in  the  Burhiere^ 
Ahd  Basilio  in  the  tTdzite  ^  Ffgaro  were  excellent,  and  required 
HttJe  td  render  them  first-rate.  The  Royal  Italidri  Opera 
t^otild  meet  with  a  keribus  lots  if  d^prired  of  his  serviced. 

Sighbt  Tagliftfico  hai^  shbi^n  himself^  tnost  worthy  member 
of  tHb  Ifreat  Vocal  host  at  Gotent  Gardeti.  On  etery  occasion 
ii^hen  nis  iervibesrweriB  ihade  available,  he  proved  himself  of 
the  utmost  utility,  aiid  in  one  or  two  instances  come  oUt  with 
ajpBwer  and  ail  ener^  that  would  not  have  discredited  ,the 
firi^t  KHh^  artist;  n%  was  magnificent  in  the  Ghost  hi  bon 
Qi&vdnni; 

Signer  Pblbnini  hho  desetves  hohordble  meiitioii  for  the 
eificieiit  assistance  he  lent, in  sustkitiihg  several  df  the  minor 
ctiaracteriB.  He  has  a  fihe  bass  toice;  and  sttigs  like  a 
diototigh  ihusiclan. 

.  Signor  Bettini  e2ime  Ikte^  and  appleared  liilder  cbnsiderable 
disadfantages;  He  had  td  ideHt  in  one  bf  Salvias  prhicipal 
parts;  atld  after  that  grfeat  tenor's  success^  the  tiudertakmg 
invblved  hb  small  Amount  of  risk.  Nevertheless,  he  acquitted 
himself  most  cre'ditably,  arid  was  received  ^th  much  fktor. 
He  appeated  only  in  two  parts,  which  hardly  authdHses  us  to 
pbiibuncb  a  deterniihate  opinion  bri  his  real  merits;  lliere  is 
no  doubt  that  he  has  a  fine  voice,  but  i^e  are  inclihed  to  think 
tttb  parts  ifa  ♦vhich  he  has  appcartid  atb  but  of  itd  legitimate 
fegislbir. 

Three  fair  artistes  iremftiti  fot  us  to  hbtice  of  the  magni- 
ficent grou|>  of  the  Cdverit  Garden  vocalists,  vijs.,  Madame 
Ronconi,  arid  the  Desmoiselles  Steffaribrii  arid  Corbari.  The 
flrsi  lady  had  been  somewhat  bbliquely  dfealt  tfrith.  She  made 
,he4-  firfct  ApiJearakce  as  Maria  in  Maria  di  Rohan,  arid  though 
her  perfbrmance  ^as  liot  such  a^  hiight  have  been  expected 
fcbih  Grisi,  it  i^as,  to  bur  thinkings  a  highly  adriiii^blfe  one. 
Strange  to  day,  the  Vfery  jbuirnal  iiiat  upholds  through  thibk 
arid  thin  fcvei^  thing  that  ii  dotte  at  Cdvent  Garden,  pro- 
nounced thiji  peiibrmance  il  fiulrite  t  Arid  that  in  the  teeth  of 
thki  artist  bfeing  recalled  at  the  end  of  the  o^eri,  arid  obtaining 
more  than  ari  aVerage  limoUtit  of  applause.  We  Kke  fair 
play,  and  heattily  hbpe  that  thb  writer  hi  the  journal  alluded 
to  was  innocent  bt  what  he  was  Writing  about.  That  ^e  Were 
correct  in  the  opinions  we  ibrmed  of  Madame  Ronconi  was 
proVed  by  the  second  appearance  of  that  lady  in  Maria,  when 
she 'was  i-eceived  with  still  gteatfer  fivbuf  by  the  public; 
Madame  SteiTanorii  debuted  in  Bhiani:  Shfe  produced  k 
rtrf  Hteiy  sensdtion^  and  is,  in  many  respects,  rarely  gifted 
as  a  dinger.  The  Countess  in  the  Noxze  di  F^gard  was  the 
only  bther  part  in  which  thid  artiste  appeared.  She  sang 
Mbisart's  nmsic  judldbUsly  and  carefbUy,  and  acted  in  a  Very 
lad^-like  maUtter;  Mademoiselle  Steffanoni  proved  a  very 
prusewofthy  stibdtitutb  for  Madame  Persi&ni;  Mademoiselle 
CorbM  made  deeittedly  the  best  seconda  dmnd  within 
our  remembrance;  ^  Thid  ydtlng  lady  id  a  most  cHarming 
singer,  has  a  eh«rming  voices  and  only  requires  a  Ktlle  more 
self-dependence,  arid  a  littlfe  more  time  and  experience — she 
is  stni  very  young— to  make  her  a  gieat  artiste.  She  was 
the  best  Adalgisa  we  fever  heard;  She  was  &lso  fexcellent  as 
Elvini  ifi  Don  G^ttnni^h  nibst  Arduous  part,  be  it  under- 
stood. Mademoiselle  Corbari  was  certainly  a  worthy  addition 
td  tte  Boyal  ItsliM  Opera  Gonipany. 


We  have  now  had  our  say  respecting  die  band  and  the 
chohis,  and  all  the  principal  singers  whom  we  considered 
worth  an  especial  notification  in  our  review  of  the  season ; 
but  we  cannot  conclude  without  devoting  a  few  lines  to  Signof 
Costa,  whose  fame  and  position^  independent  of  whit  he  has 
effected  for  the  Royal  Italian  Opera,  Would  demand  sbhie 
dttention  from  our  pen;  Perhaps  ho  individual  in  Europe  id 
more  happily  endowed  by  nature  with  qualities  befitting  the 
conductor  of  an  operatic  band  than  Signor  Costa.  Tb  thb 
talents  of  an  accomplished  musician;  att  antating  quibkriesd  of 
ear,  decision  and  promptitude  in  the  use  of  His  baton;  arid  ft 
manner  of  wielding  it  that  conteys  a  forcible  iheauirig^  toge- 
ther with  almost  an  intuitive  knowledge  of  the  riidde  of  treat- 
ing a  morceau  dramatically,  Signor  Costa  adds  energy,  atdour; 
arid  indefatigable  industry  in  his  office  as  general  of  an  orches- 
tm;  He  never  spares  time,  nor  study,  noir  labour;  to  effect 
that  which  tirifie;  study,  and  labour  can  effect.  As  a  disdpli- 
narian,  he  is  the  very  Kapoleon  of  the  orchestra;  treating  all 
the  members  of  his  band  in  terms  of  the  greatest  iluniliarity, 
but  iVithout  allowing  them  or  himself  to  break  that  line  of 
separation  which  he  knows  well  cannot  be  broken  bri  either 
side  without  the  powbr  and  infiuence  of  the  chef  being  comi 
promised.  For  this  reason,  Signot  Costa  bbtairis  the  friendship 
and  respect  of  fetery  individual  in  the  band,  which  therfeftjr^ 
works  under  him,  ds  though  the  worft  Were  a  teal  labour  df 
love.  Signor  Costa's  kindness  to  the  gentleriien  of  the  orehestrd 
in  allowing  them  to  absent  themselves  from  rehearsals  when 
they  have  engagetrients  for  which  they  receive  payment,  {ilabes 
hiUi  in  ari  amiable  light.  His  ihfluence  amdng  a  certain  section 
of  the  aristbclTicy  no  doubt  has  had  some  effect  on  the  sUccesi 
of  the  Ro3^al  Italian  Opera  season.  We  do  not  think  that  the 
Cdvent  Gardeh  managemerit  could  havb  fbtind  anywhere  A 
gentleman  in  every  way  so  admirably  suited  to  conduct  theit 
instrumental  forces.  But  Sigrior  Costa  is  riot  infallible;  and  we 
are  sorry  to  be  compelled  to  found  so  gfievoUs  a  charge  agUiUdt 
him  as  that  of  not  paying  due  respect  to  the  scores  of  the  grieat 
works  of  Mozart  and  Rossini;  The  introductioh  of  riew  in- 
struments into  places  in  which  the  composer  nbver  iriterided 
thenl,  and  the  eternal  use  of  the  noisy  brass  band,  showed 
either  a  curious  obliquity  of  taste;  or  a  desire  tb  please 
the  public  palate  by  riiaking  that  extraordinary  whibh  was 
simply  beautiful.  I^e  meddling  with  the  scores  of  Bdrbiere 
and  Le  t^dzze  di  Figaro^  was  decidedly  an  error,  and  did  riot 
tend  to  elevate  the  establishment  in  the  mind  of  the  mudical 
public.  We  are  quite  sure  if  Signot  Costa  heard  his  own  band 
as  we  hear  it  in  the  pit,  he  would  soon  find  that  the  only  effect 
produced  by  the  additional  brass,  is  to  droivn  all  the  re^ 
of  the  instruments'^^  thing  not  to  be  desired.  The  blast  of 
OriaUdo's  terrible  horn  at  Rbncevalles,  when  he  blew  fbt 
succour,  and  was  heard  as  far,  yea,  as  Saint-Jean-Pied-de-Port, 
where  Charlemagne  lay  with  his  army,  only  some  hundreds  o* 
leagues  offj  seems  but  a  child's  penny  whistle  to  the  stunning, 
de^ening  strepitation  of  the^e  instruments  at  Covent  Garden* 
We  are  certain  Signor  Costa  has  not  ttie  least  idea  of  the 
efibct  thus  produced  in  hid  orchestra.  If  he  id  desirous 
of  having  his  band  heard  to  advantage  he  will  in  future 
dispense  with  them  altogether.  As  thid  is  honestly  tneatii 
We  trust  Signor  Costa  will  tdke  d  frifendly  hint  frorfi  it ;  iJF 
noti  we  shall  not  give  up  the  dubjectj  but  return  to  it  again  and 
again,  determined  to  preach  a  crusade  against  these  Saracenib 
intruders.     And  so  we  rest  contented  at  present. 

A  few  lines  must  suffice  fbr  the  ballet.  It  must  be  conceded 
that  the  Covent  Grarden  ballets  did  not  eXcite  the  overwheltri- 
ing  interestirig  they  excited  at  the  bthet  house.  The  operdM  ex- 
anguished  theth.    We  need  riot^sme  oJltHe  principal  dancers 


THE  MUSICAL  WORLD. 


539 


engaged  daring  the  season.  A  few  names,  however,  will  show 
these  were  all  but  equal  to  the  great  guns  of  Her  Majesty's 
Tjieatre* .  First,  we  notice  the  universally-acooroplished 
Fanny  EUsleri  than  whom  no  one  who  ever  hreathed  had 
greater  genius  as  a  mime ;  theri  Dnmilatre,  a  very  elegant 
danaeuse ;  and  the  gracefal  Flenry ;  and  again  the  fascinating 
ttnd  b^aatifiil  Flntikett,  who  promises  to  be  Catlotta  the 
Second  ;  and  the  sylph-like,  ever-pointing  Puoco — so  full  of 
hope  anct  expectation,  that  iheisever  on  the  toe;  and  the 
AndalusiaUi  Marietta  Brambilla,  who  plays  the  castanets  as 
DO  one  ever  played  them  before ;  and  many  more  of  Inferiof 
liote^-^ahowini;  that  die  Covent  Garden  mana^ament  obtained 
lAl  the  Teipsicffiorean  celebrities  Obtainable. 

Bevei-al  graxid  ballets,  smd  a  ttnitiber  of  dhertUsemetkU  hare 
beetf  i>rodnced:  Among  these^  Munon  L'E^caat^  which  ex- 
liibite4  Fanny  ^sler's  splendid  dramatic  pow^rd  to  great 
advantage,  and  Dion  Bourcicautt's  S^lam^ndri^e^  were  among 
the  qiost  beantifpl  we  have  seen;  The  former  was  arranged 
by  the  aocompliahed  Signor  Casati,  the  lattnr  by  the  fdeve# 
and  ealefill  M.  Blasiii. 

A  strbng  word  of  praise  Is  also  dtie  to  Mr.  CWete  fbt  bid 
^dmitabl6  sceiiery,  fttid  another  to  Mr.  A.  Harris  for  his 
efScieht  aiid  spirited  direction  of  tte  miseen  scene. 

The  Royal  Italian  Opera  despite  the  I^ind  attraction,  ihe 
prestige  of  the  elder  establishment,  and  the  preference  of 
Boy  alt jr,  has  had  tt  ttiumphant  season.  No  establishment 
founded  in  this  ebontry  has  ever  given  more  general  satisfaction; 
knd  Hait  thitt  confidence  is  botifirmedj  and  the  t^l  intentions 
of  tJie  new  coiripany  arte  seen,  there  i^  ho  doubt  that  the  p^tiMic 
yfiiA ,  ru«h  next  Vetir  to  support  that  which  lA  excellent  in 
Itself,  ana  is  conducted  oil  the  best  principles. 

DEdkoKft  Rtam: 


li*   Its  WOULB-HISTORICAL  SiOMFlCANCfi, 
.   DEYXLOPBD  JLCOOBDINa   tO   ITS   VOBAL  AlO)  ABTISTICAIi  VALUE, 

TSramtlUtUd  from  the  Germtm  of  Dr.   SJnnHch  Theodor  MUeher, 
Vteftimit  St  th«  Royftl  Gynituisitiin  tt  Brotnber;. 

CHAPTER  \\.-{atmtiiimd  fwm  jm^  S91). 

Ttftf  n*VSLOPilEN+  OF  T«it  iTMOtS   CfiARACTSRS  fM  THl  "AmWfTnti." 

Ev£BT  Creature  has  a  Dibment  of  the  brightest  bloom  io  its 
existence,  m  which  that  which  it  can  become,  according:  to  its 
nature-^its  full  oiganijjation — steps  into  existence  perfectly.  This 
iaatant/  developed  in  its  deep  iiffniii<^Qce,  exhibits  to  us  this  bloomy 
ing  point  of  Charlotte ;  for  all  the  elemeDts  of  her  existence  have 
been  interpenetfatcu  jhto  (he  most  intensive  life ;  sl)e  rules,  so  tq 
speak,  i^t  this  instant,  the  whole  in.easure  of  all  her  moral  and 
inehtal  powers,  as  far  as  sne  is  cabahle  of  developing  them.  But 
here  Charloiie,  at  the  same  time,  breaks  off  the  perfect  fruit  of  this 
moment  She  looks  down,  smiling,  upon  the  contradiction  and 
|)erplexitv  into  which  she  has  fallen|  *'  she  feels  herself  invrardly 
restored.  But  tnls  internal  repose  gains  its  purest  and  most 
fteautUul  diaracter  irom  the  fact,  thai  It  rests  with  self-conscious* 
ness  oh  the  deeply-ielt  significance  o^  marriage,  and  this  ponhects 
itself  with  the  infinitude  of  (he  moral  idea.  Thiis  Charlotte  is  not 
only  internally  restored,  biit  also  allows  the  objective  power  of  the 
ixioral  AiiUtatifed,  which  has  beeti  reO|oy^d  fi'pin  h^r  f^  li  ii^omeht, 
to  rale  clearly  withjn  her.  It  is,  as  it  were,  this  atmosphere  of  her 
whole  existence,  the  refreshing  exhfilatibh  of  which  sbe  now  dfavrs 
in  at  full  draughts,  dhd  the  life  tx>^ef  of  which  she  has  neyer  before 
etperleneed  &  such  a  degree.  This  is  represented  to  ns  iti  the 
most  judioious  ssanner  by  the  solemn  renewal  df  the  tow  of  bon- 
Jngai  fidelity,  which,  touched  and  kneeling,  she  repeats* 


» If aoMly/  Whin  Hie  wtfM  tUe  QkxMa^t^TireMmori 


Indeed,  Charlotte,  in  this  great,  important  moment,  is  reborn  as 
Edward's  wife,  for  she  has  freely  extricated  herself  from  the  laby* 
rinth  in  which  tfie  unguarded  natural  force  of  feeling  threatened 
irretrievably  to  leave  her.  The  first  vow  before  the  altar  was  an 
oath  of  fidelity,  which  she  had  made  without  knowing  the  strength 
of  its  enemy,  nay,  without  suspecting  the  possibility  of  an  attacli ; 
the  second  vow,  which  she  makes  to  herself,  manifests  to  us  the 
conscious  exaltation  of  the  moral  idea,  which  has  proceeded  out  of 
the  contest.  The  certainty  of  the  sanctity  of  the  substantial  power 
of  marriage,  has  now  changed  itself  into  a  moral  consciousness, 
which  becomes  the  truth,  and,  as  such,  penetrates  the  whole  being. 
Charlotte  has  become  perfectly  aware  of  its  high  moral  dignity, 
its  force,  and  its  impoi'tance. 

What  is  Still  developed  from  this  pointj  appears  to  us  only  as  an 
ont-beamingof  this  purest  consciousness,  which,  however,  esn  no 
more  raise  Itielf  to  a  higher  power  (Potenz).  The  further 
utterances  and  actions  of  Charlotte  are.  therefore,  only  the  unfold, 
in^,  and,  as  it  Were,  the  voucher  for  this  moral  depth,  which  has 
once  for  ^  been  gained,  and  wnich  only  brings  itself  perfectly  to 
light. 

What  any  one  aconires  by  means  of  his  moral  liberty,  is  to  him 
i  gain,  which  he  neither  selfishly  locks  up.  nor  believes  to  be  denied 
to  others.  He  even  exhorts  his  followrbeinffs  to  acquire  what  he 
has  gained  by  his  struggle  on  this  ground,  ana  expects  from  kindred 
being^s  a  victory  ovef  themselves  with  the  same  confidenccL  as  ho 
feannot  suppose  them  to  possess  less  moral  enei^y.  If  Ch^lotta 
can  collect  hetself  to  a  renewed  existence,  why  should  she  not  hope 
the  same  irom  Edward  ?  On  her  point  of  view,  it  is  a  very  natural 
delusion,  Into  which  she  has  fallen  jiist  through  aer  own  strength  and 
circumspection,  that  that  which  has  been  forcibly  severed,  may  be 
again  iinited.  Whoever  has  so  happilv  moulded  f  himself  into 
tne  sphere  of  the  self-denying,  how  should  he  not  summon  to 
refiection  one  held  fast  by  passion,  and  make  success  dependent 
from  hid  will  alone.  This  lustifies  Charlotte  in  her  eloquent  appeal 
to  Edward,  In  which  she  holds  before  him  the  mirror  of  her  own 
soul.  Hete  she  rightly  warns  him  to  lay  the  axe  to  the  tree  himself, 
since,  **  No  one  can  any  more  take  care  of  us,  we  must  be  ouV  own 
friends,  our  own  tutors :  no  one  expects  of  us  that  we  shall  lose 
ourselves  in  extremes.'^  And  looking  upon  herself  as  one  escaped 
fVom  passion,  she  entreats  him  with  as  much  earnestness  as  tender- 
ness, not  td  despise  the  counsel  and  aid  which  she  offers.  "  In 
troubled  cases,  he  who  sees  clearest,  must  act  and  assist.  On  this 
occasion,  1  am  that  person.  Can  you  advise  me  so  immediately  to 
renounce  my  well-acquired  happiness,  my  fairest  rights — nay,  to 
renounce  you  f^  To  understand  the  whole  value  of  this  situation, 
t^e  must  not  forget  that  Charlotte  expresses  all  this  as  something 
that  has  been  thoroughly  felt,  and  has  thoroughly  thrilled  through 
her  inmost  belhg.  The  intensity  exactly  lies  in  this.  Before  a 
catastrophe  so  couraaeously  passed  through  by  Charlotte,  such  a 
watning  would  have  be6n  wanting  in  the  fri^gnmce  of  tiue  woman- 
liness \  it  Would  not  have  been  without  a  shade  or  a  certain 
"  schdol-mastering,"  which  one  would  always  have  listened  to 
doubting  whether  thoucht  and  deed  so  completely  kept  pace  with 
each  other.  Thiis  whole  scene  now  appears  to  us  so  important,  so 
truly  fbrninine,  exactly  because  wo  hear  from  the  circumspect  and 
dear. minded  lady,  k  ^e^t  event  in  the  history  of  her  own  feelinfi^s — 
see  spread  out  the^crtn  of  a  treasure  dug  up  in  tne  depths  of  tbo 
heart.  The  clearness  of  thought  has  seizec}  upon  and  purified  the 
soul.  Throughout  the  whole,  we  only  hear  the  eloquent  expression 
of  her  own  purification  from  the  dross  of  the  natural  force. 

Whoever,  like  Charlotte,  has  allowed  the  moral  power  so  con^. 
pleielj^  to  nrevatl  in  him,  and  bv  it  has  again  restored  himself^  is 
able  td  practice  delf-denial  generallyj  to  renounce  his  own  wea)  and 
happing.  This  IB  &  t^ait  which  no  more  surprises  with  such  a 
nstiire*  sllef  whdt  it  has  accomplished.  But,  nevertneless,  it  if 
necessary  that  she  who  has  seized  iis  hy^  the  energy  of  mo^al 
dlgnitv;  should  ete^iite  us  by  her  moral  eminence  in  tne  .renuncia- 
tion or  her  own  Happiness.  But  let  us  consiger  more  closely  the 
circumstances  under  ^hich  this  happens.    To  elevate  above  ali 


t  TM  expressioti  Is,  '*  sicli  dem  kreise  einbilden.*'    llie  feneral  mefuiiiifr  of  tbe 
*     ."  Mck  einldlden*'  li, "  te  imarine  to  oneself*  biit  these  require  tTie  *ccm- 

8 


••mi 

oftbc 
for  whidi 


root 
bul 


5i0 


THE  MUSICAL  WORLD. 


doubt  the  purity  of  a  remuneration  of  one's  own  weal,  we  must 
have  gained  a  double  conviction  :  first,  that  that  which  the  indi- 
vidual gives  up,  is  really  a  dear  and  esteemed  good ;  secondly,  that 
he  does  not  gain  in  exchange  some  other  desired  good— nay,  that 
the  very  thought  of  such  an  exchange  is  decidedly  excluded.  It  is 
through  this  certainty  that  the  sacrifice  first  appears  in  its  true 
essence,  and  the  self-denving  person  in  his  moral  eminence. 

Let  ns  compare  with  this  general  thought  the  concrete  position 
of  Charlotte.  It  is  not  until  Charlotte  sees  the  fate  of  several 
persons,  who  stand  so  near  to  her,  in  her  own  hand,  that  she  per- 
ceives that  the  gates  of  deliberation  are  completely  closed — that 
the  individuals  have  lost  themselves  in  the  labyrinth  of  passion, 
that  she  sees  in  what  has  happened  a  command  to  resign  tne  pos- 
session of  Edward.  She  consents  to  the  separation,  with  the 
reflection,  "  that  there  are  certain  things  which  fate  obstinately  pur- 
poses to  carry  out.  It  is  in  vain  that  reason  and  virtue,  that  duty 
and  everything  sacred,  stand  in  the  way  ;  something  is  to  happen 
which  is  right  to  fate,  but  which  does  not  seem  right  to  us,  and 
thus  fate  at  last  carries  its  point,  let  us  demean  oursolves  as  we 
will.*'  We  here  see  Charlotte,  who,  before,  with  all  the  strength 
of  her  soul,  exhorted  Edward  to  man  himself,  and  was  unwilling  to 
give  up^  all  claim  to  her  dear  husband,  now  thoroughly  practise 
self-denial.  Her  mind  bows  to  that  which  stands  before  her  as 
unalterable^  and  a  longer  resistance  to  which  appears  to  her  as 
presumptuous  obstinacy.  It  is  not  that  her  understanding  pro- 
nounces as  right  that  which  fate  has  willed,  but  she  rather  bends  it 
to  a  power,  which  she  regards  as  unfathomable,  but,  at  the  same 
time,  as  immovable.  Thus  she  perfects  within  herself  her  renun- 
ciation of  her  own  views  and  understanding,  and  brings  the  sacrifice 
of  a  perfect  self-denial. 

But  Charlotte  is  not  satisfied  with  a  resignation  to  a  "  concep- 
tionless"  (begrifflos)  necessity  ;  for  thus,  in  opposition  to  her  con- 
sciousness, had  the  power  appeared  to  her,  to  which  she  resolved 
to  bow.  Such  a  clear  nature  can,  so  to  speak,  only  pause  for  a 
moment  at  the  difference  between  its  views  and  actions  ;  it  would, 
during  this  difference,  only  yield  to  a  blind  necessity,  and  remain 
unrecencUed  in  the  act  of  renunciation.  Hence  it  is,  that  the  con- 
sciousness of  bowing  only  to  a  "  conceptionless"  fatality,  elevates 
Itself  mto  the  acknowledgment  that  now  an  old  illusion  is  dissipated* 
which  had  once  seen,  in  Edward's  ui^ency  and  perseverance,  a  real 
love,  and  had  confounded  friendly  inclination  with  that  full  love, 
which  perfectly  comprehends  the  whole  being.  Pkdng  in  this 
error  her  whole  guilt,  which  lies,  as  it  were,  beyond  all  imputation, 
she  comprehends  her  renunciation  in  the  deepest  sense,  as  some- 
thing commanded  by  a  higher  order  of  things,  by  which  those  who 
were  destined  for  each  other,  and  torn  asunder  'by  a  mere  human 
delusion,  are  again  united. 

The  progress  of  consciousness  in  this  matter  is  not  to  be  mis- 


woe.  It  is  important  that  Chariotte  cxhibiU  to  us  the  whole 
process  of  this  elevation  of  consciousness.  The  tone  of  mind 
which  the  whole  work  and  its  development  produces  for  us — 
namely,  that  a  higher  order  of  things,  exalted  above  all  choice  and 
feeling,  triumphs  at  last>ver  all  obstacles,  whencesoever  they  may 
come,— -thb  term  is  already  acquired  by  Charlotte.  Only  in  that 
dear-minded  Charlotte,  ever  striving  after  the  solution  of  the  riddle, 
can  such  a  result  be  produced— a  result  which  reveals  itself  to  her 
in  the  purest  act  of  her  moral  depth,  and  hence  appears  more  like 
an  intuition  from  which  the  character  of  a  mere  raisonnement  of 
the  understanding  is  completely  stripped.  The  thoroughly  sub- 
jective colouring  which  is  gfven  to  the  whole  passage,  the  gradual 
growth  of  this  result,  is  the  very  thing  which,  at  the  same  time, 
gives  tliis  movement  of  thought  'such  a  force,  and  makes  it  the 
manifestation  of  a  great  soul-contest. 

But  this  sacrifice  is  only  the  expression  of  moral  elevation,  when 
the  individual  does  not  leave  open  to  himself  the  least  prospect  of 
a  compensation.  Af  soon  as  the  least  doubt  prevailed,  whether 
Charlotte  was  resolved  to  r^'ect  the  Captain's  hand,  when  offered 
by  circumstances— nay  by  Edward  himself,  the  most  moral  signifi- 
cance of  the  renunciation  would  have  been  disturbed.  We  hence 
require  the  plain  open  declaration  of  the  noble  Charlotte,  that  she 
deoidedly  renounces  this  highest  good,  and  with  such  a  nature  this 


no  more  surprises  us.  Hence  this  resolution  appears  to  us  ai  the 
purest  act  or  moral  liberty,  and  of  exalted  clearness  of  mind,  aince 
to  all  the  inquiry  on  the  part  of  Edward,  as  well  as  to  the  Cap- 
tain's question,  what  he  dare  hope?  she  only  replies  by  this  refusal : 
'*  We  have  not  deserved  to  be  unhappy,  but  neither  have  we 
merited  to  be  happy  together."  In  these  weighty  words,  Charlotte 
takes  upon  herself  the  whole  extent  of  a  fault  once  committed,  and 
at  the  same  time  effects  an  atonement  bv  them,  in  the  very  moment 
when  nothing  more  is  opposed  to  the  fulfilment  of  her  inclination — 
nay,  when  all  combines  to  make  her  consent  to  an  union  with  the 
Captain,  rather  as  an  act  for  the  happiness  of  others,  than  for  her 
own  satisfaction.  Thus  is  the  resignation  of  all  claim  to  a  clear 
possession,  for  the  sake  of  a  blind  passion,  connected  vrith  the  re- 
signation of  one's  own  happiness,  at  the  haiids  of  a  revered  friendy 
into  a  moral  deed  which  peacefully  and  satisfactdrily  solves  all  the 
collisions  of  the  heart.  Charlotte  has  brought  herself  quite  pure 
out  of  the  contest ;  her  heart  is  troubled  by  no  shadow  of  an  im- 
pure feeling  ;  at  the  same  time,  all  harshness,  all  appearance  of  a 
Eride  in  virtue,  is  so  remote  from  this  nature,  that  we  rather  see  in 
er  infinitely  tender  treatment  of  Ottilia  the  expression  of  a  "  fine 
soul,''  which  has  been  touched  in  an  infinitely  p«iinful  manner,  bv  a 
lot,  which  regards  her  only  as  the  great  sacrifice  of  unalterable 
destiny,  determined  as  it  was  by  nature  itself.  In  the  midst  of  this 
shattering  catastrophe,  not  a  word  escapes  her,  which  with  self- 
sufliciency  places  the  deed  she  accomplUhed  with  freedom,  in 
opposition  to  the  lot  of  the  lovers.  The  last  victory,  as  it  has  made 
her  internally  free  from  every  relic  of  the  natural  force,  has  also 
endued  her  'with  that  highest  moral  grace  which,  indeed,  always 
determines  itself  in  an  innate  tact,  but  never  looks  back  upon  itself 
with  a  composing  glance,  and  suns  itself  in  the  contemplation  of  a 
moral  preeminence.  The  relation  of  Charlotte  to  Ottilia  appears 
to  us,  as  it  were,  the  exhalation  which  has  placed  itself  round  the 
moral  purity  and  **  virtuosity"  of  this  noble  lady,  which  in  the  pre- 
sence of  this  individual  filb  us  with  a  feeling  oi  imposing  pleasure. 
Thus  is  Charlotte  the  completed,  living  image  of  a  truly  feminine 
nature,  exactly  comprehending  the  greatness  of  her  destination, 
endowed  with  all  those  gifts  of  heart  and  mind  which  have  a  daim 
to  the  exhibition  of  the  most  successful  and  satisfactoi/  existence* 
That  this  last  is  denied  her  is  her  destiny — ^her  fate  enlted  above 
all  responsibility,  whi^h  has  confined  her  *in  a  sphei^,  in  which  is 
foaght  out  the  contest  between  the  natural  force  of  feeling  and  the 
moral  idea.  Even  she  must  be  painfully  touched  by  this  destiny, 
since  even  the  purest  feast  of  victory  is  accompanied  by  a  mourn- 
ing for  the  sacrifices  which  have  been  required.  Great,  therefore, 
as  are  the  results  of  thu  triumph,  much  as  it  shines  before  all  as  an 
enviable  good,  when  it  once  comes  to  a  contest,  we  nevertheless 
hear,  even  in  the  midst  of  the  rejoicing,  the  cries  of  pain,  which 
are  involuntarily  forced  out  of  the  proud  heart  of  the  conqueror, 
and  which  first  utterly,  silence  the  thought  of  a  divine  govern- 
ment of  the  world  to  the  restriction  of  which  this  victory  has, 
essentially  contributed. 

Because  Charlotte  is  called  to  be  representative  of  that  point, 
which,  by  means  of  moral  freedom,  frees  itself  out  of  the  discord, 
she  required  a  perfect  development,  pursued  through  all  its  degprees 
We  have  in  our  treatise  carefully  pursued  the  moments  of  this  in  ■ 
dividuality,  in  which  understanding  and  feeling  so  interpenetrate  each 
other  as  to  produce  the  most  beautiful  equilibrium,  and  have  en- 
deavoured as  much  as  possible  to  bring  to  consdousness  the  moral 
relatives  in  their  universal  significance  and  internal  connection. 
We  have  now,  therefore,  according  to  the  declaration  we  made 
above,  to  turn  to  the  last  group—Edward  and  Ottilia ;  and,  in  the 
first  place,  to  brin^^  forward  the  fundamental  characteristics  of 
Edward's  individuality. 

[To  be  continued,) 

*«*  To  prevent  misimdentandin;,  it  may  be  stated  that  the  copyright  of  this 
transUtion  belongs  solely  to  the  translator. 


HER  MAJESTY'S  THEATRE. 

Of  Saturday  La  Figlia  del  Reggmenio,  and  the  haU^  of 
Le  Jugement  de  Paris,  formed  the  entertainmenta  of  the  e^en« 
ing.  The  house  was  fall,  and  the  accustomed  *'  ceremomea*' 
took  place. 

On  Tuesday  Le  Nozs^c  di  Figaro  was  produced,  in  whkk 

Digitized  by\^OOy  IC 


THE  MUSICAL  WORLD. 


64t 


Mdlle.  Lind  attempted  the  part  of  Susanna.  The  other  prin- 
cipal characters  were  thas  distributed : — Countess  Almaviva, 
Mad.  Castellan — Cherubino,  Mad.  Solari-^Count  Almaviva« 
Signor  Coletti — Figaro,  Herr  Staudigl — Dr.  Bartolo,  Signor 
Liablache.  Thus,  apparently,  except  in  one  particular,  the 
cast  was  strong ;  but  the  result  dispelled  the  illusion. 

As  so  much  was  predicated  by  the  admirers  of  Mdlle. 
Lind,  in  favor  of  her  Susanna,  the  disappointment  was  greater 
than  it  might  have  been  had  nothing  been  said  about  it.  We 
must  confess  that  we  have  seldom  witnessed  a  more  unsatis- 
factory performance  from  an  artiste  of  renown.  There  was 
neither  the  spirit  of  the  part  nor  the  spirit  of  the  music. 
Beaumarchais  and  Mosart  were  equally  lost  sight  of.  Through 
the  whole  of  the  first  act,  Mdlle.  Lind  was  as  stiff  and  as 
formal  as  a  boarding-school  miss.  We  could  not  avoid 
thinking  of  Grisi  in  the  duet  for  Susanna  and  Marcellina, 
^'  La  sposa  novella/'  and  in  the  exquisite  air,  *'  Venite,  in- 
ginocchiatevi,"  where  Susanna  tries  the  cap  upon  Cherubini ; 
we  could  not  but  think  of  Grisi,  and  sigh  for  Uie  presence  of — we 
grieve  to  say  it— her  natural  and  lively  comedy.  But  alas ! 
in  Mdlle.  Lind  there  was  not  a  spark  of  humour,  not  a  glimpse 
of  animation.  The  two  first  duets  with  Figaro  were  correctly 
sung,  but  both  wanted  a  little  more  vivacity.  The  fine  trio, 
**  Cosa  sento,"  with  Basilio  and  the  Count,  was  sadly  handled ; 
the  two  gentlemen  did  not  seem  to  know  what  they  were 
about,  and.  the  tameness  of  Madlle.  Lind's  delivery  helped 
little  to  make  the  matter  clearer.  There  was  some  excuse, 
however,  for  Coletti,  in  whose  behalf  indulgence  was  asked, 
after  the  conclusion  of  the  overture  (which  was  played  from 
a  Bet  of  uncorrected  parts,  to  judge  from  the  wrong  notes  in 
the  forte  passages),  on  the  plea  of  indisposition.  Not  that  we 
think  Coletti's  heavy  style  at  all  fitted  for  the  dashing  Almaviva. 
We  have  alreadv  complained  of  the  want  of  comic .  humour 
displayed  by  MdUe.  Lind  in  the  air  *'  Venite,  inginocchiatevi ;" 
and  unfortunately  there  was  little  in  her  singing  to  redeem  it. 
Nothing  could  well  have  been  more  insipid.  We  were  greatly 
disappointed  in  this  song ;  anticipating  something  much  more 
refined  and  sparkling.  The  only  remarkable  point  was  in  the 
last  versp  at  the  refrain^  on  the  words  '*  Han  certo  il  lor 
perch^y'*  which,  however,  Mdlle.  IJnd,  whose  classical  taste  is 
so  much  admired,  took  the  liberty  of  delivering  much  too 
dow-— making  of  a  naturally  effective  point  what  is  vulgarly 
termed  a  "  gag."  In  the  trio,  **  Susanna  or  via  sortite," 
with  the  Count  and  Countess,  where  Susanna  is  behind  the 
curtain,  Mdlle.  Lind  was  much  more  at  home,  and  the  ease 
with  which  she  took  the  high  C  (albeit  the  said  high  C  is  not 
a  very  musical  note,)  was  admirable.  The  charming  little  duet, 
"Aprite,  presto  aprite,"  for  Susanna  and  Cherubino,  pre- 
&cing  the  latter's  escape  from  the  window,  was  executed  in 
anything  but  faultless  style  by  Mdlle.  Lind  and  Made.  Solan. 
We,  who  know  the  duet  by  heart,  could  with  difficulty  make 
out  any  of  the  phrases  of  which  it  is  composed.  In  the  finale 
to  the  first  act,  the  principal  singers  were  either  imperfect  or 
inattentive,  and  the  orchestra  was  unusually  loud,  although 
Balfe  effected  wonders  in  keeping  it  together.  A  great  deal 
has  been  said  of  Mdlle.  Lmd's  ^'bye-play.''  We  do  not 
deny  that  she  is  always  engaged  upon  something — always 
essaying  to  act ;  but  not  the  less  are  we  compelled  to  affirm 
that  her  **  bye-play"  is  often  inappropriate,  and  consequently 
obtrusive.  For  example — while  Staudigl  was  singing  the 
**  Non  piu  andrai,"  Mdlle.  lind  who,  as  the  representative  of 
Susanna,  should  sympathise  with  Cherubino  in  his  unexpected 
misfortune,  was  all  the  time  making  faces  and  gestures  at 
him,  significant  of  irony  and  contempt ;  and  drawing  away  the 
attention  of  the  audience  from  Figaro,  to  whom  it  should 


properly  be  directed ;  a  liberty  which  no  actor  should  take 
with  another.  But  to  such  a  pitch  of  unreasonableness  has 
criticism  arrived  lately,  that  if  Mdlle.  Lind  simply  walks 
across  the  stage,  it  is  termed  *'  good  acting,"  or  at  least  "  a 
capital  point."  Such  points,  however,  escape  our  faculty  of 
appreciation.  After  the  curtain  dropped  upon  the  first  act, 
the  principal  singers  were  recalled — a  cogent  proof  of  how 
easily  such  an  honor  is  gained  now-a-days,  when  audiences 
who  will  not  think  for  themselves,  are  led,  by  the  example  of 
interested  persons,  to  commit  no  end  of  absurdities. 

We  must  not  leave  the  first  act  without  noticing  Lablache*s 
**  La  Vendetta,'*  a  fine  piece  of  declamatory  vocalisation ; 
Staudigl's  "Non  piu  andrai,*'  which,  though  deficient  in 
power — the  great  German  basso  ill  brooking  the  fetters  of 
Italian  accent — was  vigorous  and  animated ;  Madame  Solari's 
'*  Non  so  piu  cosa  son,  cosa  faccio,"  (**  I  know  not  what  I 
am,  or  what  I  am  doing,")  the  words  of  which  exactly  described 
her  position  ;  and  Madame  Castellan's  "  Porgi  amor,"  which 
was  (after  Lablache's  "  La  Vendetta")  the  best  piece  of  sing- 
injg  during  the  entire  act.  Her  ''  Voi  che  sapete"  was  not  so 
good ;  and,  moreover,  it  was  absurd  to  put  in  the  mouth  of 
the  Countess — a  married  lady— a  song  that  speaks  the  senti- 
ments of  an  uninformed  youUi,  and  can  only  properly  be  sung 
by  a  damoiseau,  or  a  damoiselle — to  borrow  terms  from  la 
langue  Romaine,  If  Madame  Solari  could  not  sing  it  (and  it 
belongs  of  right  to  the  Page),  Mdlle.  Lind  should  have  under- 
taken it.  From  the  lips  of  the  maiden,  Susanna,  the  senti- 
ments it  conveys  might  reasonably  fall.  Perhaps  Mdlle.  Lind 
did  not  imagine  she  could  produce  any  effect  in  it,  and  so  mag- 
nanimously resigned  it  to  Madame  Castellan,  who  sang  it 
coldly  enough. 

The  second  act  was  sadly  mutilated.  The  lovely  duet, 
'VCrudel  perche,"  and  the  noble  air,  "  Vedro,  mentr*io  sos- 
piro,''  with  the  recitative  that  precedes  it,  were — owing,  we 
suppose,  to  Coletti's  indisposition — omitted.  This  put  us  out 
of  humour,  and  we  paid  little  attention  to  the  rest.  Of  course 
the  duet  *' Sull'  aria"  was  encored— how  could  it  escape  it? 
And,  to  say  truth,  it  was  very  gracefully  sung  by  Madame 
Castellan  and  Mdlle.  Lind.  But  what  the  audience  meant  by 
calling  for  a  double  repetition  of  the  fag  end  of  a  piece  of 
unaccompanied  recitative — where  Susanna,  Marcellina,  Figaro, 
and  Barbarina  wind  up  a  passage  with  a  long  shake — we  were 
puzzled  to  divine.  Mozart,  who  wrote  the  passage,  would 
have  been  puzzled  himself.  The/andango  which  follows  the  cho- 
rus, *'  Amanti  costanti ;"  the  air  for  Basilio,  "  In  quegli  anni ;" 
and  many  other  good  things,  were  cut  out  altogether.  But 
Mdlle.  Lind  restored  the  pleasing  little  ballad  in  F,  *'  Deh 
vieni  non  tardar,"  which  she  sang  with  charming  taste,  sinning 
only  by  occasional  exaggeration  ofritardandos  and  elongations 
of  cadences.  In  all  other  respects  this  performance  was  worthy 
of  the  best  ballad-singing  of  Kitty  Stephens,  the  queen  of 
ballad-singers.  One  ballad,  however,  sung  to  perfection  though 
it  be,  cannot  atone  for  the  mediocrity  displayed  throughout  a 
whole  opera.  There  remains  nothing  more  to  say  but  that 
the  second  finale  was  rendered  with  tolerable  energy  by  all 
concerned,  though  with  no  great  degree  of  intelligence.  The 
curtain  fell  upon  what  can  only  be  termed  a  failure. 

The  general  performance  of  the  opera  did  not  reach  medio- 
crity. The  minor  parts  were  inefficiently  rendered.  The 
chorusses  were  noisy,  but  neither  refined  nor  invariably  correct. 
The  band,  thanks  to  Balfe — who  knows  the  score  thoroughly, 
and  must  have  fagged  incessantly  to  get  anything  like  order 
from  such  materials—- was  never  so  correct  in  expression, 
never  less  coarse  and  scratchy  in  execution.  What,  a  pity  all 
the  violoncellos  were  not  Piattis,  all  the  basses  not  Anglois',  all 


543 


THE  MUSICAL  WORLD. 


the  oboes  not  Lavignes,  all  the  violins  not  Plugs',  Tolbecqties, 
and  Nadauds  !  Balfe  would  have  had  something  like  &  band, 
then,  for  his  Figaro.  With  a  less  intelligent  and  practised 
director,  a  break  down,  in  the  present  instance,  would  have 
beefa  inevitable.  But  this  is  not  the  first  time  we  have  had  occa- 
sion to  be  thankful  for  Balfe's  energy  and  skill  during  the  sea- 
son— nor  the  second,  nor  the  third,  nor  even  the  tenth  nor  the 
twentieth — shall  we  say  the  fiftieth  time  ?  The  costumes  and 
scenery  were  tot  ih  thdt  spirit  of  munificence  which 
characterised  the  managerial  policy  previous  to  Mdlle. 
Lind's  arrival.  Great  stress  has  been  laid  by  some  of  the 
press  ujion  the  fact  of  Atr.  Lumley  having  deferred  the 
representation  of  Figaro  until  the  term  of  the  subscription 
was  at  an  end.  But  as  the  opera  was. represented  the  sUb? 
scribers  have  ho  cause  for  complaint.  They  would  have  had 
legitimate  reason  to  grumblie,  had  they  been  obliged  to  hear 
Mozart's  great  work  performed  in  such  a  fashion; 

It  would  appear  that  the  managetnent  of  Her  Majesty'^ 
Theatre  has  been  sturdily  endeavouring  of  late  to  merit  the 
reproach  levelled  against  the  Israelites  of  bid;  who  '*  waxed  fat 
and  kicked."  Cfertdihly,  a  very  small  parb  of  the  money  that 
hai  flowed  into  the  treasury  since  the  **  Nightingale'b"  advent; 
has  flowed  out  of  the  treasury  for  the  expenses  of  the  costumier ^ 
decorator,  and  scene-painter ; — while  the  band,  iilefficient  as  it 
was  at  the  beginning  of  the  season^  is  likely,  from  all  we 
learn,  to  be  still  more  so  next  season.  Such  economy  is  ill 
advised.  A  grand  lyrical  establishment  without  d  band  and 
chorus  of  appropriate  excellence,  is  deficient  in  the  most  essen- 
tial department  of  its  inachinery ;  and  this  is  the  condition  of 
Her  Majesty's  Theatre  at  the  present  epdch.  Mr.  Lumley 
should  mend  the  matter  while  he  may.  The  ''Lind  mania" 
will  certiiinly  not  last  anbthei:  season,  even  though  Meyerbeer 
should  come,  with  his  Camp  of  Silesia,  to  prop  it  up.  It  is 
tottering  even  now.  The  stout  and  successful  opposition  to 
he  recall  fbr  Mdlle.  Lind — which  issued  from  certain  boxes, 
after  the  second  act  of  the  opera  on  Tuesday  night,  was  full  of 
meaning  and  significance.  John  Bull  is  getting  ashamed  of  the 
fatuity  Into  which  he  so  heedlessly  allowed  himself  to  be  be- 
trayed. A  reaction  is  at  hand.  Mdlle.  Lind*s  Norma  Was  a 
great  failure ;  but  Mdlle.  Lind's  Susanna  is  a  greater.  Will 
the  fair  Swede  essay  another  of  Grisi's  parts  ?  We  hope  she 
may  not  be  so  ill  advised. 

After  the  opera  we  took  the  opportunity  of  witnessing  our 
feVorite  of  last  season,  Le  Jugement  de  Paris,  one  of  the 
happiest  efforts  of  Perrot.  Taglioni  was  all  herself;  Cerito 
more  than  ever  animated  and  graceful  \  Perrot  as  lively  as  a 
squirrel ;  but  Lucile  Grahn's  place  was  ill  supplied  by  Rosati, 
who  continues  to  look  at  her  feet  as  pertinaciously  as  ever  » 
and  the  part  of  Louise  Taglioni  Was  most  clumsily  interpreted 
by  a  e6ryp%^e  whose  iiame  we  did  not  learn,  havihg  no  bill. 
In  short  mtlch  of  the  charm  of  last  year's  performance  had 
vanished  away  utterly. 

On  Thursday  Figaro  was  repeated  with  the  same  ballet. 
To  night.  La  Sonidmbula  will  be  given,  with  Le  Jugement 
de  PAiSf  being  the  last  performance  of  the  present  season, 
of  which  we  nitist  postpone  our  resume  till  next  week. 

ROYAL  ITALIAN  OPEM. 

On  Saturday  and  Tuesday  the  Donna  delLago  was  repeated 
for  the  second  and  third  times;  The  bnthusiadm  it  excited  on 
the  first  represeutatioh  was  ilot  an  atom  abated  on  the  second 
or  third.  The  same  enoores  took  place,  the  sdme  recalls,  and 
the  same  ovations.  We  must  be  necessarily  curt  in  our  notice, 
as  we  have  already  devoted  so  much  space  to  the  resumg  of  the 
Aoyal  Italic  Opera  letton.    On  Bdturday,  after  thejieHbrm- 


ance  of  La  Donna  del  Lago,  a  new  divertissement  was  pro- 
duced for  MdUe.  Pluiikett,  expressly  composed  for  her  by 
Signor  Casati,  the  talented  maitre  de  ballet.  Signor  Casati 
has  manufactured  a  very  pleasing  haUet  divertissement  from 
some  slender  materials  connected  with  the  fortunes  of  a  Naiad, 
or  Water-spirit.  He  has  divided  it  into  t#o  toBledut,  3t  sylvan 
and  aquatic,  both  very  beautifully  put  on  the  stage.  Then 
Signor  Casati  has  introduced  various  picturesque  groupings; 
and  has  supplied  some  exceedingly  pretty  dances  for  die 
ehoiregraphs.  And  Signor  Casati,  ih  fine,  has  coniposed 
some  delicious  pas  fbr  the  eVer-graceful  Plunkett^  ana  ha^ 
woven  a  highly  effective  divertissement:  The  dancing  of 
Flunkett  was  extremely  elegant.  Her  dress  was  the  most  pic- 
turesque we  have  seen  fot  a  long  time,  and,  altogether;  she 
looked  most  charming,  Mdlle.  Pliinkett  received  immense 
applause,  and  had  showers  of  bouquets  flung  to  her  after 
several  fas.  The  divertissement  was  entirely  successful,  and 
will,  no  dodbt,  run  to  the  last  night  of  the  season.  Oil 
Thursday  the  Nofsze  di  F^aaro  was  re|)eated;  and  was  iha^- 
nificently  done:  The  audience  was  roused  to  a  greater  pttoi 
of  excitement  than  at  any  previous  performance,  ahd  after 
suhimoning  all  the  performers  twice,  called  for  Costk  dt  the 
end.  We  are  glad  to  find  that  the  public  are  beginning  to 
feel  thfe  real  worth  of  9ig.  Costa  at  the  Royal  Italian  Ooera. 
Better  late  than  never.  The  sobscriptiou  season  closes 
to-night  with  Semiramide;  i)ut  on  Tuesday,  there  iHH  be  one 
more  performance  before  the  curtain  dtops  its  last: 

SONNET. 

V'o.  XLVIU. 

I  liXT  conceal  the  thith  with  outside  fiur. 
Deceiving  others  and  myself  the  most ; 
Looking  within^  I  feel  what  I  fiave  lost,  . 

Glancing  upon  my  heatt— 'tiQ  written  tbere; 

The  smile  upon  the  lips,  when  ef  ebalto  ^lare 
'With  anguish,  is  not  more  an  empty  boast 
Than  mine,  wbe»— on  a  raitleis  ocean  tost-* 

I  give  the  name  of  solace  to  despair. 

Despaiir !  rise  in  thy  darlc  magnificence. 
Come  in  thine  awful  truth,  cast  off  disguise. 
Tread  out  the  torch  of  Hope,  that  inaices  n&eii  err^ 

y9ii^  tlv  bo(  breath  baaish  delusion  hence— 
As  wheiv  perchance,  the  sun^  in  wlptry  aides. 
Melting  the  snow,  reveals  a  sepulchre.— J}.D. 

GlOftdiO  RONCONl. 

This  celebrated  dramatic  vocalist  was  bom  in  Venice  on  the 
6th  of  August,  1814.  His  father,  Doriienico  Rdncdni,  an 
artiste  of  great  eminence  in  his  time,  was  first  teUor  to 
Alexander,  Emperor  of  Russia,  Francesco  Ist  of  Atistriai,  and 
Mdximilian  of  Bavdriiu  Giorgio  Roncon!  received  His  earliest 
instructions  in  singing,  at  Milan,  f^om  Rosa  Ronconi,  his  sister, 
who,  though  an  amatenr,  was  an  excellent  musician.  During 
this  time  his  father  was  at  Munich,  fulfilling  the  office  of 
maitre  de  chant,  at  the  court  of  Maximilian — father  of  the 
present  King  of  Bavatia,  i-enowned  as  a  ViinQ  patron  of  the 
arts  and  Lola  Montez.  At  his  return,  young  Gibfgtd;  who 
had  made  considerable  |)rogress,  and  already  khe^  more  than 
his  sister,  profited  by  the  experience  dnd  khd^edge  of  his 
parent,  and  under  his  adniirable  tdition  advanced  fapioly  irf  his 
studies.  Aftfer  two  years  practice  he  went  to  Pavia,  a  univer- 
sity town  situated  about  ten  miles  from  Milan;  and,  bitten 
with  the  rage  fbr  dramatic  represehtatibns,  entered. Into  an 
engagement  with  the  manager  of  the  Opera  there.  He  made 
his  debut,  at  eighteen  years  of  age,  in  the  part  of  Artiii-o  (created 
by  Taniburini),  iii  Bellini's  La  Btranterd.  TKe  composer 
himself  #a8  Jiresent,  and  felicitated  Rotaconl  ^atttilv  on  his 
sifteteM ;  ind  \iAth  A  frieiidiihip  wat  begutl  b^w^n  BemM  and 


THE  MUSICAL  WORLD 


6'43 


Roiiboni,  whicli  endured  until  the  lamented  death  of  the  fortner 
put  an  end  to  it.  The  impresario  of  La  Scala  at  Milan,  the 
ivell-ktlown  Merelli;  tiras  also  present  on  this  occasion,  and  was 
desirous  6^  S(5curing  the  torviees  of  the  yottthM  debutante  fdr 
the  tri)upe  he  was  theh  forming  for  the  Carnival.  But  Ronconi 
wtli  ibarfbl  of  risking;  the  cdnsequences,  at  his  early  age,  of  a 
fUlure  iX  the  laigest  theatre  of  Italy^  and  preferred  accepting 
an  engagement  Which  was  ofiered  him,  for  the  Carnival,  at  the 
littTe  tUeatm  of  Cremona.  There  he  appeared  in  La  Straniefa^ 
Dbhizettl'ii  OHvo  e  Pasquale  (not  Dtm  Pa$qukle\  find 
1%  B^rtmt  di  Ihlseim,  an  opera  hj  Pacini.  His  success 
Wbb  tincontestfed^  and  the  result  was  an  engagement  for  the 
Opera  at  Bolovna,  with  Madame  Ungiier  and  Signor  Poggi; 
afterwards  thehushand  of  Mdlie.  Frezzolini,  the  now  cele- 
brated sopirdno.  At  Bologna,  Ronconi  gained  fresh  laurels  iii 
La  tS^aniera  and  /  Normani  in  Parifi,  an  opera  hjr  Merca- 
dante.  IPhe  sensation  he  produced  in  this  last  opera  was  so 
deisp;  that  it  procured  hiih  an  engagement  for  the  great  Jierd 
(fair)  at  PlidUa,  where  the  same  operas  were  produced,  with 
the  Edition  of  Mercadante's  Oabrielle  dl  Vergy,  and  Eufeinio 
di  Mettina  of  Persiani:  l^Yom  Padua,  Ronconi  proceeded  to 
Rbme,  where  Donizetti;  at  the  time,  wds  engaged  to  write  an 
opera  for  the  troupe  of  the  Fa/?e,  the  second  lyrical  theatre  in 
this  city  of  the  Cassars;  The  popular  maestro  had  but  small 
ftith  ill  the  netr  comer,  and  it  was  with  a  faint  heart  that  he 
submitted  to  hfe  care  the  principal  part  in  his  new  Work,  R 
FuridsO*  But  contraiy  to  all  expectations,  Ronconi  created  a 
pbrfbet/tcrdre  in  this  opera;  and  was  the  main  ctiuse  of  its 
success.  So  ebntent  was  Donizetti,  that  the  year  ibilowing  he 
Wirotte  Torquato  l\ts»o — one  of  his  capital  works — especially 
Ibr  Ronconi,  the  triumph  of  which  is  how  a  matter  of  history. 
For  ifty-tW6  ^^presentations  in  succession  the  theatre  was  so 
ftlt;  thdt  crowdi  Were  sent  aw^y  from  the  doors  every  night. 
After  his  success  in  //  Furioso,  Ronconi  appeared  at  Piacenza, 
and  at  Padua  (for  the  second  time),  where  he  gained  new  ho- 
nors. It  was  thenc^  he  Returned  to  Roii^e,  in  the  season  of  the 
Carnival,  and  achieved  the  triumph  in  Torquato  Tasso,  which 
we  have  already  recorded.  iJ'rom  Rome  he  proceeded  to  Turin, 
where,  at  the  theatre  C&rignano,  he  sang  in  Rossi's  II 
Diserfore  Swiiero,  Herald's  Zampa,  and  Doniisetti's  Parisind. 
In  the  S£tme  seasoii  he  Wa&  engaged  at  the  Teatro  Reggio^ 
where  Mercaddnte  Wrdte  for  him  La  Francisca  DonatOp  which, 
in  spite  of  the  fktor  accorded  to  tloncohi,  achieved  but  a  cold 
reception,  and  was  not  played  inoi-e  than  nineteen  times.  In 
Italy  an  opera  that  1^  oiily  played  nineteen  times  is  considered 
dlfaibst  A  failure. 

Ronconi's  next  engagement  Was  at  the  Safi  Carto  of  Naples, 
where  hi  A  Ton^udto  Tassd  created  the  same  Sensation  as  at 
Rome.  Not  only  n^ere  the  abonnes  of  the  great  Neapolitan 
Opera  wound  Up  to  an  unusual  pitch  of  enthusiasm,  but  a 
young  and  beautiful  lady,  Giovannina  Giannoni,  an  enthusi- 
astic amateur,  and  daughter  of  the  Cesare  Giannoni  (pupil  of 
the  celebrated  FeilaroU,  of  the  Neapolitan  Censervatoire),  was 
sb  charhied  by  the  talent  of  the  young  barytone,  that,  on 
liiaking  his  acquaintance,  and  finding  a  reciprocity  of  senti- 
ibent  on  his  part,  she  cbnsented  to  adinit  his  addresses,  and  in 
less  than  threfe  months  Wai  #edded  to  hint— which  important 
e^eht  in  the  life  of  Roncohi  happened  on  the  1 8th  of  October, 
1837.  From  this  time  Ronconi  remained  two  years  at  Naples, 
whbre  he  performed  lib  l^ss  than  282  times.  Among  the 
operas  in  which  he  appeared,  Were  Torquato  Taiso^  Jean  de 
balaii  (Donizetti\  tt  l^ravo  (Marliani),  Emma  d'Antioehia 
(Mercadttnte),  tl  Campagnello  ^onizetti),  /  Saraceni  in 
Cdttaned  (Persian^,  and  Lara  (Ruolz) — all  of  \^hich  were 
iMtten  eiptesily  M  him-^tedides  muhf  others  tbo  long  to 


recite.  At  this  time  the  theatre  was  managed  by  a  society  of 
distinguished  Neapolitan  dilettante.  The  troupe  comprised 
the  following  celebrities  : — prime  donne,  Madame  Malibran, 
Madame  Ronzi  de  Begnis,  Madame  Persiani,  Madame  Duprez 
(wife  of  the  celebrated  Duprez),  Madame  Schulz,  Madame 
Ungher :  tenor e,  Duprez  (who  commenced  his  career  in  Italy, 
and  at  this  period,  which  was  immediately  previous  to  his  ap- 
pearance at  the  Academte  in  Paris,  was  a  singer  of  very  little 
note) ;  Reina  (a  great  vocalist  in  his  day,  and  the  admitted 
rival  of  Donzelli),  Donzelli  himself,  Moriani,  Salvi,  Pedrazzi ; 
bassif  Ldblache,  Coselli,  (for  whom  Donizetti  wrote  Parisina) 
Crespi,  Porto  (nephew  of  the  celebrated  Porto,  for  whom 
Rossini  wrote  the  part  of  Brabantio,  in  Otefto^  and  who  had 
the  most  esttended  register  of  voice  ever  known  of  its  genre)^ 
Ronconi,  hud  hiany  others.  This  was  the  greatest,  most 
various,  and  most  efficient  company  ever  known  in  Italy. 
And  yet,  with  so  magnificent  a  troupe^  it  is  a  positive  feet, 
that  oU  one  occasion,  in  consequence  of  Duprez  being  absent 
on  leave  at  Ancona,  and  Ronconi  being  indisposed,  the  theatre 
was  obliged  to  be  closed — and  that  on  Sunday^  ordinarily  the 
most  profitable  day  of  the  week  in  the  Italian  operatic  towns. 
Herefrom  two  great  operatic  establishments,  hot  far  off,  which 
we  will  not  specialise  by  name,  might  derive  a  beneficial  lesson, 
to  guide  them  in  th6  fbrmation  of  their  future  companies. 

During  the  three  succeeding  years  Ronconi  visited  Livoumo, 
Florence,  Bologna,  Verona,  Trieste,  Venice,  SinigagliA  (^ 
poTt9  des  FrancaiSf — Seno  Gallia — the  birth  place  of  the  great 
alid  renowned  Pio  IX,  who  was  governor  of  the  tqwn  at  the 
time  of  the  engagement  of  Ronconi,  with  whom  he  lived  on 
terms  of  friendly  intimacy,)  Paenza^  &c.,  each  of  irhich 
towns  he  visited  at  least  four  or  five  times.  During  his  last 
season  but  one  in  Italy  (the  autumn  of  1841),  Ronconi  was 
at  Modena,  where  the  well-known  Laporte,  formerly  director 
of  Her  Majesty's  Theatre,  happened  to  be  staying  at  the  time. 
Laporte  was  so  delighted  with  Ronconi's  taleUtd  that  he 
iU)  mediately  engaged  him  for  London,  for  the  spring  of  the 
following  year.  Accordingly,  after  fulfilling  his  last  engage- 
ment in  Italy,  at  the  Carnival  of  Milan,  Ronconi  arrived  in 
England  in  April  1842.  Laporte,  whose  judgment  in  artistic 
matters  was  justly  renowned,  had  been  struck  with  the  talent 
displayed  by  Ronconi  in  two  very  opposite  characters-  Filippo, 
in  Bellini's  Beatrice  di  Tenda,  and  DulcamtLrra,  in  Donizetti's 
VEtisir  d*Amore — characters  demanding  respectively  the 
deepest  tragic  and  the  liveliest  cotUic  powers.  M^ame 
Ronconi,  who  pWyed  the  part  of  Adlna  in  VElisir  6^Amore, 
also  favourably  attracted  the  attention  of  Laporte,  aiid  was 
included  in  the  engagement.  On  their  arrival  in  England, 
however,  the  Ronconis  found  poor  Laporte  dead,  and  Mr. 
Lumley,  the  present  lessee,  in  his  place  as  director.  Their 
engagement,  nevertheless,  was  equally  valid,  and  in  Beatrice  di 
Tenda,  Lucia  di  Lammermoor;  Don  Giovanni,  Elena  di  FeUro 
(Mercadante),  II  Barbiere  di  Siviglia,  L'Elisir  d'Amore^ 
torquato  Tasso,  Roberto  Devereux,  I  Puritani,  and  Mos^  tii 
Egitto,  Ronconi  exhibited  the  variety  of  his  resources,  and 
the  energy  and  originality  of  his  talent,  to  singular  advantage. 
After  the  season  he  undertook  a  tour  in  the  provinces,  accom- 
panied by  Thalberg,  Made.  Ronconi,  dnd  John  Parry,  during 
which  he  sang  at  forty-si jc  concerts,  in  rapid  Succession. 

Subsequent  to  this  tour,  Roncotii  wetit  to  Paris,  where  he 
gave  several  concerts,  and  sang  at  all  the  soir'bes  of  the 
nobility,  in  company  with  Mad.  Ronconi.  His  reception  at 
Paris  was  so  great  that  M.  Vatel  engaged  him  for  the  Italian 
Opera,  where  he  made  a  brilliant  debut,  and  where  he  has 
remained  evtr  since  for  flte  ;fears)  one  of  the  most  attractive 
members  of  the  troupe.       Digitized  by  V^nOOy  ItT 


54si 


THE    MUSICAL  WORLD 


At  Vienna,  where  Ronconi  had  previously  created  a  great 
sensation  in  1839,  Donizetti  composed  for  him  the  opera  of 
Maria  di  Rohan,  in  1843,  which  produced  an  effect  that  has 
never  been  effaced  in  that  city  of  connoisseurs.  From  Vienna 
Konconi  proceeded  to  Pesth,  in  Hungary,  where  he  was 
equally  well  received.  The  operas  there  performed  were 
Maria  di  R  than,  Beatrice  di  Tenda,  and  L^Elisir  d^Amore, 
in  all  of  which  Made.  Ronconi  shared  the  success  of  her 
celebrated  caro  sposo.  From  Pesth  Ronconi  came  back  once 
more  to  Paris,  where  he  formed  an  engagement  with  M.  Sala- 
manca for  the  opera  at  Madrid.  At  the  Spanish  capital  he 
became  such  an  immense  favourite  that  M.  Salamanca  entered 
into  terms  with  him,  to  form  and  direct  the  entire  company  for 
the  ensuing  year.  The  troupe  engaged  by  Ronconi  included 
Made.  Persiani,  Made.  Ronconi,  Salvi,  Marini,  &c.  In  the  pre- 
vious year  (his  first  in  Spain)  Ronconi  visited  Barcelona,  where 
he  gave  five  representations;  after  which  he  returned  to  Naples, 
the  scene  of  his  most  frequent  triumphs,  and  performed  with 
Made.  Anna  Bishop  in  Beatrice  di  Tenda,  Since  then 
Ronconi's  visits  to  Paris  have  been  annual ;  he  is  an 
enormous  favorite  with  the  Parisians,  who  will  not  admit  any 
one  to  be  his  equal  as  a  dramatic  singer.  The  result  of 
his  engagement  this  year  with  the  Royal  Italian  Opera  is 
well  known  to  the  readers  of  the  Musical  World,  Ronconi 
is  an  honorary  associate  of  the  Academia  di  Santa  Cecilia^  at 
Rome,  Naples,  Venice,  Bologna,  and  Firensa,  and  an  honorary 
member  of  the  Capella  Sistina  at  Rome.  His  repertory  is 
more  varied  and  numerous  than  that  of  any  other  living  dra- 
matic vocalist.  Twenty- five  operas  have  been  expressly 
written  for  him : — L'avvertimento  ai  Gelosi,  by  Balfe ;  // 
Furioso,  Torquato  TassOy  Maria  Rudenx^  II  Campanello, 
Maria  di  Rohan^  and  Maria  Padilla  of  Donizetti ;  /  JSaraceni 
in  Cattanea,  Eufemio  di  Messina,  II  Fantasma,  and  L'Orfana 
Savcjarda  of  Persiani ;  Corrado  d'Altamura^  and  11  Disertore 
per  Amore  of  Ricci ;  Nabucco,  by  Verdi ;  Francisca  Donata, 
by  Mercadante  ;  and  others  by  Ruolz,  Vaccaj,  Nini,  Lillo, 
Rossi,  Gervasi,  Gerlii  Raimondi,  and  Bornaccini.  With  these, 
and  the  other  operas  in  which  he  is  famous,  Ronconi's  reper* 
toire  includes  no  less  than  140  works,  by  various  composers, 
ancient  and  modem,  in  any  of  which  he  is  ready  to  sing  at  a 
moment's  notice ! 

Our  own  high  opinion  of  Ronconi's  dramatic  and  vocal 
talents  has  been  given  too  often  to  need  repeating  here.  It  is 
enough  to  say  that  we  consider  him  one  of  the  most  extraordi- 
nary of  livmg  artistes — one  of  the  greatest  and  most  versatile. 
And,  to  add  another  charm  to  all  this,  he  is  as  modest  and 
unaffected  as  a  child. 

RACHEL   AT   MANCHESTER. 

{From  our  own  Correspondent.) 

Since  our  last,  Rachel  has  appeared  in  Phedre,  Virginie, 
and  Jeanne  d*Arc.  There  is  a  charm  in  everything  she  does ; 
she  realizes  so  intensely  the  beau-ideal  of  the  tragic  poet,  that 
we  find  it  difficult  to  pronounce  which  character  she  most 
excels  in.  We  were  delighted  with  her  in  Camille — as  we 
faintly  endeavoured  to  pourtray  last  week — and  perhaps  if 
asked  to  say  which  character  we  would  recommend  any  one 
to  see  her  in,  who  had  never  seen  Rachel  before,  we  should 
say  Camille  in  Les  Horaces,  But  to  see  her  in  Camille  alone 
is  to  know  but  little  of  her  talent.  Ph6dre  calls  for  far 
greater  display  of  her  tragic  powers — and  what  more  difficult 
to  depict  dian  the  guilty  love-stricken  woman,  consumed  by 
a  passion  of  which  she  is  not  only  the  unwilling,  but  the 
resisting  victim  !  No  one  can  describe  her  wonderful  acting  in 
Racine's  masterpiece;  it  must  be  seen,  and  by  those  only  who 


have  seen  it  can  it  be  felt  and  appreciated.  Her  reoeptioii 
was  far  more  enthusiastic  than  on  Monday  night,  and  she  was 
recalled  at  the  end  of  each  act— <even  after  the  final  dose,  so 
powerfully  given,  of  her  death  by  poison.  This  calling  before 
the  curtain  is  a  most  unmeaning  and  senseless  custom,  and 
after  a  closing  scene  like  the  one  in  Les  Horaces,  or  in  Phidre, 
it  becomes  ^uly  painful,  and  jars  all  feelings  of  propriety  ;  it 
must  be  a  very  doubtful  sort  of  compliment  to  the  actor  when 
she  has  just  been  taking  such  piuns  to  convince  us  she  was 
dying!  It  wants  reforming  altogether;  surely  some  more 
suitable  mode  of  expressing  approbation  might  be  adopted. 
Tartuffe  was  admirably  played  the  same  evening  by  the  other 
members  of  Mr.  Mitcheirs  troupe^  especially  Tartufie  by 
M.  Brevame,  and  Orgon's  wife  by  Madlle.  Rabut ;  nor  must 
we  omit  to  mention  favourably  Orgon*s  heaufrere^  by  M. 
Cloup,  and  the  suivante  by  Mdlle.  Derouet — ^it  was  a  capital 
performance.  But  one  of  Moli^re's  comedies  and  Racine's 
tragedy  make  too  long  a  performance  to  be  given  the  same 
evening.  We  did  not  see  her  Virginie  on  Friday,  but  under- 
stand it  was  another  triumph  for  Rachel.  Oii  Saturday 
evening  we  saw  her,  for  the  last  time  in  Manchester,  in 
Soumet's  tragedy,  Jeanne  £Arc — a  most  lovely  picture  it  was ! 
one  that  will  never  be  effaced  from  our  memory.  We  are 
sorry  to  say  the  house  was  not  a  very  good  one  —the  thinnest  of 
the  four,  and  that  Mr.  Knowles  and  Mr.  Mitchell  (whose  joint 
venture  it  was)  will  be  anything  but  gainers  by  ^s  the  first 
attempt  at  bringing  out  Rachel  in  the  provinces  I  Next  week 
we  shall  have  Jenny  Lind.  Mr.  Knowles  will  make  money 
by  her  engagement,  as  nearly  every  place  in  the  theatre  is 
taken  for  her  four  nights. — ^Will  she  satisfy  us  as  well  as 
Rachel  has  done  ?  We  shall  see.  Meantime,  the  Lind  seems  to 
be  falling  into  disfavour  with  the  Editor  of  the  Musical  World, 
this  last  week  or  two,  as  well  as  Her  Majesty's  Theatre 
generally* 


MUSIC   AT   MARGATE. 

To  the  Editor  of  the  Musical  World, 
Sir, — Observing  that  you  frequently  insert  communications 
from  provincial  correspondents  on  matters  musical,  may  I 
request  that  you  will  spare  a  comer  for  a  sketch  of  our  doings 
at  Margate,  in  the  harmonic  line.  Promenade  concerts  take 
place  every  evening,  in  the  spacious  room  belonging  to  the 
Royal  Hotel,  under  the  direction  of  Mr.  Oardner,  a  talented 
violoncello  player,  belonging  to  the  band  of  Her  Majesty's 
Theatre,  who  has  adapted  several  overtures  and  selections 
from  popular  operas,  as  septetts  for  violins,  violoncello,  double 
bass,  flute,  cornet,  and  pianoforte ;  these  are  performed  in  a 
very  efficient  manner  by  Messrs.  Bradley,  Gardner,  Taylor, 
A.  Wells,  Da  vies,  Taylure,  &c.,  most  of  whom  play  solos  on 
their  several  instruments  in  very  clever  style.  Interspersed 
with  the  instrumental  pieces,  are  songs  by  the  Misses  Kenneth, 
Mrs.  A.  Newton,  and  others.  Mr.  J.  L.  Hatton,  the  composer, 
is  announced  for  a  pianoforte  performance  and  a  buffo  song, 
and  we  look  for  his  appearance  with  interest ;  he  was  highly 
saccessful  last  year.  The  concert  terminates  at  half-past 
nine,  when  dancing  commences  under  the  duection  of 
Mr.  Mott,  from  Her  Majesty's  Theatre,  and  is  kept  up  with 
great  spirit  and  lespectability  for  two  hours,  to  a  most  ex- 
cellent orchestra.  The  Tivoli  Gardens  are  open  every  after- 
noon, and  concerts  take  place  in  the  evening  under  the 
dirj^ction  of  the  veteran,  Sinclair,  whose  property  the  gardens 
are ;  he  sings  Scottish  ballads  with  great  applause.  Songs 
and  duets  are  also  nicely  sung  by  Miss  Harcourt  and  Miss 
Millar.  After  which  dancing  commences  to  a  good  band, 
aad  the  whole  concludes  with  a  brilliant  display  of  Srewprka. . 

Digitized  by  VLj(JCyQlC 


THE  MUSICAL  WORLD. 


545 


At  St.  Peter's,  two  miles  on  the  Ramsgate  road,  nrasic  and 
dancing  take  place  daily;  and  we  have  had  some  soi-disant 
negroes^  with  their  hanjos  and  their  bones.  There  is  a  band 
of  sixteen  Grermans  on  the  Pier,  which  plays  three  times  a 
day,  while  the  visitors  promenade.  We  have  also  our  Jenny 
Lind^  who  sings  ballads,  accompanying  herself  on  the  guitar, 
at  the  end  of  the  Jetty,  when  the  tide  is  out ;  so.  Sir,  I  think 
you  will  idlow  that  Margate  is  not  an  anti-musical  place.  I 
perceive,  in  a  popular  Simday  paper,  a  sketch  of  our  re- 
nowned town  crier,  which,  I  assure  you,  is  by  no  means 
overcharged.  Mr.  Phillpott  is  one  of  the  most  eccentric  and 
amusing  fellows  imaginable.  He  was  born  a  poet,  although 
his  profession  is  only  that  of  a  cobbler;  as  he  himself 
observes,  "  I  cries  all  the  summer,  and  cobbles  all  the  vinter.*' 
The  manner  in  which  he  announces  the  amusements,  the 
sailing  of  the  steam  boats,  goods  to  sell,  &c.,  is  highly 
laughable;  he  generally  accomplishes  his  devoir  in  doggrel 
verse,  and  the  visitors  crowd  around  him  whenever  they  hear 
his  belL  As  a  specimen  of  his  poetical  talent,  I  send  you 
one  of  his  recent  effusions  respecting  the  promenade  concerts, 
premising  that  his  delivery  is  most  quaint  ind  ludicrous  ;  he 
lays  emphasis  and  makes  long  pauses  in  wrong  places,  taking 
all  sorts  of  liberties  with  the  Queen's  English — eeee  signum — 

"Ye  gents  and  ye  Itdiet  attend  to  my  call, 
Vhen  the  eonaort  is  over-there  vill  be  a  ball  1 

{TingU'liing-^Tifikgle'.ting.) 

"The  gentry  it  inwited 
To  the  conaorta  for  to  go, 
Yhere  they  vill  be  delighted, 
Ag  wery  veil  1  know. 
The  miiaic,  which  ia  pretty, 
Begina  exact  at  eight, — 
Then  quit  the  Pier  and  Jetty, 
And  to  the  rooma  go  straight. 
The  ainging  ia  enchanting. 
The  playing  wery  fine. 
In  abort,  there's  nothing  vanting 
Tomakeitalldewinel" 

You  shall  hear  from  me  again,  the  moment  I  find  anything 
worth  noting  for  the  information  of  your  readers. — Your 
obedient  servant.  Harmonious. 

Mcarme  Terrace,  Augutt  \1th,  1847. 


PROVINCIAL. 

LticiSTSK.<~-ConaiderabIe  excitement  haa  been  manifeated  during  the 
last  fortnight  by  the  announcement  of  a  concert  to  be  given,  for  which 
the  Diatin  family  waa  engaged,  and  who  made  their  appearance  before  a 
Leicester  audience  on  Monday  evening  last,  at  the  Theatre.  The  houae 
wia  very  well  and  faahionably  attended,  and  we  beg  moat  heartily  to  con- 
gratulate our  worthy  townaman,  Mr.  H.  Nicholaon,  on  the  succeaa  which 
haa  attended  his  spirited  attempt  to  introduce  for  the  first  time  these 
mrtittee  in  Leicester.  Mr.  DiaUn'a  performance  of  Dr.  Ame'a  "  Soldier 
Tired"  waa  redemanded.  Miaa  O'Connor  made  a  favourable  impression 
CO  the  audience  by  her  unaffected  manner  of  ainging.  We  muat  not 
omit  to  mention  the  piano-forte  accompanying  of  Mr.  Willy,  which  added 
greatly  to  the  general  effect,  and  who  alao  played  a  concerto  of  Doehler'a 
in  a  firat-rate  manner. — Leieetter  Advertiter. 


MI8CELLANEOU8. 

Caii£o  Ewgeavimos.— The  finest  specimens  that  are  known 
are  those  devoted  to  Mythological  subjects,  and  consequently  are 
liable  to  the  caprice  or  fancy  of  the  artist,  whose  object  is  to 
ponrtray  the  general  character,  without  the  necestnty  of  subscribing 
to  the  features,  except  so  fares  they  are  classically  delineated. 
A  young  Medallbt  of  the  name  .of  Picourt  has  struck  out  a  new 
path,  and  has  ventured  upon  taking  likenesses  oa  Cameos  which 


of  course  are  unperisbable,  and  his  essays  have  been  crowned  with 
the  greatest  success  by  those  of  her  Majesty  and  the  Prince 
Consort.  His  stay  in  this  Country  will  be  of  some  duration 
unless  called  upon  to  resume  his  avocations  as  a  medallist  at  Paris. 
'■^(From  a  Correspondent,) . 

BBNsnicT  lefl  London,  on  Thursday,  to  join  his  family  at 
Boulogne.  Benedict  intends  during  the  recess  to  visit  the  prin- 
cipal towns  of  Germany. 

Felix  GoDraoin,  the  harpist  has  gone  to  Boulogne  Sur  Mer. 

Mas.  Fannt  BuTL£a.-»^it  interesting  anecdote  isttold  of  Mrs. 
Butler  on  her  passage  from  Jersey  to  this  island.  It  appears  that 
the  fair  actress  was  very  ill  on  board  the  steamer,  and  con. 
sequently  not  much  in  the  humoar  to  be  disturbed  or  spoken 
to  The  stewardess,  however,  was  obliged  to  ask  for  the  fare. 
Her  application  was  responded  to  by  Mrs.  Butler,  with  a  tone  and 
attitude  strictly  theatrical—'  Woman,  when  you  see  a  poor  creature, 
suffering  as  i  am  now,  you  should  not  ask  her  for  money.'— 
Quemsey  Sun. 

Gibson,  thx  HAaLSoaiN. — This  popular  pantomimist  and  danco 
met  with  a  premature  death  by  drowning,  on  Sunday,  at  Liver- 
pool, while  bathing  in  the  river  Mersey. 

A  Musician  in  Tboublb. — About  noon  on  Friday,  as  the  hand 
of  the  Rrst  Royal  Regiment  was  at  practice  in  the  Regcnt.road 
Barrack,  all  the  meml^rs  of  the  band,  with  the  exception  of  the 
non-commissioned  officers  and  one  or  two  privates,  made  a 
simultaneous  attack  on  Signor  Castaldini,  the  band-master  of  the 
regiment.  Throwing  a  sheet  over  him,  so  as  to  prevent  his 
identifying  any  one  in  particular,  they  beat  him  with  their  fists 
severely  about  the  head  and  the  body,  though  not  so  as  to  inflict 
any  severer  injury  on  his  person  than  a  sound  thrashing.  Of  course 
all  the  offenders  were  immediately  placed  in  confinement.  Colonel 
Bell  forthwith  instituted  an  inquiry  into  the  cause  of  this  outrage  ; 
and  from  what  we  have  heard,  we  understand  that  it  is  alleged  to 
have  been  provoked  bv  a  long  series  of  violent,  harsh,  and  offensive 
treatment  to  which  the*  men  have  been  subjected  by  the  band- 
master. This  was  the  more  irritating  to  the  band,  as  Signor  Cas- 
taldini is  a  civilian,  and  has  therefore  no  right  to  abuse  the  power 
intrusted  to  him,  as  he  haa  nothing  to  do  with  the  diacipline  of  the 
men,  beyond  the  performance  of  hia  duty  in  teaching  them  music; 
As  his  name  implies,  ho  is  an  Italian,  a  musician  of  considerable  ' 
talent,  and  successful  as  a  teacher  ;  but  it  is  said  that  he  has  been 
in  the  habit  of  applying  to  the  band  generally  the  most  con* 
temptuous  epithets,  such  as  '<  English  brutes,'*  and  other  terms  unfit 
for  publication ;  and  that  his  behavour  towards  them  has  at  length 
driven  the  men  to  inflict  this  summary  punishment  on  the  one 
holding  fbr  the  time  the  position  of  their  officer.  They  would 
have  acted  much  more  wisely  in  preferring  a  complaint  of  Signor 
Castaldini's  conduct  to  Colonel  Bell,  whose  known  impartiality 
would  have  insured  them  attention,  a  fair  investigation  and  ample 
justice.  It  is  said  that  Signor  Castaldini,  on  afonrjer  occasion  was 
similarly  treated  by  the  band  of  the  11th  Foot,  for  like  conduct 
towards  them,  and  that  his  connexion  with  that  regiment  was  then 
terminated  by  his  discharge.  In  all  probability  he  will  soon 
ccsse  to  be  band-master  of  the  Royals. — Manchester  Guardian, 

Ma.  Stoabt  and  his  accomplished  daughter  bave  been  playing 
with  ffreat  success  at  the  Queen's  Theatre,  Man<chester. 

A  Gband  CoNCKaT  was  given  yesterday  in  tlje  concert-room  of 
Her  Migesty's  Theatre,  in  aid  of  the  Chorus  belonging  to  the 
establishment.  All  the  artistes  lent  their  ser  vices  gratis,  and  the 
attraction  was  immense,  especially  since  Mdlle.  Jenny  Lind  con- 
descended to  sing.  We  need  not  specialize  all  the  moreeaux. 
Those  which  obtained  most  applause  were,  of  course,  given  by  the 
Swedish  Nightingale.  She  was  encored  in  *^  Quand  je  quittai  la 
Normandie ;  in  "  Sul  Taria,"  with  Madame  Castellan  ;  and  in  two 
of  her  Swedish  Melodies.  The  first  song  was  briJliantly  ffiven, 
the  duet  was  very  charming ;  and  the  two  National  Melodies 
exhibited  the  peculiar  qualities  of  the  fair  artist  to  very  great 
advantage.  Gardoni  gave  the  *'  Spirito  Gen  til,"  from  La  Favourite^ 
with  great  expression  and  feeling.  Staudigl  sang  two*  songs,  ono 
from  Balfe's  Cos.  le  of  Aymon,  in  which  he  was  much  applauded. 
There  were,  besides,  the  usual  solos,  duets,  trios,  &•:.,  and  the 
whole  choir  gave  choruses  of  Verdi  and  Bolognese.  Balfe  accom- 
panied almost  every  morceau  with  his  customary  skill  and  (Efficiency. 
The  concert-room  was  full,  but  not  inconveniently  crowdcK). 


610 


THE  MUSICAL  WORLD. 


CONCERTS  and  LECTURES,  BRISTOL. 

ROYAL    ALBERT    ROOMS,   COLLEGE    GREEN,    BRISTOL. 

The  above  ELEGANT  ROOMS,  situate  in  the  most  fiuhionable  ipot 
between  Bristol  and  Clifton,  are  TO  LET  for  Concerts,  Lectures,  Exhi- 
bitions, &C. 

The  principal  Room,  from  ite  ffreat  height,  is  admirably  adapted  for  music, 
and  is,  perhaps,  the  best  Room  in  Ensland  for  the  Exhibition  of  Works  of 
Art,  receiving  iu  light  ft-om  the  roof,  which  is  equally  diffused. 

Popular  Lecturers  will  find  this  worth  their  attenUon,  as  the  terms  will  be 
to  their  advantage. 

A  Line^  addressed  to  the  PropHetors  will  be  attended  to. 

HER  MAJESTY'S  VISIT  TO  THE  HIGHLANDS. 

NEW  SONG, 

"COlME    SOUND    THE    LOUD    PIBROCH.** 

A  Highland  Welcome  to  Her  Majeatf ,  adapted  to  a  Natiye  Melody  by 
ANGUS  FRASER. 
Price  is.    Published  by  Wood  and  Co.,  12,  Waterloo  Place,  Edinburgh ;  and  to 
^e  had  of  all  Booksellers.    Sent  Post  ft«e  on  receipt  of  fifteen  stamps. 

VACANCV   FOR   A   TENOR   SINGER. 

A  TENOR  SINGER  is  wanted  for  the  Choir  of  Ely  Cathedral.  None  need 
apply  who  cannot  produce  the  strongest  testimonials  of  their  sobriety  and  morality 
Of  conduct.    The  successfol  candidate  alone  will  have  his  expenees  paid. 

A  BASS  VOIOS  is  also  wanted  to  fill  up  another  vacancy. 

_AU    applications    must    be    addressed,   pre-paid,  to    the  Precentor,  the 
Rbv.  D.  J.  Stewart,  the  College,  Ely. 


DONIZETTI'S  OPERA, 

LA   FIGUA   DEL    REOGIMENTO. 

i.  d. 

Ciascun  1o  dice,  ciascun  lo  sIl  i    Ganxone— Sane  by  Jenny  Lind, 16 

Convien  partir.    Romanza— Sang  by  Jenny  Und 1    6 

Feste?  Pompe?  conmotiTOlosonun  uom.    Cavatina, 16 

Le  ricchezie  ed  il  rango.    Sung  by  Jenny  Lind. 10 

Quando  11  destino.    Aria— Sung  by  Jenny  Lind, I    o 

Apparvi  alia  luce  sal  campo.    Dnetto— Sung  by  Jenny  lind  and  F.  Lablacbe,  I    0 

\*  The  above  are  arranged  Jrom  the  Original  Score. 
A  voto  cosi  ardente(a  confession).  Duetto— Sung  by  Jenny  land  and  Gardonl,  1    0 
The  Airs  arranged  for  the  Pianoforte,  in  Two  Books,  by  Dfabelli,    . .     eacli  4    0 
BOOK  1  contains— Cido  clementa— Apparri  afla  loce^Ciaacnn  lo  dioe^ 

Rataplan  and  A  voto  cosi  ardente. 
BOOK  a  contains— Deh  I  ni*ascoltate*Chi  nacqoe  al  rimbombo— Elei ! 
nostra  flglla  I— Stretti  insiem— Oh  dlo  i  suonan  (Tirolese)  and  Quando  il 
destino. 

Select  Ain  arranged  as  Pianoforte  DneH,  in  Two  Books,  by  W.  WatU,  each  ft   0 

An  Accompaniment  for  the  Flute  or  VioUn,     each  1   P 

Czerny*s  Fantasia  on  favorite  Afars, 2    6 

Published  by 

k.  MIXJiS,  data  BIROBA!.!.,)  140,  NSW  BOND  STRBST. 

JENNY  LIND. 

"THELANGUAGB  OF  SONG,"  JbnnyLinp'sFavobitb  Caneona,  sumt 
with  the  most  enthusiafltic  applause  in  Donizetti's  «*  La  Flglla  del  Regglmento/* 
the  English  Words  by  J.  B.  Carpenter;  the  Mnsic,  adapted  by  ChailesH.  Pnnlay, 
cpnveya  the  best  idea  of  her  style  of  singing,  and  is  embellished  with  a  highly, 
finished  Portrait— the  very  imoge  of  the  fair  CanUtrice. 

« I»LL  BE  GAY,  WHILB  I  MAY."  Cavatina-Composer  by  Edward  Lodter. 
Price  Ss. 

"THERE'S  A  GOOD  TIME  COMING."  Romance-Composed  by  Henry 
Firmer.    Price  is.  6d.  ' 

London:  Z.  T.  PURDAY,  45,  High  Holbom;  and  all  MnsicsdMn. 
%*  Observe-to  ask  for  •^'flie  Language  ot  Song." 

To  Advertisers  of  Music  ftMusicalPerformances. 


THE    CHELTENHAM    CHEONlCLE 

gltt&  CKIouctstersfifre  aiifaettfeer 

Waa  established  in  the  year  1M9,  and  is 
PUBLISHED  EVERY  WEDNESDAY  EVENING. 


ference  to  all  inten 


its  character  thit 


resting 
thit  9 


It  advocates  the  general  interests  of  the  country,  giving  prefer 
local  questions  and  intelligence ;  it  is  a  literary  journal  and 

A  ComprehensiTe  Family  Newspaper, 

Mrootaed  brthe  wodthy raddMit  tenflia  «rthe  town  and  dIgtiict.><-Ja«4siU/r# 
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^nst  PnblUih«d,  flie  PZBBT  VJJtT  of 

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Including  Classical,  Methodical,  and  Drawing- Room  fteces,  calculated  for  the 
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Sonatas,  having  before  each  one  Exercise,  one  Prelude,  and  two  ImprovlMtions  in 
the  same  key.  No.  linC  major.  Price  Five  ShUHngs.  IV)  be  bid  at  lOl  ibe 
principal  MusicseUers.  and  for  terma  of  SnbfcripUon  imply  at  Uw  OOo^ 
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Gospel  Mag,  Jf^y,  1888. 

Mr.TiPTAFT'8  FIFTEEN  REASONS  for  BBSIONIKG  hit  UVINO  ia  tlw 
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on  Christaiaa  Day,  isa9,  at  the  Apiiointmenl;  itf  the  Masters  and  Governors  or 
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Resignation  of  his  Living ;  with  Mr.  Tiptaft*s  Answer,  oonj 

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THE  MUSICAL  WORLD. 


547 


ROYAL 


ITALIAN 

COVPNT 


'?rA.^-.rs 


OPERA, 

GARDEN. 


A  Pm^fD  ISXTB4  Nlf^H^T) 

And  Last  PerfjorQUWO^  of  the  Season. 

The  NobiUty,  Gentry,  and  tbe  Pnblic  an  mpectfliUy  infonned  that  on 
Vm  be  performed  BOSSINI'S  celebrated  Ogm, 

LA    DONNA    DEL    LAGO, 

Embracing;  fbe  entire  streogth  ot  the  Company,  with  an  ^TBA  BANP  and 
CHOROS. 

Madame  O&IBI, 
Malcolm  Gnema, 
Alblna,       .      - 
Jamaa  the  FUKh, 
yiipderlck9lit9« 
iHmfflaa  of  Angnm, 

Tbe  principal  Bards  by 

Siffiiori   UL-VIA,   TUXAI,  PtAPBMTZNI,    UBY,    POZ.ONZMI, 

T40Ii|A?X0Q,  ana  ROT^^B. 

Oondnctor,      -      -       .       M.  008TA. 

To  be  toXUmed  by 

A    NEW    DIVERTISSEMENT, 

▲ndtocontittdewith 

A  GRAND  AND  POPUXaAR  BAUUBT^ 

la  vhich  all  ^e  principal  Artistes  will  appear,  and  a  nnmerons  Corps  de  Ballet. 

»^*^**C/*^*'**°5'""^*L^**^i5!  10B.8d.;  Firtt  Amphitheatre  Stalls,  First 
Row,  Ws.6d.;  Second  and  Third  Rows,  78.;  Second  Amphitheatre  Stalls,  6s.; 
SL^'InS?*  Amphitheatre,  5s.;  Ssoond  ilmphitheatre,  38.6d.;  Galtery,  Ss. 
Boxes,  Third  and  Fourth  Tiers,  rfl  is.  t  Second  tier,  jtfi  lis.  6d. ;  First  and  Pit 
Her,  ^3  2b.  I  Grand  Tier,  ^n  te.    Each  Box  to  contain  Foar. 

.  *»*o55^®*"»  ?**^  ^^  ®<**"»  to  ^  obtained  at  the  Box  Office,  in  the  Theatre, 
Bow  Street,  and  at  Messrs.  Cramer,  Beale,  and  Co.%  201,  Itegent  Street. 

The  doors  will  be  opened  at  Seren,  and  the  performances   commence  at 
half  past  Seven  o'clock. 

^•B---Ko  PriTllegsd  Orders  wfll  be  admitted,  sad  the  fne  List  win  be 


Madlle.  AXiBONI, 
Madlle.  BBLiaNI^ 
Slcnqr  MA&IO, 
8l«nor  BBTTUf  Z^ 
Sicnor   MAKIMI, 


THE   COITGEBTINA, 

3f,     JIBW     ;|PO^p     BTBBB^. 

JOSQEH   SCATES, 

Mannfactnrer  and JTaMjier  of  the  Concertina,  hen  to  inform  the  Nobility  and 
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he  cmitinues  to  supply  this  charming  and  fsshipnable  instrument,  with  eve»y  recent 
improvement  itftom  ^  to  rfl9  eadh.  Publlsherf'  of  Glulio^Joddi's  ^  Ritdi- 
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ORieiNAL  ARTICLES 

By  tk9  mQ9t  celebrate^  Writers  of  fl^e  ^e^ 

On  every  Topic  interesting  to  the  Fair  Sex,  with 

The  EKTiSH  ^WS  of  the  WBSS»  oarefUly  ^vined. 


11X88  L.  8.  COSTELLO, 
MRS.  tOtJDON, 
MADLLE.  RIEOO, 
MIS8  MARTXNBAU, 
HISS  BONBURY, 
MlSd  PBARE, 
HISS  WATTS, 
MISS  CORNER, 
MISS  L.  QEARY: 
MISS  CAMPBELL, 


HrftlTBBB  I 

MISS  TnOMASlNA  ROSS, 

Hr3.  sioournet, 
mariana  falli, 
mrs.  walkeb,  ^c.  &c. 
charles  dance,  esq. 
j.  r.  plancrb,  bsq. 
R.  B.  PEAKE,  Esq. 

k.  W.  FOSTER,  ESQ. 
BORACE  MAYHEW,  ESQ. 
R.  B.  KNOWLB8,  ESQ. 


DR.  lACOB, 

BASIL  BRAND,  ESQ. 

0.  B.  RODWELL,  ESQ. 

N.  LEE  TORRE,  ESQ. 

B.  GRANT,  ESQ. 

M.  8OYER, 

M.  JULES  JANIN, 

M.  ALEXANDRE  DUMAS, 


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LAVXSHLT  ILLirSTBATED  in  fhe  FIRST  BT7LE  of  ART. 


OPINIONS  OF  THB  PI^S. 

"The  independence  of  the  fair  sex  is  perfected.  Tbe  ladies  have  got  a  news- 
paper of  their  own  I  And  their  Journal  contains  all  the  news  of  the  day,  as  well  as 
the  intelligence  more  peculiarly  iateresttftg  to  the  better  laolsty  of  our  race— 
namcHhr,  the  IMiioiis."— G«f«sAM4<  Oiisnm: 

«'  It  is  beautlAilly  iUustnted  with  engravings."— 2^0r/92ik  N^wt, 

**  It  contains  a  ftmd  of  interestittg  matter  and  much  usefbl  public  and  domestic 
information.  We  especially  recommend  it  ^  the  |)erusal  of  our  fair  readers."— 
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'*  Presents  numerous  attractions  for  the  ftshlonsble  wortd,  and  is  well  calculated 
for  the  drawing-room  or  koudofr.  The  instructions  for  the  work-table  with 
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cordially  wish  all  possible  success.  The  contributors  are  Writers  of  eminence, 
the  matter  Is  excellent  and  Well  selected,  and  the  lllastrationk  copious  and 
pleM\n^.**—NoiHnpkam  Mercury.  ' 

"Thb  Lady's  Nbwspapbb  we  can  safely  recommend  as  ^ing  all  that  it 
professes,  a  fit  companion  for  the  boudoir,**— Gatetkead  mreuirf. 

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fair  readers.  Its  cleverly  penned  editorial  articles,  and  the  troftision  of  its 
excellent  engravings,  are  especially  adapted  to  the  service  And' amusement  of 
ladies,  and  will  not  disappoint  those  of  tbe  gentle  sex  who  do  not  disdain  useflil 
housenold  instruction  in  concert  with  the  higher  topics  of  intelligent  and  Ikshion. 
able  lire.**    Tatmton  Courier.  ' 

"  It  contains  much  interesting  matter  and  good  practical  infbtination,  suited 
to  the  varied  tastes  and  ftdinn  of  the  sex  for  whose  espedSl  benent  it  is  got  up. 
The  illustrations  are  good."— BM/l-«MMrs  JtfMrfUff*. 

"Thb  Lady's  Nbwspapbb  is  elegantly  rot  up.  Its  matter  well  arranged  and 
selected.  It  contains  handsome  woodcuts  or  the  London  and  Paris  fsshions,  and 
is  well  adapted  to  the  taste  of  the  fair,  for  whose  perusal  it  is  principally 
Intended."— iraf«f:rord  Freemm, 

"Although  out  of  our  usuBl  mode,  we  cannot  but  notloe  this  very  sgreesble 
and  well  got  up  newspaper,  exclusively  devoted  to  the  Atir  sea.  Among  other 
subjects,  many  utefbl  receipte  tor  domestic  management  are  weekly  inserted, 
Sls6  numerous  engravings  of  the  newest  fsshions,  with  ample  descriptions,  and 
directions  for  all  kinds  (tf  fuicy  work.  The  Lady's  NswsPAPaa  deserves  well 
the  patronage  of  the  fair  sex."— IraiMAM^sr  aad  S^i^ord  AdoertUer, 

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628 


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No.  40— VouXXn. 


SATUJ^DAY,  OCTOBER  2,  1847. 


fPRlCB   THRBBPRNCE. 
1  STAMPED,  FOCRPBNCE. 


THE  GLOUCESTER   MUSICAL  FESTIVAU 

TO   DBSMOND   RYAN,   X8Q. 

0loueeil9r,Sundoif,  Sept.  26M,  1847. 

■  '  Dbar  Rtah, — My  last  wqs  cut  short  by  ihe  anticipation 
of  an  immediate  ascent  to  the  top  of  Gloucester  Cathedral. 
But  I  did  not  go,  and  might  have  got  to  the  end  of  my  letter 
withoQt  interruption.  The  reason  of  my  non^ascent  I  have 
forgotten.  Therefore,  without  further  preface,  let  me  pursue 
the  main  subject  of 'Ihe  present  communication— the  Festival. 

To  begin  at  the  end — there  has  not  been  for  many  years  a 
meeting  which  has  given  so  much  satisifacUon  mid  prcved  so 
light  a  burden  on  the  slioulders  of  the  stewards,  wlio  do  not 
like  paying  ihfough  the  nose^  gentlemen  though  they  be. 
But  to  return  to  the  beginning — I  have  already  furnished  you 
with  an  account  of  the  first  dav's  proceedings,  and  the  following 
are  the  remammg  contents  of  my  common-place  book : — 

Wednesday, — The  clouds  are  gone  to  the  hills;  the  sun  rides 
alone  in  the  sky ;  birds  are  singing,  insects  buzzing,  bells 
chiming,  carriages  rolling  ;  the  old  city  is  alive  again »  and  the 
aspect  of  things  proclaims  a  joyous  Festival.  It  is  strange 
-—but  I  have  remarked,  since  1836,  in  the  month  of  May, 
uhen  Pauivs  was  first  performed,  at  the  triennial  Rhenish 
Festival,  held  that  year  in  Dusseldotf-— that  the  name  of 
Mendelssohn  is  sure  to  bring  fine  weather.  I  cannot  recall, 
during  eleven  years,  any  musical  event  in  which  Mendelssohn 
has  been  concerned,  without  the  memory  of  blue  sky  and 
sunshine  spontaneously  accompanying  the  recollection.  It  will 
seem  odd^  but  it  is  nevertheless  true,  and  I  have  taken  such 
particular  note  of  it  that  I  cannot  be  mistaken.  Tlie  Elijah, 
this  morning,  the  grand  event  of  the  Festival,  is  another 
instance  to  add  to  my  collection.  You  will  say,  the  oratorio 
opens  with  a  prophecy  that  there  shall  be  neither  rain  nor  dew 
••  for  these  years ;"  but  this  is  merely  punning  upon  the  cir- 
cumstance, and  is  unworthy  of  you.  Certain  it  is,  however, 
that  the  sky,  which  yesterday  was  all  brown,  to-day  is  all  blue, 
and  I  have  a  superstitious  .credence  that  Mendelssohn's  Elias 
is  the  real  cause  of  the  change. 

The  Cathedral  was  crammed  to  repletion.  Elijah  is  destined 
to  be  a  preat  popular  idol,  like  the  Meisiah^^tm  attraction 
never  failing — a  sure  card  in  Festivals  ;  and  it  deserves  to  be 
—-for,  nearer  than  any  other  work,  it  approaches  the  beauty, 
grandeur,  and  sublimity  of  HandeVs  masterpiece.  The  per- 
formance on  the  whole  was  excellent.  The  band  was  careful, 
the  chorus  on  the  alert,  the  soloists  on  their  mettle.  Madame 
Caradori  and  Miss  A.  Williams  wete  the  3opr<lao«,  Miss  Dolby 
and  Miss  M.-  Williams  the  coiUraUos,  Mr*  Lockey  and  Mr. 
Williams  the  tefutrs,  Herr  Staudigl  and  Mr.  Weiss  the  basses. 
I  will  not  tire  you  with  a  repetition  •  of  details  which  liava 
more  than  once  been  given  in  the  Musical  World,  You  know 


my  opinion  of  these  vocalists,  apropos  of  their  exertions  in 
the  Elijah,  Suffice  it  they  exhibited  their  usual  merits  and 
their  usual  zeal.  I  have  only  to  protest  against  the  impro- 
priety of  taking  from  Miss  A.  Williams  the  part  in  the  duet, 
*•  Lord,  bow  down  thine  ear  to  onr  prayer,"  which  Mendels- 
sohn himgclf  assigned  to  her  in  Birmingham,  and  which  is 
not  suited  to  Madame  Caradori's  voice  or  style  of  singing. 
The  conductor,  Mr.  Amott,  had  studied  the  score  attentively, 
and  only  sinned,  here  and  there,  in  dragging  the  times: — at 
for  exaniple  in  the  overture,  whidi  was  taken  much  too  slow, 
and  in  mh^^  of  the  choruses.  The  organ,  in  the  hands  of 
Mr.  ToJwbend  Smith,  was  what  Mendelssohn  intended:— a 
medium  for  strengthening  the  harmony  and  varying  the 
instrumentation— not  a  coarse  obtrusive  feature,  as  it  has 
been  made  elsewhere.  The  sensation  produced  by  Elijah 
justified  all  that  the  Gloucester  amateurs  had  anticipated.  ^ 
success,  both  in  an  4nrtistic  and  pecuniary  point  of  view,  A 
triumphant.  Tliere  was  but  one  opinion  about  it.  Worcester, 
next  year,  and  Hereford,  the  year  after  (unless  Mr.  Done 
and  Mr.  Smith  ,  the  organists  of  either  cathedral,  be  not  tha. 
men  for  whom  I  take  them)  will  imitate  the  example  of 
Gloucester,  and  make  the  Elijah  the  prominent  attraction  of 
the  Festival. 

The  second  miscellaneous  concert  took  place  in  the  evening, 
at  the  Shire  Hall.  Mendelssohn  was  again  the  feature  of  the 
programme,  and  with  the  overture  and  incidental  music  in  A 
Midsummer  Night's  Dream,  the  performances  commenced. 
Nothing  new  can  be  said  of  this  chef  d*ontvre.  Let  it  suffice 
that  the  overture  was  well  performed,  albeit  a  shade  too  slow; 
the  scherzo  ditto  ditto ;  the  two-part  song,  *'  Ye  spotted 
snakes,'*  was  oblv  rendered  by  the  Misses  Williams  and 
chorus ;  the  interlude,  in  A  minor,  of  '«  Hermia  seeking 
Lysander  in  the  wood"  was  omitted  ;  the  notturno  was  not  so 
well  played  as  the  other  instrumental  pieces ;  the  wedding 
march,  brilliantly  but  noisily  executed,  was  encored  by  the 
whole  audience ;  and  the  final  chorus  '*  Through  this  house,*' 
went  with  great  precision  and  delicacy.  Like  the  Walpttrgir 
Night,  the  Midsummer  NighVs  Dream  has  now  tested  the 
ordeal  of  the  three  choirs  ;  admired,  applauded  at  Worcester, 
it  was  more  admired,  more  applauded  at  Hereford,  most  admired 
and  most  applauded  at  Gloucester.  A  better  sign  of  the 
advancement  of  musical  taste  in  the  provinces  could  hardly 
be  looked  for.  •  j.  j 

After  the  last  echo  of  Mendelssohn's  faery  music  had  died 
away,  Alboni,  the  gorgeous  Alboni,  with  her  portly  frame  and 
winning  smile,  came  forward  and  sang  **  Una  voce  poco  fa," 
after  her  own  peculiar  fashion,  and  at  once  produced  an  im- 
pression which  has  had  no  parallel  in  the  musical  annals  of 
Gloucester.  It  is  enough  to  say  that  Alboni  sang  in  her  usual 
style,  to  account  for  the  effect  she  produced.    She  was  rap- 


6^0 


THE  MUSICAL  WORLD. 


turously  encored,  and  repeated  the  allegro  with  increased 
brilliancy.  There  wad  scarbeljr  ik  iibld  oX  Rossini  §  text^  but 
th^  ihihg  ))ad  a  chai-m  bf  ib  df  h  ttiil  Was  quite  jlreslltible. 
l^lbortl*8  tHumjjH  i^Aa  M^'^t*^..  tjrjiteiudigl,  v^Bb  «ln|  a 
lugubrious  recitative  and  air  by  one  Fiicbs  in  first-rate  style, 
giving  place  to  Miss  Dolby  and  Mr.  Lockey,  who  rendered 
due  justice  to  Balfe's  graceful  duet,  **  The  sailor  sighs  as  sinks 
his  native  shore/*  and  were  in  their  turn  followed  by  Mrs. 
Weiss,  who  distinguished  herself  favourably  in  the  elegant 
song,  *'  They  little  know  the  charms,"  from  Benedict's  opera 
of  The  Crusaders, — the  first  part  concluding  with  the  duet 
**  Dunque  io  son,"  which  was  read  in  a  style  thoroughly 
-  original,  by  Alboni  and  Staudigl. 

Then  ensued  the  "  interval  of  twenty  minutes."  which 
might  have  been  termed  an  interlude,  so  loud  was  the  eauserie, 
and  so  boisterous  the  merriment ;  the  prime  motive  thereto 
being  John  Parry's  **  London  Season,"  in  the  course  of  which 
the  6t{^o  unique  sui  generis  (it  requires  three  tongues  to  apostro- 
phise him)  introduced,  with  singular  felicity  and  apropos,  the 
name  of  the  gifted  Alboni,  whose  singing  had  so  stirred  the 
hearts  of  the  auditors.  And  to  say  that  John  Parry  sang  was 
to  say  that  John  Parry  was  encored — Albert  Smith  coming 
in  for  his  share  of  the  ovations,  although  not  present  to 
endure  them  in  proprid  persottd, 

Weber's  tremendous  overture  to  Euryanthe^  capitally 
played,  began  the  second  part,  and  was  followed  by  Cursch- 
man's  smooth  terzetlinetto,  *'  Ti  prego,"  which  was  pk'usantly 
chaunted  by  the  pretty  Misses  Williams  and  Mr.  Lockey. 
Then  once  more  the  voice  of  Alboni  pealed  through  the 
building,  until  it  was  alive  with  pulsatory  vibrations,  that 
made  the  atmosphere  quiver,  as  with  delight  at  being  thus 
deliciously  oppressed.  The  air  was'*  II  segreto,"  the  well- 
ftnown  bacchanalian  from  Lucrezia.  To  describe  the  sensation 
and  the  triple  encore  demands  a  pen  more  used  to  apostrophe 
than  mine,  which  I  lay  down  in  despair.  It  was  a  rare  treat, 
however,  to  behold  the  crowd,  moved  as  the  sea  by  tempestuous 
winds,  roar  and  roar  again  with  convulsions  of  satisfaction. 
Mr.  Lockey 's  quiet  reading  of  Hatton's  quaint  serenade, 
•*  The  silver  moon,"  nevertheless,  did  not  fail  to  find  appre- 
ciators.  Of  the  glee,  '*  O  by  rivers,"  (also  styled  serenade y) 
"  arranged"  by  Bishop,  from  Wilson  and  Saville  (a  large  com- 
panionship in  such  a  small  commodity)  albeit  nicely  rendered 
by  Miss  Dolby,  Misses  A.  and  M.  Williams,  Messrs.  Lockey 
and  Weiss,  I  would  rather  say  (because  I  think  nothing) 
nothing.  But  no  praise  can  be  too  warm  for  Miss  Dolby,  who 
in  Mozart's  unaffected  and  lovely  air,  **  Q,uando  miro,"  sang 
in  such  unaffected  and  lovely  style  as  to  move  all  hearts  to' 
feel,  all  hands  to  applaud,  all  voices  to  say,  **  once  more !" 
And  once  more  the  charming  singer  gave  a  tongu^  to  that 
divine  melody,  and  once  more  impressed  her  hearers  with  a 
sense  of  her  own  great  merits  and  Mozart's  unapproachable 
supremacy.  Nothing  in  the  concert — not  even  Mendelssohn's 
Dreamy  not  even  Alboni's  oily  tones— pleased  more  than  this 
modest  air^  thus  modestly  interpreted.  The  music  and  the 
singer  were  worthy  of  each  other.  Another  encore  followed, 
for  Staudigl,  who  sang  with  glorious  fervour,  the  glorious, 
*'  Ruddier  than  the  cherry,"  from  the  pearl  of  pastorals,  Acis 
and  Galatea.  It  is  but  truth  to  say  that  the  Gloucester 
audience  knew  what  to  applaud  and  what  to  be  indifferent  to, 
as  well  as  any  London  audience  I,  ever  came  amidst.  They 
showed  it  in  their  instant  appreciation  of  the  two  gems  last 
mentioned. 

Nor  did  the  beautiful  tone  and  finished  execution  of  Mr. 
Williams,  in  a  fantasia  upon  the  clarionet,  escape  the  best 
appreciation ;  the  air,  *<  Hope  told/'  was  exquisitely  played, 


and  the  variations  were  executed  with  masterly  ease.  Miss,  Mar- 
tha Williams  sang  a  little  ikir,  iiy  one  Krebs,  ^'Dearest  I  (hlhK  of 
thee,"  in  >  fbadfler  llidi  I^MSjitiHt  the  less  attractive  b^Muie  it 
waS  fhj^lly  knJbret^iidlng!  A  M.S.  sengi  bf  H»  Lailcnt, 
"  bid  customs,"  though  inteHlftently  rendered  by  Mr.  Weiss, 
did  not  make  any  great  impression.  The  duet,  '*  Bella  imago," 
from  Semiramide,  by  Alboni  and  Staudigl,  was  the  last  item 
of  the  programme,  and  played  the  audience  out — which,  by 
the  way,  was  but  a  mean  compliment  to  the  great  artistes  who 
were  singing.  The  attendance  at  this  concert  was  numerous, 
but  not  inconveniently  crowded,  as  might  have  been  antici- 
pated from  the  attractions  of  the  programme.  But  Alboni's 
influence  was  more  legitimately  exerted  after  she  had  been 
heard,  and  early  the  n6xt  day  not  a  ticket  was  to  be  obtained 
for  the  third  concert,  par  amours  or  otherwise. 

Thursday, — I  shall  make  short  work  of  this  day's  selection, 
in  the  Cathedral,  which  was  fragmentary  in  form  and  egregious 
in  length.  The  first  part  commenced  with  *'  Spring,"  from 
Haydn's  Seasons — Miss  A.  Williams,  Mrs.  Weiss,  Mr.  Lockey, 
and  Mr.  W^eiss,  taking  the  solos ;  and  concluded  with  some 
fragments  from  Handel's  Judas  Maccahceus,  in  which  Madame 
Caradori  Allan,  the  Misses  Williams,  Mrs.  Weiss,  Messrs. 
Lockey,  Weiss,  Williams,  Genge,  Ashton,  Smythson,  and 
Herr  Staudigl,  were  the  principals.  The  second  part  began 
with  a  selection  from  Beethoven's  Mass  in  C,  the  solos  by  Miss 
Dolby,  the  Misses  Williams,  Mr.  Lockey  and  Herr  Staudigl ; 
proceeded  with  the  chorus,  •*  Rex  tremendae,"  and  quartet, 
**  Recordare,"  from  Mozart's  Requiem  (Miss  A.  Williams, 
Miss  Dolby,  Mr.  Lockey,  and  Mr.  Weiss,)  the  air,  **  Rolling 
with  foaming  billows,"  (Staudigl),  the  air,  **  With  verdure 
clad,"  (Madame  Caradori),  the  air,  "  In  native  worth,"  (Mr. 
Lockey),  a  chorus,  ** Gloria  in  excelsis,"  by  Pergolesi,  the  air, 
"  Gratias  agimus,"  by  Guglielmi,  (Madame  Caradori,  with 
Mr.  Williams  on  the  clarionet),  a  duet,  "  Forsake  me  not,"  by 
Spohr,  (Miss  A.  Williams  and  Mr.  Lockey),  the  air,  "But  the 
Lord  is  mindful,"  from  St,  Paul,  (Miss  Dolby),  a  quartet 
unaccompanied,  "  Alia  trinita  beata,"  (Madame  Caradori, 
Miss  Dolby,  Mr.  Lockey,  and  Herr  Staudigl),  and  a  chorus, 
by  Haydn,  **  The  Arm  of  the  Lord;**  and  concluded  with 
some  pieces  from  Handel's  Israel  in  Egypt,  in  which  Madame 
Caradori,  Mrs,  Weiss,  Miss  Dolby,  Mr.  Lockey,  Mr.  Weiss, 
and  Herr  Staudigl  officiated  as  principals.  This  motley 
classification  of  good  and  indifferent  music  produced  an 
universal  effect  of  ennui.  It  proved  quite  unattractive,  more- 
over»  for  the  attendance  was  unusually  scanty,  although  the 
weather  was  fine,  and  expectations  of  a  successful  third  day 
had  been  general.  But  the  truth  must  be  told  i^^pot-pourris 
arc  going  rapidly  out  of  fashion,  and  strong  hopes  may  be 
entertained  of  their  ultimate  abolishment,  never  to  be  revived 
again,  by  which  music  will  be  an  immense  gainer. 

Equally  brief  shall  I  be  with  the  concert  in  the  evening — 
the  third  and  last — of  which  the  following  was  the  scheme  : 

PART  I. 

Overture— (Guillaume  Tell)— Uofttni. 

Glee— Miss  M.  Williama,  Mr.   Lockey,  Mr.  WiUiams,  and  Mr.  Weiss, 

"By  Celia'fl  arbour."— HorWey. 
Aria— Madame  Caradori  Allan,  "II  soave,  e  bel  contento."— jPocctni. 
Air— Herr  Staudigl,  "In  diesen  heil'gen  Hallen .—Afoj^ar^ 
Aria— Madlle.  Alboni,  "Una  voce  poco  fl^"— (H  Barbiero  di  SWIg^a.)— 

Rostini, 
Glee  and  Chorusp-Miss  A.  Williams,  Mrs.  Weiss,  Miss  £.  Byers,  Miss 

Dolby,  Miss  M.  Williams,  Mr.  Lockey,  Mr.  Williams,  Mr  Peck, 

Mr.   Morgan,  Mr.  Weiss,  Mr.  Smythson,   Mr.  Green*    and  Herr 

Staudigl,  "  The  Gipsies'  Tent."— T.  Cooke. 
Romance  Fran^aise— Madame  Caradori  Allan,  "  On  m'a  dit  qae  'f6tUM 

rieuse." — {La  Fauvette  du  Canton)— 'C/opisum. 
Air-Mr.  Weiss,  "  The  light  of  other  days."— J5a(rtf4^3  O  O  ^  I  tl 


THE  MUSICAL  WORLD. 


631 


Duet— Miss  A.  Williams  and  Mr.  Lockey, "  Do  not  shun  me."— (Jessonda.; 

Spohr, 
Tenettino— Madame  Ctradori  Allan,  Madlle.  Albonl,  and  Herr  Suadigl, 

"  L'usata  ardir,"— (Semlrimidc)— itoi»fi». 
New  Song—Mr.  John  Parry,  "Miss  Harriet  and  her  Governess;  or,  a 

Young  Lady's  ThoughU  on  Education."    Written  by  Afr.  J.  fV.  Roe, 

arranged  by  John  Parry, 

PART  II. 

Grand  Symphony — (B  flat) — Beethoven, 
Cavatina— Madlle.  Albonl,  "  In  questo  semplice."— Dom'jzrtffft. 
Song— Herr  Staudigl, "  Non  pin  andrai."— (Le  None  di  Figaro)— Mo^ar/. 
ftallad— Miss  Dolby,  "Forget  thee."— (?.  E,  Hay. 
.  RecitatiYO  and  Aria — ^Madame  Caradori  Allan,  *'  Invano  idcun  desir." — 

(Armida)— G/ucJ^. 
Glee— Miss  A.  Wiiriams,  Miss  M.Williams,  Miss  Dolby,  Mr.  Lockey,  and 

Mr.  Weiss,  "  Believe  me,  tears."— Sir  H,  R.  Biihop, 
Ballad— Mrs.  Weiss,  "It  is  not  form."— (The  Bondman)— Ba(/«. 
Duelto — Madame  Caradori  Allan  and  Madlle.  Alboni, "  Giorno  d'orrore." 

— (Semiramide) — Rottinu 
New  Ballad— Mr.  Lockey,  "  Come  down  here." — BletviiU 
Finale— "God  save  the  Queen." 

Alboni  triumphed  again,  was  encored  in  both  her  songs,  and 
•  Bolicited  by  a  deputation  from  the  stewards  to  sing  yet  another — 
with  which  solicitation  she  cheerfully  complied,  repeating  the 
Bacchanalian  from  Lucrezia,  which  had  created  so  great  a 
sensation  on  the  night  previous.  Here  let  me  make  £he 
amende  honorable  to  Mr.  Lindsay  Sloper,  who  has  been 
accompanying  Alboni  on  her  tour,  and  there  being  no 
orchestral  parts  at  hand,  assumed  his  place  at  the  piano,  and 
played  this  sparkling  song  in  a  style  of  brilliancy  and  neatness 
peculiar  to  himself.  Encores  were  also  awarded  to  Staudigl 
in  Mozart's  fine  air ;  to  Mr.  T.  Cooke's  clever  «*  glee  and 
chorus ;"  to  Miss  Dolby,  in  Mr.  Hay's  ballad ;  to  Madame 
Caradori  in  the  charming  air  of  Gluck  ;  and  to  the  duet  fj  om 
Semiramide  by  Madame  Caradori  and  Mdlle  Alboni.  An  encore 
was  also  deserved,  though  not  obtained,  by  Miss  A.  Williams 
and  Mr.  Lockey,  in  Spohr's  duet.  The  national  anthem  was 
not  encored ;  but  John  Parry's  new  song — one  of  excellent 
humour,  by  the  way — was  enthusiastically  re-demanded ;  in 
response  to  which  John  Parry  sang  another.  On  the  whole 
this  concert  was  much  inferior  to  the  first  and  second.  The 
6nly  great  piece  attempted,  Beethoven's  symphony  in  B  flat, 
was  shorn  of  the  two  last  movements,  and  what  was  given  was 
in  a  style  that  may  be  called  slovenly,  with  strict  adherence  to 
truth.  Nevertheless,  owing  to  the  extraordinary  sensation  pro- 
duced by  Alboni  on  the  previous  night  the  Shire  HaH  was  cram- 
med to  an  overflow,  and  many  were  sent  away  disappointed  in 
obtaining  tickets.  Alboni  is  the  whole  theme  of  Gloucester 
causerie ;  you  cannot  pass  up  and  down  the  streets  without 
hearing  an  earnest  discussion  of  her  merits  in  almost  every 
comer,  nor  can  you  approach  a  house  where  there  is  a  piano, 
without liearing  some  young  lady  endeavouring  to  emulate  the 
fervour  and  intensity  of  her  **  Yah-e-oo  !*'  in  the  Belli/  affair, 
which  absolutely  fills  the  atmosphere  of  the  city  with  strange 
and  unmusical  noises,  the  awkward  ebullitions  of  amateur 
screamers.  I  cannot  much  admire  this  tyrolien,  and  I  quite 
agree  with  a  musical  friend  who  observed  to  me  that  a  Parisian 
audience  would  hardly  tolerate  it  even  from  Alboni.  But  like 
the  Ethiopian  business,  it  has  acquired,  in  England,  the  whole 
favour  and  sympathy  of  the  mob.  This  I  cannot  deny  ;  but 
I  would  rather  not  hear  such  a  magnificently  endowed  artiste 
as  Alboni  descend  to  such  means  of  courting  popularity. 

Friday,  —  The  Messiah  was  performed  this  morning 
in  the  Cathedral,  in  first-rate  style.  The  principal  singers 
were  Madame  Caradori,  Miss  Dolby,  Mrs.  Weiss,  the  Misses 
Williams,  Mr.  Lockey,  Mr.  Weiss,  Mr.  Williams,  and  Herr 
Staudigl,  who  all  exerted  themselves  with  commendable  zeal, 
in  rendering  justice  to  the  great  masterpiece  they  were  in- 


tcrpreting.  The  band  and  chorus  were  admirable,  and  on  the 
whole  I  have  rarely  heard  the  Messiah  more  satisfactorily 
performed.  It  is  unnecessary  to  say  more  about  this  undying 
work,  which  every  musician  and  amateur  knows  by  heart,  or 
ought  to  know.  The  attendance  was  good,  but  not  so  crowded 
as  on  the  Elijah  day. 

In  the  evening  there  was  another  ball  at  the  Shire-Hall, 
which  was  not  so  well  patronised  (although  by  no  means  ill 
patronised)  as  was  anticipated.  I  amused  myself  by  looking 
at  the  dancers  for  an  hour  or  two — and  then  for  an  hour  or 
two  more — and  eventually  got  to  bed  at  ^ve  in  the  morning, 
and  rose  in  tipe  to  miss  the  train  for  London  by  which  I  had 
calculated  on  going.  And  so  I  took  a  solitary  walk  in  the 
country  instead,  and  was  enchanted  with  my  ejccursion— for 
Glocestershire  is  really  beautiful  and  romantic. 

The  pecuniary  result  of  the  Festival,  in  respect  to  the 
Charity  which  it  is  intended  to  assist,  may  be  gathered  from 
the  following,  which  gives  the  result  of  the  last  three  Festivals, 
and  has  appeared  in  the  Glocestershire  Chronicle  and 
Journal : — 

1847.  1844. 

£    i.    d.  £    s.    d. 

FTrstdsy, 170  16    2         163  18    4 

Secondday,...240  14    4        111     9    4 

Third  day.    ...125  10    0  79  19    0 

Fourth  day,. ..147    2     6        17$     0     4 


1841. 
£  8.  d. 
130  12  4 
126  7  U 
155  6  2 
121     1   M 


£684    3     0        630     7     0  533     7     9 

By  which  it  will  be  seen  that  the  present  year  has  considera- 
bly the  advantage.  Indeed,  the  Festival  has  altogether 
exceeded  the  warmest  anticipations  of  the  stewards,  who  are 
likely  to  issue,  scot-free,  from  the  ordeal  of  responsibility. 
Tnis  must  be  satisfactory  to  all,  since  it  ensures  the  continuid 
association  of  Glocester  with  the  o.ther  two  choirs  m 
future  meetings.  It  would  be  a  grievous  thing  were  any 
untoward  mischance  to  put  an  end  to  these  really  splendid 
meetings,  which,  while  they  assist  an  excellent  charity, 
advance  the  cause  of  music.  But  the  inhabitants  of  Glocester 
must  bestir  themselves,  and  not  leave  the  entire  responsi- 
bilities on  the  shoulders  of  the  stewards,  who  get  nothing  but 
honor  for  their  pecuniary  risk  and  their  heavy  labor.  Instead 
of  impeding  the  objects  of  the  Festival,  by  raising  the  prices  of 
everything,  they  should  rather  endeavour  to  promote  them  by 
offering  increased  facilities  to  visitors  by  accommodating  them 
at  a  reasonable  profit.  They  would  thereby  draw  numbers  to 
the  town,  during  Festival  week,  who,  as  matters  are  now 
managed,  keep  away  altogether,  in  fear  of  the  exorbitant 
expense.  Let  them  remember  that,  more  than  anybody  they 
themselves  would  suffer  by  the  annihilation  of  the  Festival. 

The  Hev.  Dr.  Evans,  one  of  the  most  zealous  and  active 
of  the  stewards,  and  Sir  John  Seymour,  a  liberal  patron  of 
the  Festival,  kept  open  house  all  the  week  for  the  artists  and 
visitors  from  a  distance,  in  a  style  of  prodigal  munificence. 

The  greatest  kindness  was  shown  to  the  members  of  the 
press  by  Mr.  Brown,  the  excellent  secretary  of  the  stewards, 
who  spared  no  pains  in  procuring  them  every  information 
they  required,  and  was  unremitting  in  his  courteous  and 
gentlemanly  attentions.  The  musical  arrangements,  on  the 
whole,  conferred  much  credit  on  Mr.  Amott,  under  whose  sole 
superintendence  they  were.  Mr.  Done  was  of  good  service 
in  directing  the  concerts  at  the  Shire-Hall ;  and  Mr.  Town- 
shend  Smith,  as  organist,  acquitted  himself  with  commenda- 
ble zeal  and  talent.  Nor  must  we  omit  to  name  with  honor 
our  excellent  friend,  Mr,  T.  Cooke,  who  filled  the  post  of 
chef  d*attaque  with  his  usual  ability  and  diligence. 

On  the  whole  I  have  spent  a  very  agreeable  week  at 


632 


THE    MUSICAL  WORLD 


Glocester,  which  I  am  not  sorry  to  have  visited,  if  only  for 
the  sake  of  the  Cathedral,  which  is  one  of  the  finest  in  the 
world,  and  is  a  glory  to  the  city  of  which  it  constitutes  the 
almost  solitary  monument.  For  the  present,  adieu.  You  will 
probably  hear  from  me  again  next  week. — Yours  as  ever,  D. 

P.S.-*If  you  want  a  list  of  the  company  that  has  attended 
the  Festival,  you  will  find  it  in  'I he  Imes,  firom  Lord  Ellen- 
borough  down  to  Mr.  Grantley  Berkley,  who  was  brilliantly 
conspicuous  at  the  evening  concerts,  and  wore  his  shirt  collar 
nello  stilo  Byrono,  He  is  a  well-looking  man,  considering  his 
letters  and  speeches. 

HER  MAJESTY'S  THEATRE. 

RESUMi   OF    THE    SEASON. 

(Concluded  from  page  5S6.) 

But  little  more  remains  to  be  said  on  this  subject,  to  which 
we  have  already  devoted  more  space  and  attention  than  our 
limits  warrant.  A  few  general  remarks  must  dose  our  present 
examination. 

That  the  season  has  been  one  of  almost  unprecedented  suc- 
cess there  can  be  little  doubt.  It  is  even  stated,  with  confidence, 
that  Mr.  Lumley  has  pocketed  £22,000,  clear  of  all  expenses. 
We  cannot  believe  it.  The  prosperity  of  the  season  is  entirely 
attributable  to  Mdlle.  Idnd,  the  loss  previous  to  whose  advent 
must  have  been  severe,  while  the  outlay  that  guaranteed  her 
presence  was  doubtless  very  great.  Add  to  this  the  enormous 
cost  of  the  general  company,  operatic  and  chorcgraphic,  and 
the  probability  of  «  large  surplus  at  the  end  of  the  season 
appears  in  nMbus, 

Comparing  the  prospectus  that  Wus  issued  previous  to  the 
commencement  of  the  season  with  the  record  of  what  actually 
occurred,  we  find  a  long  catalogue  of  sins  by  omission.  The 
subject,  however,  is  worn  out;  the  unaccomplished  pledges 
have  been  discussed  ad  fiavstum  by  certain  of  the  press,  and 
all  that  invective  has  been  able  to  draw  from  Mr.  Lumley,  in 
reply,  is  a  sneer.  But  Mr.  Lumley  may  fairly  urge,  in 
defence  of  the  policy  he  has  thought  proper  to  pursue,  *'  If 
my  subscribers  and  the  public  be  satisfied,  who  has  a  right  to 
complain  V  That  the  public  was  satisfied  needs  not  to  be 
insisted  on ;  the  crowds  that  flocked  to  Mdlle.  Lind's  per- 
formances, up  to  the  very  last  moment,  sufiiciently  testifying 
it.  Whether  the  subscribers  were  or  were  not  satisfied  is  of 
slight  consequence,  since  their  numbers  were  but  scanty. 
Complaints  have  been  made,  however, "  about  the  number  of 
nights  on  which  they  were  deprived  of  the  advantage  of  hear- 
ing Mdlle.  Lind  ;  but  we  have  already  said,  and  we  rest  firm 
in  the  conviction,  that  the  subscribers  heard  her  often  enough 
for  their  money — bftener,  indeed,  than  they  had  a  right  to 
expect.  If  there  be  any  among  their  number  who  would 
rather  hear  one  fine  opera  than  one  fine  singer  in  several 
indifierent  operas,  these  have  a  right  to  reproach  Mr.  Lumley 
for  want  of  faith,  in  failing  to  accomplish  the  pledge  contained 
in  his  prospectus,  about  The  Tempest  of  Mendelssohn.  If 
also,  there  be  among  their  number  any  who  prefer  a  variety  of 
works,  old  and  new,  thoroughly  well  done  in  all  respects,  to 
a  monotonous  repetition  of  two  or  three  stale  operas,  ineffi- 
ciently represented,  except  in  one  or  two  particulars,  these  may 
also  comphiin  of  the  prospectus,  which  promised  so  much  and 
performed  so  little.  If,  lastly,  there  be  any  among  the  number 
who  prefer  the  classical  works  of  the  great  masters  to  the  thread- 
bare trumpery  of  the  modern  Italians,  who  nourish  themselves 
with  the  rinsings  of  Rossini's  bottles,  these  also  have  a  right  to 
complain  of  the  prospectus,  which  was  as  the  mountain  that 
groanedi  and  gave  to  the  worlds  a  mouse.    But  we  bold  the 


opinion  that  **  a  lion,"  quelconque,  is  what  the  **  subscribers," 
properly  so  called,  chiefly  demand^  give  them  a  bravura  air 
from  Lind  or  Alboni,  and  Mozart  and  Rossini  may  be  shelved, 
for  aught  they  care,  ad  perpetuam. 

But  next  season  will  be  the  ordeal ;  next  season  will  test 
the  strength  of  the  two  operas,  and  the  judgment  of  tlie  pub* 
lie ;  next  season  will  try  the  Lind-mania ;  next  season  will 
draw  the  curtain,  behind  which  strange  things  are  in  prepara- 
tion ;  next  season  will  show  whether  two  Italian  Operas  can  or 
cannot  exist  in  London — and,  if  the  latter,  which  of  the  twain 
shall  survive,  and  which  give  up  the  ghost.  For  the  present, 
then,  we  lay  down  our  pen,  and  shall  not  take  it  up  again, 
until  an  occasion  presents  for  a  renewal  of  our  ^'  Chats  with 
Rumour." 

n  Kttati&t  on  t^t  **  ntBLnltiM  ot    dbtHe/^ 

IN    ITS  WORLD-HISTORICAL  SIGNIFICANCE, 
DETXLOPXJ)  ACOOBDraO   TO   ITS   HOBII.  AND  ASTIBTICAL  TAL1TS, 

Translated  fnm  the  German  of  Dr.   Semrieh  Theodor  JSdtst^er^ 
Profenor  at  the  Royal  Oymnanam  at  BrombciK* 


CHAPTER  lU-^tonHmied  /rem  page  618). 

TBB  OBVKLOPMINT  OF  THE  IINOUI   CHARACTIR8  IN  TUB  "AFFIMITIKB." 

If  now  the  sympathy  which  we  feel  for  Ottilia  is,  from  the 
moment  when  her  lovo  for  Edward  fills  her  whole  existence, 
accompaoied  hy  the  painful  surmise  that  a  tragic  fate  Is  here  pre- 
paring, this  sensation  is  heightened  hv  the  increasing  suffering  of 
Ottilia's  soul — a  suffering  over  which  she  has  no  control.  But  the 
fact  that  she  is  the  very  person  selected  to  experience  this  fate, 
being  placed  in  a  conflict  from  which  she  cannot  completely  draw 
back — the  consciousness  of  this  fact  changes  any  reproof  which 
might  emanate  from  a  certain  moral  pride  into  the  acknowledg- 
ment of  ^a  state  which  is  elevated  above  imputation,  and  which 
unceasingly  hastens  towards  its  painful  development.  To  use  the 
poet's  word's,  "  We  observe  with  reverence  a  mind  in  which  the 
seed  of  a  great  destiny  has  been  sown,  which  must  await  the 
development  of  what  it  has  received,  and  can  accelerate  neither 
the  good  nor  the  bad,  neither  the  happiness  nor  the  unhappiness, 
which  can  arise  from  it." 

It  belongs  to  the  following  section  on  the  composition  of  the 
work  to  shew  with  what  high  art  the  poet  has  exhibited  to  us  the 
state  of  Ottilia's  soul,  especially  by  a  contrast  with  the  noisy 
proceedings  of  Luciano,  and  how  by  bringing  Oitilla  into  contact 
with  elements  so  opposed  to  her,  he  has  still  heightened  our  pain- 
ful sympathy.  It  is  our  present  task,  now  wc  have  brought  to 
consciousness  the  fundamental  traits  of  the  character,  to  com- 
urchend  the  tragical  catastrophe  of  Ottilia  in  unity  with  what  has 
Dcen  developed. 

Since  Ottilia's  whole  nature  is  absorbed  in  Edward,  and  this 
inclination,  as  we  have  seen,  has  penetrated  her  whole  individuality, 
there  was  need  of  a  fearful  wammg  to  bring  her  to  reflection  upon 
herself  and  the  condition  of  her  soul, -and,  as  it  were,  to  free  her 
from  herself.  This  warning  from  a  high  power  she  discerns  in  the 
death  of  the  child,  which  immediately  follows  the  passionate 
resignation  to  Edward,  and  which,  as  her  return  to  Charlotte  is 
delayed  by  this  meeting,  is  caused  by  the  hurry  with  which  she 
endeavours  to  make  up  for  lost  time.  Through  this  frightful 
event,  which  announces  itself  to  her  deep  heart  in  the  unveiling  of 
a  fearful  crime,  she  trembles  in  all  the  depths  of  her  life,  and,  as  if 
guided  by  a  higher  inspiration,  declares  the  renunciation  of 
Edward  to  be  a  necessary  expiation. 

As  with  Ottilia,  everything  has  the  character  of  immediateness, 
— of  intuition ;  so  does  this  act  of  perfect  voluntary  renunciation 
take  place  at  a  moment  when  every  outward  obstacle  is  removed, 
whicn  yet  opposed  in  any  degree  the  highest  wish  of  her  life.  As 
if  sunk  into  a  magnetic  sleep,  she  hears  in  it  the  voice  which,  with 
unyielding  strength,  now  demands  the  unconull'oned  sacrifioe  of 
the  heart.  Even  in  the  manner  in  which  she  hears  this  penetratii^ 
summons  of  her  divine  nature,  the  natural  force  maintains,  as  it 
were,  its  power,  smce  every  form  of  reflection,  and  generally  a 


THE  MUSICAL  WORLD. 


633 


gradaal  growth  of  this  result  is  completely  banished,  and  her 
resoltttion  comes  forth  as  a  lightning*flash  suddenly  illuminating 
her «( hole  being. 

As  Ottilia  in  this  act  hss  completely  elevated  herself  above 
herself,  so  has  sho  also  at  the  same  time  completelv  freed  herself 
from  herself.  The  moment  in  which  the  beautiful  child  of  nature, 
who  has  hitherto  merely  followed  ler  own  wishes  unconstrained, 
and  whose  whole  organization  only  impelled  her  to  the  fulfilment 
of  her  own  laws,  raises  herself  with  self-consciousness  into  the 
region  of  moral  freedom,  has  severed  her  from  her  whole  former 
condition,  najr,  from  her  whole  essential  nature*  the  mysterious 
connexion  with  the  macrocosm  has  given  way  to  an  open  compact 
with  the  moral  Idea,  the  "elective  affinity"  of  the  heart  has 
changed  into  a  free  union  with  the  divine  spirit. 

This  free  elevation  of  Ottilia  carries  with  it — according  to  her 
nature — a  double  result  which  we  must  bring  forward.  Ottilia 
from  this  moment  appears  illumined  by  a  superterrestrial  clearness, 
in  which  she  knows  that  sho  has  thoroughly  atoned  for  her  offence, 
and  at  the  same  time  feels  cut  off  from  every  rctuni  into  her 
former  state  of  mind.  The  grace,  which  she  feels,  she  participates, 
keeps  her  upright  in  the  most  fearful  moment  of  her  life.  Here 
in  the  meeting  with  Edward,  when  the  natural  force  of  feeling 
once  more  gathers  together  all  its  strength,  and  forms  before  her 
the  fulness  of  the  happiest  hopes  and  remembrances ;  here  she 
completely  plucks  the  first  fruit  of  moral  elevation,  and  feels 
herself  powerfully  sustained  by  the  divine  grace  which  powerfully 
reigns  within  her.  Here,  therefore,  the  internal  element  is 
completely  accomplished,  and  the  divine  clearness,  which  b  diffused 
over  her,  and  which  manifests  itself  by  nothing  more  powerfully 
than  by  the  energetic  effort  which  she  herself  exercises  on  the 
uigent  natural  force  in  Edward,  has  elevated  her  both  above  herself* 
and  above  the  whole  sphere  of  the  temporal  and  tlie  fi nitCi 

But  this  elevation  above  herself  at  the  same  time  announces 
itself  as  an  absolute  separation  from  the  whole  compass  of  her 
existence,  from  all  the  fibres  and  sinews  which  attached  her  to  the 
natural  soil  of  her  life,  and  gives  us  the  certainty  of  her  freedom. 
Since  Ottilia  was  nothing  out  of  (he  natural  power  which  entirely 
filled  her,  so  a  perfect  victory  over  this  is,  in  Ottilia,  a  delivery  of 
the  mind  from  the  pressure  of  matter.  This  feeling,  too,  streams 
through  Ottilia.  Boih  sides  are  interwoven  to  an  indissoluble 
whole.  Ottilia,  illumined  by  the  views  of  moral  freedom  and 
divine  grace,  can  regard  herself  as  a  consecrated  person,  who, 
educated  in  a  most  singular  course,  invisibly  guided  by  a  super- 
terrestrial  power,  becomes  herself  elevated  above  everjr  earthly  ill, 
and  in  the  purest  activity  sees  her  only  satisfaction  in  educating 
others  in  a  gentle  way,  and  leading  them  towards  their  destination. 
But  that  such  a  fearful  destiny  is  fulfilled  just  in  her — ^that  she  is 
selected  to  experience  extraordinary  suffering,  and  to  bring  her 
heart,  nay,  her  whole  existence  as  a  sacrifice,  because  in  her  are 
kindled  the  inecoverable  powers  of  the  moral  Idea,  and  the 
natural  force  of  feeling,— this  for  the  moment  makes  her  regard 
herself  as  **  a  singularly  unfortunate  being,  who,  even  if  she  be 
innocent,  is  nevertheless  marked  in  a  fearful  manner." 

But  in  truth  the  notion  of  Ottilia  that  she  is  elevated  out  of  the 
multitude  by  a  fortune  quite  peculiar,  and  chosen  as  a  vessel  for  a 
great  soul-suffering,  is  merged  in  the  thought  that  she  has  thus 
become  the  organ  of  an  Idea,  which  extends  beyond  the  individual, 
and  has,  as  it  were,  the  honor  of  exhibiting  in  her  individual 
appearance  a  great  moral  law  for  all.  This  is  the  case  with  Ottilia 
iu  the  highest  sense  of  the  word.  The  victory  of  the  moral  Idea 
over  the  natural  force,  which  in  her  fate  appears  in  the  most  striking 
manner,  b,  as  it  were  announced  as  a  victory  of  spirit  over  matter. 
As  Ottilia  frees  herself  from  the  bonds  of  the  natural  force,  so, 
being  purified  in  herself,  she  turns  against  matter,  and  by  her 
unconquerable  dislike  to  esting  and  drinking,  expresses  at  the  same 
time  her  aversion  from  all  that  is  earthly  and  material^^a  dislike 
which  with  her  has  become  an  immediate  natural  deter minateness^ 
a  secret  law  of  her  being.*     But  in  this  aversion  from  the  material 

*  In  this  sense  GCscbel.  in  his  **  Discus  tions  on  GOthe's  manner  of  poetizing 
and  thinkinr,"  very  aensioly  askt :  "  Is  Ottilia's  deatb  a  solcide  or  the  result  of  an 
irreconcilable  misunderttandingf  between  body  and  soul  from  which  an  insuper* 
able  diSKUst  «t  everything:  material  hat  been  developed?*'  The  death  of  Ottiha  is 
with  the  greatest  art,  deprived  of  the  chanM:ter  oc  an  inlentionai  deed  designed 
with  fUll  reflection.  It  swiuld  also  be  observed  that  the  recklesa  explanation  by 
Mittler,  of  the  sixth  (seventh)  commandment,  consumes  the  last  force  in  the 


is  expressed  at  the  same  time  the  spiritualization  of  the  whole 
being  and  its  freedom  from  the  body.  Death  only  seals  the 
absolute  want  of  agrecmeut  between  the  unfree  world  of  that 
feeling  of  natural  law  to  which  Ottilia's  whole  individuality  has 
been  subject,  with  that  region  of  moral  freedom  which,  as  it  is 
generally  built  upon  the  constrained  natural  man.  comes,  even  in 
Ottilia's  fall,  to  itself,  and  to  a  feeling  of  its  highest  energy,  which 
is  elevated  above  all  natural  determinateness,  and  which  in  the 
dissolution  of  Ottilia  gives  itself,  as  it  were,  the  most  striking  and 
extensive  confirmation. 

That  character  of  mystery,  which  is  diffused  over  Ottilia's  entire 
personality,  once  more  comes  forward  at  her  death  with  all  its 
weight,  but  fully  in  accordance  with  the  individuality  itself  and  its 
development.  What  else  is  exhibited  in  that  miracle  which  Nancy, 
who  has  fallen  down  at  tho  feet  of  Ottilia  as  if  lifelets  and 
apparently  shattered,  experiences  by  contact  with  Ottilia, — what 
else,  we  say,  but  the  same  victory  of  spirit  over  matter,  which  has 
presented  itself  to  us  in  the  renunciation  and  in  the  death  ?  f  In 
the  cure  of  Nancy,  by  touching  Ottilia,  returns  that  secret  power 
of  natural  determinateness,  which  swayed  Ottilia's  whole  being* 
but  in  a  higher  form,  since  in  it  is  immediately  revealed  to  the 
senses,  only  the  brightest  energy  of  the  soul  over  the  body  in  its 
invisible  mastery  over  matter.  This  mystery,  indeed,  like  every 
other,  is  only  for  a  sense  which  is  thoroughly  certain  of  the 
absolute  power  of  the  miud  over  earthly  matter,  and  acknowledges 
its  unconditioned  effect,  which  passes  over  every  limit  of  the 
understanding.  Thus  the  miracle  performed  on  Nancy  also 
exercises  its  extraordinary  influence  over  many  as  the  place  where 
the  holy  body  is  laid,  became  for  them  an  object  of  pilgrimage,  and 
"  no  one  was  old  and  weak  that  he  did  not  feel  himself  refreshed 
and  lightened  on  this  spot." 

Thus  the  image  of  Ottilia  represents  itpolf  as  a  beautiful  formed 
whole,  which,  while  in  its  fundamental  traits  it  announces  itself  as 
a  mystery  for  the  undorstandinjr,  fulfils  the  mysterious  laws  of  its 
oiganization,  and  in  its  tragic  fall  both  atones  for  the  crime  of  that 
resignation  to  the  natural  force  of  feeling,  which  is  rooted  in  her 
individuality  and  also  brings  to  view  this  eternal  victory  of  moral 
freedom  and  the  present  energy  of  tho  mind  abovo  matter. 
{T&  be  continued,) 

%*  To  prevent  misonderstanding,  it  may  be  stated  that  the  copyright  of  this 
translation  belongs  solely  to  the  translator. 

80NNCT. 
No.  LIU. 
I  thought  of  love  but  as  a  strange  sweet  pain. 

Which  in  my  youth  I  was  compell'd  to  know; 

Feeling  the  stream  of  life  too  smoothly  flow, 
I  long'd  to  undergo  that  pain  again. 
1  bared  my  heart,  with  that  desire  insane. 

And  rall'd  on  love  to  bring  me  joy  or  woe. 

To  waken  feelings  wither'd  long  ago;— 
I  caird  on  love,  and  did  not  call  in  vain. 
I  knew  not  what  I  ask'd— >he  came,  he  came. 

And  in  his  train  brought  demons  of  despair. 

Like  an  avenger  hast'ning  to  destroy. 
And  in  my  heart  he  rais*d  no  gentle  flame. 

But  a  dark  lightless  fire  he  kindled  there,— 

And  then  the  fiends  laogh'd  with  unholy  joy.  N.  D. 

AN   ANALYSIS   OF   THE   HUMAN   VOICE. 

ComffUed  by  FatDsaicK  Wibsikr,  Profeewr  of  Elocution  to  the  Royal 

Academy  of  Mu$ic»  ' 

(coNTiNUBD  raoM  PAoa  604.) 

The  atonies,  from  the  deficiency  which  suggested  that  name, 

afford  no  basis  for  the  function  ot  the  radical  and  vanish.     Most  of 

them  have  a  ])erceptible  vocule,  which  consists  in  a  short  aspiration 

like  the  whispering  of  e-rr.     There  is  no  musical  quality  in  their 

sinking  frame ;  here  also  a  moral  affection  appears  as  that  under  which  the  body 
is  completely  crushed.— Dr.  ItStteker't  note, 

t "  Nancy  appeared  shattered  in  every  limb.  The  girl  was  picked  up,  and  by 
accident  or  through  a  special  providence  was  rested  npon  the  coriMe,~nay, 
seemed  with  the  laat  remains  of  life  to  wl».h  to  reach  her  beloved  mistress.  But 
scarcely  had  her  dangling  limbs  tooched  Ottilia's  dress,  scarcely  bad  her  power, 
less  fingers  touched  Ottillia's  fblded  hands,  than  she  sprang  up,  first  raised  her 
arms  and  hands  to  heaven,  thei^  feU  down  npon  her  knee  before  the  colfin,  and 
with  devotional  transport  looked  ap  to  her  misti«is.-<»/s(l  ftjr  Dr.  Rdteehtr, 


634 


THE  MUSICAL  WORLD. 


sound.  They  do  fiiruish  Time  or  the  power  of  prolongation  to 
speech,  but  on  a  wretched  material.  Though  inferior  in  most  of 
their  properties  to  the  other  elements,  yet  it  shall  be  shown,  in 
treating  on  the  expression  of  speech,  that  the  aspiration  is  both 
significative  and  emphatic.  The  enumeration  made  under  the  pre- 
ceding divisions,  includes  all  the  elementary  sounds  of  the  English 
language,  which,  apart  from  questionable  and  unimportant  points, 
have  been  noticed  by  observant  authors.  There  are  three  t)f  the 
subtonics,  and  three  of  the  atonies — b,  d,  g,  p,  t,  and  It,  that  have 
eminently  an  explosive  character  ;  the  breath  bursting  out  after  a 
complete' occlusion.  From  their  serving  peculiar  purposes  in  speech, 
they  may  be  distinguished  as  a  subdivision,  and  called  abrupt 
elements.  In  the  beginning  of  a  syllable,  they  produce  a  sudden 
opening  of  the  succeeding  sound ;  and  at  the  end  they  exhibit  their 
final  vocule.  The  foregoir>g  arrangement  of  elementary  sounds 
was  devised  to  display  their  relationships  to  intonation.  For  a 
closer  view  of  this  subject,  I  shall  describe  particularly  the  structure 
and  functions  of  the  Tonics.  This  detail  was  separated  from  the 
general  view,  in  order  to  avoid  distracting  the  reader^s  attention 
from  the  drift  of  that  classification,  by  the  interesting  develope- 
roent  which  has  been  deferred  to  this  place.  In  illustrating  the 
nature  of  the  radical  and  vanishing  movement,  by  the  tonic  a-le,  it 
was  stated  that  this  clement  consists  of  two  sorts  of  sound,  and  that 
when  uttered  with  inexpressive  cfibrt,  the  voice  rises  through  the 
interval  of  a  tone  ;  the  radical  beginning  on  a,  and  the  vanish 
diminishing  to  a  close  e.  Now,  as  all  the  tonic  sounds  necessarily 
pass  through  the  radical  and  vanish,  they  demand  an  analysis 
realatively  to  that  concrete  function  pitch.  These  seven  of  the 
tonic  elements,  a-we,  a-rt,  a-n,  a>le,  t-sle,  o-ld,  o-ur,  have  different 
sounds  for  the  two  extremes  of  their  concrete  movement.  The 
remaining  five,  ee\  oo-ze,  e-rr,  €-nd,  t-n',  have  each  one  unaltered 
sound  through  their  concrete  movement.  The  tonics  may,  there- 
fore, be  properly  divided  into  Dipthongs  and  Mouothongs.  ^-we 
has  for  its  radical  the  sound  of  a  in  a- we  ;  and  for  its  vanish  a  short 
and  obscure  sound  of  the  monothong  «-rr.  ^-rt  has  for  its  radical 
the  sound  of  a  in  a-rt ;  its  vanish,  liko  that  of  the  preceding,  being 
the  short  and  obscure  sound  of  e-rr.  The  radical  of^an  is  the  sound 
of  a  in  a-n  ;  its  vanish  is  the  same  in  degree  and  sort  with  the  last. 
The  sound  of  these  elements  has  heretofore  been  considered  as 
homo»gcneous  throughout :  for  their  vanish  being  very  faint  in  ordi- 
nary utterance,  it  has  escaped  perception.  But  it  maybe  heard  by 
using  these  elements  severally  with  earnest  interrogation.  They 
will  each  terminate  at  a  high  pitch  in  a  feeble  sound  of  €-rr.  ^-le, 
as  said  formerly,  has  its  radical  with  the  distinct  sound  of  the 
monothong  eeA  for  its  vanishing  movement  Z-sle  has  its  radical 
followed  in  like  manner  by  a  vanish  of  tho  monothong  eeA.  The 
diphthong  nature  of  t  has  long  been  known,  and  the  discovery 
of  it  is  attributed  to  Wallis,  the  grammarian.  It  is  described  by 
Sheridan  and  others  as  consisting  of /i.we  and  ee-l ;  the  coalescence 
of  the  two  producing  the  peculiar  sound  of  t. 

In  this  account  it  is  admitted  that  the  clement  is  peculiar  :  one 
can  therefore  see  no  need  of  reference  to  a-w  e  in  the  theory  of  its 
causation.  A  skilful  oar  will  readily  perceive  that  the  radical  of 
t'-sle  is  a  peculiar  tonic,  and  will  so  report  thereon  without  having 
recourse  to  any  supposition  as  to  its  changes  from  a  previous 
sound.  O-ld  has  its  radical  in  the  sound  of  o,  formerly  supposed 
to^be  homogeneous.  Its  vanish  is  the  distinctly  audible  sound  of 
the  monothong  oo-ze.  O-ur  has  a  radical  followed  iu  liko  mauner 
by  a  vanish  of  the  monothongr  09-ze.  That  the  first  sound  of  this 
diphthongal  tonic  is  not  a-we«  but  a  radical  of  its  own,  may  easily 
be  proved  by  a  discriminating  e^x ;  and  a  trial  with  the  voice  will 
show  that  a-^o  does  qot  unite  with  oo-ze  by  that  easy  gliding 
transition  which  is  heard  in  the  junction  of  the  true  radical  of  our 
with  the  same  oo-ze.  I  have  been  at  a  loss  what  to  say  of  that 
sound  which  is  signified  by  oi  and  oy  in  voice  and  boi/.  It  may  be 
looked  npon  as  a  diphthongal  tonic,  consisting  of  the  radical  d-wc 
and  of  the  vanishing  monothong  i-n  when  the  quantity  of  the  ele- 
ment  is  short,  and  of  ee-l  when  lonf.  But  from  the  habit  of  the 
▼oice  it  is  difficult  to  ^ive  a-we  without  adding  its  usual  vanish  of 
e-TT  ;  and  this  makes  tne  compound  a  triphthong.  If  it  is  taken  as 
a  diphthongal  tonic,  this  is  the  only  iivstancc  in  which  the  same 
radical  has  two  different  vanishes.  And  though  this  reason  should 
not  be  conclusive  against  its  classification^  it  suggests  an  examina- 
tion of  the  sulsject.    In  case  this  sound  ahould  be  conudered  as  a 


true  diphthongal  tonic,  and  analogies  seem  in  favor  of  it,  it  would 
make  tne  number  of  tonics  thirteeui  and  the  whole  of  the  elements 
thirty-six. 

(To  be  continued,) 

REVIEWS   OF   MUSIC. 

"  You  cannot  forget;"  ballad,  tung  by  Miss  Dolby;    the  worde  from 

L.  E.  L/s  popular  novel,  "Ethel  Churchill;"  the  music  compo$ed  by 

G.  LiNLET. — Cbamrb,  Bbalb,  &  Co. 

A  pleasing,  plaintive  melody  Mr.  Linley  has  found  to  set  L.  E.  L/s 

poetry.    The  composer  has  taken  pains  to  avoid  the  general  com- 

Elaint  made  against  ballads,  viz.  their  being  written  too  high.  The 
ighest  note  in  the  song  before  us  is  £  flat,  though  an  F  may  be 
used  in  the  bar  leading  to  the  return  of  the  subject,  should  the 
singer  please.  The  accompaniment  is  simple  and  happy.  We 
admire  the  song  altogether. 


"  May  Flowers;**  duet,  composed  by  Brimlxt  Ricbards.— Chappbll. 
Wb  admire  this  duet  much.  The  subject  is  tasteful,  and  neatly 
appropriated  to  the  words,  and  the  accompaniment  handled  like  a 
musician.  The  voicing  is  excellent.  We  recommend  this  compo- 
sition strongly  as  a  drawing-room  essay  for  two  ladies.  It  will  uso 
prove  a  capital /?i>c«  tTetude  for  practising  duo  singing. 

''  Friends  and  Home  ;*'  ballad,  foriUen  &y  A.  W .  Hammond  ;  composed  by 
G.  Barkbr.— Chappbll. 
Thb  merit  of  this  ballad  lies  entirely  in  a  certain  popular  expres- 
sion, to  speuk  mildly,  which  generally  belongs  to  the  compositions 
oftheautnor.  We  cannot  laud  the  song  highly.  It  will  surely 
find  favorers  among  the  multitude,  who  are  devoted  to  such  melting 
strains  as  "Mary  Blane,"  and  the  like  favorite  compositions,  but 
we  cannot  proclaim  it  the  more  on  that  account.  In  not  eulogisinir 
the  ballad,  however,  we  would  not  deprive  Mr.  6.  Barker  of  all 
the  merit  which  rightly  belongs  to  him. 

"  Fantasia*'  for  the  Pianoforte :  on  the  mott  celebrated  American  airs, 

sung  by  the  Ethiopian  Serenaders,  by  E.  Stirling. — Mbtzlxr  &Co. 
A  hearty,  welUconstructed,  lively,  and  humourous  morgeau.  The 
melodies  introduced  are  ••  Ole  Bull,"  **  Old  Dan  Tucker,"  "  Lucy 
Neal,"  ••  I'm  g^ing  ober  do  Mountain,"  and  "  A  Life  by  the  Galley 
Fire."  We  are  quite  sure  this  will  prove  a  favorite  piece,  when  it 
is  once  known,  with  all  admirers  of  transatlantic  tunes. 


*' Psalms  and  Hymns**     Parts  1  and  9,  by  Edward  F.  Rimbault, 

LL..D,  F.8.A.— ChAPPBIL. 

Tins  is  a  work  of  much  merit  and  great  utility,  and  will  be  found 
of  the  greatest  benefit  to  parish  choirs,  for  which  intention  it  has 
been  especially  produced.  Part  1  contains  a  selectioti  of  Psalm 
and  Hymn  tunes,  viz.  thirty-four  in  Common  Measurei ;  eighteen 
in  Long  Measure ;  three  in  Short  Measure  ;  five  in  Peculiar 
Measure  ;  and  nine  Hymn  tunes.  Part  2  comprises  a  selection  of 
Chants,  Sanctpses,  Kyries,  Services  and  Anthems,  from  the  works 
of  Tallis,  H.  and  J.  Farrant,  Byrd,  Child,  Humphries,  Flintoff, 
Boyce,  A'ttwood,  Crotch,  Turle,  Marbeck,  Gibbons,  Bryan,  Rogers, 
Hayes,  Arnold,  Ring,  Creyghton,  Richardson,  Goss,  and  Beeth- 
oven. Tho  work  is  printed  in  imperial  octavo,  and  each  part 
contains  sixty -four  pages  of  letter- press.  The  accompaniments  are 
either  for  pianoforte  or  oi^an,  and  the  editor  appears  to  have  paid 
every  possible  attention  to  the  arrangement.  For  the  editing  of  such 
a  Mork  the  skill  and  experience  of  Dr.  Rimbault  renders  him  admir- 
ably adapted. 


THE   HANDEL  SOCIETY. 

Most  of  our  readers  inust  be  aware  that  the  above  society, 
was  instituted  in  1843,  for  the  production  of  a  superior  and 
standard  edition  of  the  works  of  Handel.  Four  volumes  have 
been  already  delivered  to  the  subscribers,  viz  : — In  the  first 
year,  The  Four  Coronation  Anthems^  "  The  King  shall  Re- 
joice," '*Zadoc  the  Priest,"  **  My  heart  is  inditing,"  and  "Let 
thy  mind  be  strengthened,"  edited  by  Dr.  Crotch ;  with 
L' Allegro,  11  Pensoroso  ed  U  Moderator  edited  by  Moscheles : 
—in  the  second  year  Esther^  edited  by  C.  Lucas,  with  the 


THE  MUSICAL  WOKLD 


635 


Qdefyr  ifl.  Cecilia's  Day,  edited  by  T.  M.  Mudie :— in  the 
third  year  the  Israel  in  Egypt,  edited  by  Mendelssohn  : — and 
in  the  fourth  year,  The  Dettingen  Te  Deum^  edited  by  Sir 
George  Sn^art.  The  motives  which  directed  the  society  were 
shown  in  the  prospectus,  issued  alter  its  formation,  which  set 
forth,  f*  that  the  larger  portion  of  the  works  of  Handel  having 
been  written  in  this  country,  and  the  most  important  of  them 
being  set  to  our  language,  entitle  them  (the  society)  to  claim 
them  as  national  property  ;  and  the  circumstance  of  their 
immortal  composer  having  lived  and  died  and  left  his  manu- 
scripts in  England,  seems  to  render  it  a  sacred  duty  to  transmit 
his  texts,  pure  and  unimpaired  to  the  world  and  to  posterity." 
With  this  true  nobility  of  intention  the  Handel  Society  has 
spared  neither  time,  pains,  nor  expense  in  producing  the  works 
of  the  composer  in  the  completest  form  as  regards  the  text, 
and  in  the  utmost  splendour  as  regards  the  printing,  paper, 
fire.  &c.  The  publication  is  entirely  worthy  the  great  name 
which  originated  it,  and  the  age  of  improvement  in  which  it 
has  been  produced.  The  subscription  list  already  numbers 
upwards  of  seven  hundred  names,  and  is  increasing  with  every 
year.  We  need  hardly  say  that  this  magnificent  work  deserves 
a  truly  national  support.  The  care  and  labour  which  have 
been  expended  in  procuring  the  text  in  its  original  purity,  the 
editing  being  entrusted  to  the  first  musical  men  in  the  country, 
and  in  one  instance  to  the  greatest  living  musician  ;  the  com- 
pleteness and  beauty  of  the  work  itself;  and  the  mighty  name 
of  Handel  must  ensure  for  it,  when  its  publication  is  made 
known,  a  universality  of  success  surpassing  that  of  any  pro- 
duction of  modern  times,  We  call,  therefore,  upon  all 
musicians  to  whom,  perchance,  the  works  of  the  Handel 
Society  may  as  yet  be  unknown,  to  all  amateurs  and  lovers 
of  music,  and  to  all  who  worship  at  the  shrine  of  mighty 
intellect,  to  support  the  institution  in,  what  we  have  entitled 
above,  without  any  refinement,  the  nobility  of  intention. 

The  fiflh  issue  of  the  Handel  Society  has  been  just  sent  us 
for  review.  It  contains  the  Ada  and  Galatea  edited  by 
William  Stemdale  Bennett.  To  criticise  this  exquisite,  most 
exquisite  pastoral  of  the  author  is  not  required  here.  With 
its  charms  and  its  graces  who  is  not  conversant  ?  It  is  a  living, 
translucent  fount  of  inspiration  from  beginning  to  end.  It 
stands  in  the  same  regard  to  Handel's  sublimer  works,  as 
Milton's  Comus  does  to  his  Paradise  Lost  and  Samson 
Agonistes,  It  is  not  the  essay  of  genius  towering  in  its  loftiest 
fight  on  eagle  wings,  but  the  spontaneous  effusion  of  less 
fiery  moments,  when  intellect  lay  brooding  with  dove-wings 
in  hours  of  serener  contemplation.  The  Acts  and  Galatea  is 
the  most  beautiful,  as  the  Messiah  is  the  grandest  of  Handel's 
compositions.  To  no  fitter  musician  in  existence  could  the 
present  work  have  been  submitted  than  Stemdale  Bennett. 
This  gentleman  unite9  in  himself  every  qualification  requisite 
for  suph  an  undertaking.  To  the  deepest  and  most  devout 
reverence  for  the  great  author,  Mr.  Bennett  adds  in  his  own 
person,  discrimination  the  most  acute ;  an  intuitive  perception 
of  the  beauties  of  I^andel,  founded  on  his  own  consummate 
taste  uo  less  than  his  knowledge  of  the  master ;  an  untiring 
perseverance,  necessary,  when  many  copies  are  to  be  consulted 
a^^  compared,  and  all  closely  examined  ;  and  a  confidence  in 
his  owi\  powers,  without  which  judgment  inust  waver,  and 
research  prove  fruitless. 

Iilr.  Bennett  supplies  in  his  preface  a  historical  account  of 
tl^e  4cis  and  Galatea,  principally  taken  from  Dr.  Burney's 
"  llistory  o^f  Mu^ic,"  which  we  extract  in  a  compendious 
%m  for  the  gratification  of  our  readers.  ^' The  Acis  and 
Oalatea,  a  Masque^  written  for  his  Grace  the  Duke  of  G^andos, 
was  first  performed  at  Cannons  in  1721.     There  are  no  dates 


on  the  MS.  to  indicate  the  precise  commencement  and  com- 
pletion of  the  composition.  There  is  considerable  doubt  as 
to  the  original  shape  of  the  work,  some  asserting  that  it  was 
composed  in  the  first  instance  to  Italian  words,  and  afterwards 
adapted  to  the  English  text  of  Gay  and  others ;  but  I  think 
that  the  fact  of  Handel  having  written  an  Italian  opera  on  the 
same  subject,  entitled  Galatea,  Acigi  e  Polifeno,  and  to  be 
found  in  Her  Majesty's  Library,  has  led  to  this  copfusion ; 
and  from  the  general  appearance  of  the  manuscript,  I  am  of 
opinion  that  it  was  originally  written  to  English  words,  as  it 
now  stands,  although  some  of  the  pieces  have  doubtless  been 
introduced  since  its  first  performance  at  Cannons.  Amongst 
such  pieces  I  may  include  the  chorus,  "  Jlappy,  happy  we/' 
at  the  end  of  the  first  act,  which  is  not  found  in  the  MS.,  and 
which,  unlike  every  piece  in  the  work,  includes  a  viola  in  the 
orchestral  parts.  The  only  reference  to  this  chorus  is  to  be 
found  on  the  last  page  of  the  preceding  duet,  where  Handel 
has  written,  **  II  Coro,  la  seconda  volta."  The  chorus  in  the 
Appendix,  now,  I  believe,  printed  for  the  first  time,  must  also 
have  been  written  for  some  special  occasion,  and  probably 
sung  at  the  dose  of  the  performance.  The  chorus  includes 
more  characters  than  are  previously  introduced  in  any  portion 
of  the  work ;  the  orchestral  parts  are  more  numerous,  and 
the  principal  ^olo  singers  are  made  to  assist  in  the  p^- 
formance." 

Mr.  Bennett  supplies  other  matter  in  the  preface  equally 
interesting,  to  which  we  beg  to  refer  our  readers.  It  will  be 
seen  that  the  editor  had  no  small  difficulty  to  cojiten^  with  in 
the  revision  of  the  Acis  and  Galatea.  Manuscripts  of  several 
pieces  could  not  be  found,  and  in  the  principal  manuscript 
from  which  the  text  is  taken  the  last  page  is  wanting.  Nor 
has  Mr.  Bennett  entered  on  his  i^ndertaking  without  some 
responsibility  devolving  to  him.  '*  The  usuad  performance  of 
this  work,"  he  says,  "  must  have  been  with  a  small  chorus, 
and  a  small  orchestra,  and  the  Cembalo,  or  Harpsichord,  which 
latter  instrument  had  several  important  services  to  perform. 
The  very  meagre  accoippaninient  in  many  places  in  die  ocore 
was  doubtless  balanced  by  Handel  himself,  or  some  com- 
petent person,  presiding  at  the  Cembalo  and  filling  up  the 
harmony."  He  adds,  **  the  Pianoforte  arrapgement  which  I 
have  made  is,  of  course,  to  be  chiefly  considered  as  an 
adaptation  of  the  instrumental  parts ;  but  in  many  places, 
where  I  consider  Handel  entirely  relied  on  the  •  Cembalo"  for 
accompaniment,  1  have  filled  up  the  harmony  at  my  own 
discretion."  This  was  unavoidable;  but  Mr.  Bennett  very 
properly  has  these  parts  engraved  in  smaller  notes  than  those 
ordinarily  used  for  the  pianoforte,  which  can  be  either 
adopted  or  omitted  at  the  option  of  the  conductor. 

We  are  also  supplied  by  the  editor  in  the  preface  with  the 
following  piece  of  interesting  information.  **  It  is,  perhaps, 
not  generally  known  that  Mozart  has  put  additional  accompa- 
niments to  this  work  :  a  copy  of  his  score  (I  believe  nis 
autograph)  is  in  the  King's  labrary  at  Berlin  ;  another  copy 
is  at  Vienna ;  and  a  third  in  the  possession  of  Dr.  Felix 
Mendelssohn  Bartholdy." 

We  cannot  close  our  notice  without  a  strong  word  of 
eulogy  in  favour  of  the  publishers,  Messrs-  Cramer,  Bealej* 
and  Co.,  for  the  splendid  fo.rm  in  which  the  series  of  works 
has  appeared.  It  is  truly  in  every  respect  one  of  the- most 
magnificent  publications  of  this,  or  any  other  age. 

MADAME   BISHOP   \^   AI^ERlpA. 

The  American  journals  transmitted  to  us  for  several  months 
past  ^re  filled  with  tha  most  lavish  eulogies  on  Madame 
Bishop,  who  is  almost  unanimously  asserted  to  be  the  greatest 


636 


THE  MUSICAL  WORLD. 


English  singer  ever  wafted  westward  across  the  Atlantic. 
Her  success  has  been  really  immense  ever  since  she  made 
her  American  debut,  which  took  place  at  the  Park  Theatre, 
New  York,  on  the  4th  of  August.  Following  the  English 
absurdities  in  the  case  of  Jenny  Lind,  the  Yankees  have 
Mcidame  Bishop's  likeness  on  handkerchiefs,  cigar-cases, 
tobacco-boxes,  clay  pipes,  &c,  &c.,  and  one  of  the  omnibuses 
in  the  city  is  called  ANNA  BISHOP.  AH  the  press  are 
strenuous  supporters  of  the  artiste,  with  the  exception  of  the 
writers  in  the  Courier  and  Enquirer,  the  self-same  critics  who 
so  strenuously  attempted  to  run  down  Ole  Bull»  Herz,  and 
Sivori.  We  shall  take  an  extract  from  one  or  two  of  the  most 
moderate  of  the  newspapers,  which  will  give  the  reader  a  fair 
estimate  of  Madame  Bishop's  popularity  in  America  : — 

"  {Prom  the  New  York  Age,  Auguut  8.)— The  great  musical  event  of 
the  week  came  off  here  on  Wednesday  evening,  on  which  occasion  Mde. 
Anna  Bishop,  in  whose  praise  the  press  of  this  city  has  been  busy  for 
some  time  past,  made  her  debut  as  Linda  in  Donizetti's  opera  of  Linda 
of  Chamouni,  and  had  every  reason  to  be  perfectly  satisfied  with  the 
reception  she  met  with.  Mrs.  Bishop  is  rather  above  the  medium  height, 
and  has  a  purely  English  face  and  figure.  Her  hair  is  black,  her  eyes  (we 
believe,)  dark  blue,  her  complexion  beautifully  clear  and  fresh,  her  mouth 
large,  and  her  bust  well  moulded.  The  likenesses  we  have  seen  of  her 
give  no  idea  whatever  of  the  original.  She  is  more  youthful  than  Mrs. 
Wood  or  Miss  Stephens  were  in  their  zenith,  and  her  face  strongly  re- 
minded us  of  those  ladies,  more  especially  while  singing.  So  lavish  and 
hyperbolical  had  been  the  praises  of  those  who  had  heard  Mde.  Bishop 
siog,  that  we  confess  we  entered  the  theatre  with  a  fear  that  bur  expec- 
tations were  raised  by  these  laudations  to  so  high  a  pitch,  that  although 
her  talent  might  be  great,  we  should  be  di  -appointed ;  but  she  surpessed 
even  our  most  sanguine  imsginings — and  as  a  finished  vocalist  of  the 
beat  and  most  modern  school,  she  standa  pre-eminently  aboye  any  English 
prima  donna  we  have  ever  listened  to ;  and  with  the  exception  of  such 
transcendantly  talented  artiitea  as  PasU,  Malibran,  and  Grisi,  (we  have 
never  heard  Jenny  Lind,)  we  know  of  no  rival  she  need  fear  among  the 
continental  singers  of  Europe.  Let  it  be  perfectly  understood,  however, 
that  we  are  now  speaking  of  her  talent,  her  ikiU,  her  wonderful  execution, 
and  the  surprising  controul  she  possesses  over  her  voice— we  speak  of 
these,  110/  of  the  voice  itself;  for,  despite  the  raptures  of  some,  and  the 
elaborate  arguments  of  others  to  prove  her  voice  splendid,  and  that  the 
^fogato  or  veiled  quality,  as  they  style  it,  adds  to  its  beauty,  we  do  not 
hesitate  to  differ  with  them  on  this  point,  and  declare  this  very  mistiness 
a  defect ;  that  the  efogato  in  this  insUnce  arises  from  nothing  less  than  a 
want  of  body  or  tone  in  the  middle  notes  of  the  voice,  while  the  moment 
she  runs  into  the  upper  part  of  the  scale,  every  tone  and  semi-tone  is  as 
brilliantly  clear,  ringing  and  metallic  as  if  struck  from  a  silver  bell— 
there  is  no  ^ogato  there— but  a  delicious,  natural,  healthy,  musical  voice 
which  tells  upon  the  ear  electrically,  whereas  in  the  lower  passsges,  while 
you  listen  enraptured  to  the  wondrous  trills  and  runs  and  dariog  efforts 
of  vocaliam  which  are  made  without  an  apparent  effort,  and  achieved 
with  a  certainty  and  precision  almost  miraculous,  you  feel  as  if  the  voice 
came  to  you  through  some  intervening  medium,  as  if  the  singer  were 
separated  from  you  by  a  vapour,  a  gauie,  or  thin  glass— and  you  wisK  the 
medium  were  away,  that  yoa  might  hear  the  voice  more  clearly.  In  a 
word,  we  believe  that  if  Mde*  Bishop  possessed  such  an'  organ  as  nature 
bestowed  on  Mrs.  Wood,  she  would  have  been  entitled  with  full  justice 
to  the  rank  of  the  greatest  English  singer  yet  known,  but  as  much  as  she 
excels  Mrs.  Wood  in  style  and  execution,  just  so  much  does  she  fall  short 
of  that  artitte  in  body  of  tone.  Her  opening  scena  in  the  firtt  act  was 
sufficient  at  once  and  alone  to  satisfy  the  most  sceptical  of  her  great 
abilities — this  was  still  strengthened  by  her  singing  In  the  dtiet  with 
Sirval  and  again  in  the  ballad  with  which  the  second  act  commences, 
which,  great  as  it  was,  did  not  excel  her  splendid  singing  in  the  finale  to 
that  act.  This  was  beyond  comparison,  better  than  anything  sung  by  the 
Italian  ffrima  donna  while  here,  but  for  extraordinary  execution  and 
brilliantly  elaborate  embellishment,  the  grand  finale  was  hercAtf/d'aurre, 
and  was  an  effort  that  could  not  fall  to  call  forth  the  most  enthusiastic 
applause  from  the  most  critical  audience  in  the  world.  As  an  actress 
Mde.  Bishop  is  much  better  than  the  majority  of  the  syrens,  and  in  one 
or  two  instances  displayed  considerable  dramatic  skill.  Her  costumes 
were  appropriate  and  excellent,  especially  that  worn  in  the  second  act, 
which  was  as  correctly  designed  and  artistically  complete  as  it  was  mag- 
nificent. Mde.  Bishop  was  called  for,  two  or  three  times  and  received 
several  bouquets,  and  applause  enough  to  satisfy  even  the  greateat 
goyrmande  in  that  article. 

*•  (From  tk0  Sm,  New  Yirh,  AuguH  6.>*Park  Thbatbb.— Mwiame 


Anna  Bishop,  the  prima  donna  of  the  San  Carlo  Theatre  at  Naples,  i 
her  first  appearance  at  this  house  on  Wednesday  evening,  and  her  re- 
ception was  the  most  brilliant  and  enthusiastic  we  ever  witnessed.  In 
lAnda  of  Chamouni,  she  had  created  a  great  sensation  in  Europe,  and  the 
beautiful  music  of  Donizetti,  seemed  as  it  were  a  new  creation  in  her 
hands.  There  is  an  exquisite  finish  in  the  vocalization  of  Madame  Bishop 
— the  qualities  of  her  voice  ate  admirable,  and  the  development  artisti  • 
cally  perfect.  There  is  but  little  apparent  effort,  and  the  effect  Is  sur- 
prising.  Her  singing  is  the  perfection  of  the  art,  full  of  warmth  and 
glowing  in  pulses  and  fraught  with  earnest  and  graceful  action.  No 
wonder  she  sang  the  part  of  Linda  fifty  nights  st  the  Sao  Carlo  Theatre, 
and  charmed  with  her  beautiful  delineation  of  the  Swiss  girl,  the  most 
impassioned  and  critical  audience  in  the  land  of  the  song.  Nor  has 
Naples  been  the  only  field  of  her  triumph  in  that  role.  Its  deep  interest, 
the  simplicity,  of  the  story,  the  touching  melodies  so  exquisitely  sung  and 
with  so  much  feeling,  have  given  it  in  her  hands  an  indescribable  charm 
everywhere.  It  is  destined  to  elicit  her  the  greatest  enthusiasm  in  its 
frequent  repetition,  as  it  has  already  done  on  two  successive  nights.  We 
have  not  space  for  an  elaborate  notice,  suflSce  it  to  say,  never  was  success 
more  brilliant  and  decided;  never  were  tones  listened  to  with  more 
thrilling  interest  and  admiration.  Never  did  the  achievements  of  science 
and  nature  combined,  exceed  those  she  has  produced.  Her  voice  is  a  rich 
ioprano  of  extended  compass,  of  highly  finished  and  brilliant  execution^ 
with  great  flexibility,  and  at  times  throwing  out  tones  of  the  most  ex« 
quisite  sensibility  and  delicacy.  We  repeat,  Linda,  in  the  hands  of  this 
great  artiste,  is  one  of  the  most  briilisnt  triumphs  our  stage  has  ever 
seen/* 

"  CFrom  the  American  Literary  Gaxette,  Aug.  12.^— Park  Thcatrx. 
— Madame  Bishop  has  achieved  at  this  house  the  most  brilliant  triumph. 
In  Linds,  the  beautiful  opera  of  Donizetti,  she  has  given  a  most  signal 
display  of  her  powers,  ai.d  produced  alternately  the  most  pleasing  and 
startling  effects.  While  she  has  charmed  the  ear  and  thrown  a  sprll  on 
the  senses,  she  has  disarmed  alike  prejudices  and  criticism.  She  stands 
alone  on  the  pedestal  of  scientific  excellence.  Our  stage  may  have  wit- 
nessed equal  power,  and  more  impulsive  action,  but  never  the  same 
musical  perfection.  Nothing  can  be  more  exquisitely  surtg  than  the  fine 
ballad, '  On  the  banks  of  Guadalquiver,'  from  the  opera  of  I/tvetta;  it 
is  a  fine  flowing  melody,  beautifully  adapted  to  her  silver  tones ;  the 
style  throughout  the  most  impressive  and  graceful;  the  shakes  she 
introduces  in  this  air,  on  three  successive  semi-tones,  were  the  most 
perfect  and  delicious  we  have  ever  heard;-Hi  wonderful  effort  of  articula- 
tion which  could  not  he  surpassed  by  the  humsn  voice.  For  two  past 
nights  one  of  the  leading  features  of  the  evening  has  been  the  celebrated 
recitative  from  Rossini's  Tancredi, '  O  Patria.'  and  the  splendid  aria,  *Di 
tanti  palpiti.'  Nothing  can  exceed  the  brilliant  execution  and  chaste 
expression  she  gives  to  this  scene,  so  admirably  adapted  to  her  style,  and 
so  fraught  with  all  the  charms  of  song.  It  was  enthusiastically  received, 
and  the  whole  house  rising  unanimously  called  for  an  encore.  But  of  all 
her  triumphs  here  that  in  the  scene  from  the  Lov^t  Spell  was  the  most 
dazzling.  It  was  written  for  her  at  Naples  expressly  by  Donizetti,  and 
suited  to  her  varied  and  peculiar  style.  Here  the  rich  tones  of  her  pure, 
flexible,  and  melodious  voice,  were  admirsbW  displayed;  her  powecs  of 
execution,  sustained  with  so  little  apparent  efl^rt — her  graceful  embellish- 
ments in  such  exquisite  tsste,  and  never  obscuring  by  their  redundancy 
the  passages  they  adorn ;  the  unerring  certainty  with  which  she  seizes 
the  most  distant  intervals  and  bursts  on  you  with  surprises  sudden  and 
resistless— in  short,  never  were  these  more  displayed,  nor  received  with 
greater  enthusiasm — never  was  the  wreath  of  song  more  gracefully  worn, 
more  bright  and  full  of  sweets  than  her's.  Her  style  is  the  perfection  of 
art,  and  her  tones  breathe  the  most  bewitching  melody." 

The  above  extracts  we  have  selected  because  they  appeared 
to  us  more  reasonable,  more  argumentative,  and  by  con- 
sequence, the  nearer  allied  to  trutb  than  many  others,  which 
from  their  very  extravagant  praise  and  intumescence  of 
phraseology,  were  calculated  to  convey  anything  but  con- 
viction to  the  mind.  With  most  of  the  strictures  of  the 
writers,  whom  we  cite,  we  are  inclined  to  agree,  and  cannot 
think  but  that  the  encomiums  bestowed  are  merited  on  one 
side,  and  conferred  without  prejudice  on  the  other.  When 
praise  is  given,  even  though  it  verge  on  the  hyperbolica1|  and 
is  counteracted  by  the  expression  of  faults  detected  and 
blemishes  pointed  out,  it  is  not  irrational  to  conclude  that  the 
writer  is  swayed  by  judgment  alone,  and  that  he  shifts^ 
examines,  and  discriminates  only  to  arrive  at  the  truth.  The 
bribed  or  prejudiced  critic  cannot  conceal  the  natural  bias 
pf  his  mind.  .  Digitized  by  ^^UU^  It: 


THE  MUSICAL  WORLD. 


637 


DRAMATIC  INTELLIGENCE. 

Surrey  Theatbep— On  Monday  Mr.  Bimn  commenced  his 
operatic  and  dramatic  campaign  at  this  theatre  with  Balfe's 
chef  d'ieuvre,  The  Bohemian  Girl.     The  company,  orchestra, 
and  chorus  Were  nearly  the  some  as  those  which  performed 
last  season  ^t  Drury-Lane.     We  have  already  given  a  list  of 
the  principal  artistes  engaged.     The  doors  of  the  theatre  were 
besieged  for  hours  before  they  opened,  and  five  minutes  afler 
the  visitors  were  admitted  there  was  not  standing  room  to  be 
obtained   inside.      There  was  much  disturbance  daring  the 
earlier  portion  of  the  opera,  and,  until  it  was  announced  to  the 
audience  that  tliose  who  felt  incommoded  might  retire  and 
have  their  money  returned,  and  until  the  theatre  was  partially 
thinned  by  those  who  availed  themselves  of  the  privilege,  there 
was  scarcely  a  single  note  of  the  music  heard.    The  cast  of 
Ihe  Bohemian  Girl  at  the  Surrey,  differed  in  one  respect  mate- 
rially from  that  ol  Drury-Lane :  Miss  Romer  taking  the  part 
of  Arline,  a  character  which  had  previously  been  undertaken 
by  Miss  Rainforth,  and  in  which  that  fair  artiste  won  a  most 
fair  repute.     It  may  be  readily  conceived  that  Miss  Isomer's 
version  differed  in  toto  from  that  of  Miss  Rainfortb ;  that  it 
gained  in  energy  and  power,  but  lost  in  elegance  and  delicacy  ; 
that  although  it  might  be  more  striking  and  telling  with  the 
audience,  it  was. scarcely  so  natural  or  truthfully  appealing.  Miss 
Romer's  acting  and  singing,  nevertheless,  produced  a  powerful 
sensation  on  the  Surrey  visitors,  that  lady  having  obtained  an 
uproarious  encore  in  all  her  solos.    Mr.  Hanison  was  received 
with  immense  cheers,  and   won,  as  a  matter  of  course,  an 
enthusiai  tic  encore  in  the  popular  ballad,  *<  When  other  lipi*," 
which  he  gave  in  his  usual  effective  manner.     Mr.  U.  Horn- 
castle's  Devtlshoof  wasj  dramatically,  better  tban  Stretton's. 
but,  vocally,  inferior.      This  gentleman's  voice  lacks  weight 
in   such  parts.      Miss   Rebecca   Isaacs  made    an   excellent 
■Queen  of  the  Gypsies,  and  was  received  with  great  favor. 
Borrani  was  heard  to  advantage  in  Arnheim.     The  chorus  was 
striking  and  effective,  and  the  orchestra,  though  somewhat 
less  in  number  thnn  that  of  Drury-Lane,  under  the  able  direc- 
tion of  Mr.  J.  H.  Tuily,  left  little  to  be  desired.     The  scenery 
and  appurtenances  exhibited  the  same  regard  to  splendor  and 
completeness  that  has  alii  ays  distinguished  Mr.  Bunn's  manage- 
ment.     Some  of  the  scenery  was  extremely  beautiful,  and 
elicited  great  and  lasting  applause.    After  the  opera  Mr.  Bunn 
was  called  for,  and  after  fome  time  made  his  appearance  amid 
hearty  and  continued  cl.eers  from  all  parts  of  the  house. 
From  the  place  we  occupied,  and  the  frequent  interruption  to 
the  speakers,  added  to  the  prevailing  hubbub,  every  body 
calling  ''  silence"  as  loud  as  he  could,  we  could  not  catch 
three  words  of  the  speech ;  npr  do  we  think  the  words  reached 
the  ears  of  any  persons  in  the  houst  who  were  further  removed 
fibm  the  stage  than  the  proscenium  boxes,  or  the  first  row 
in  the  pit.     The   speech,  notwithstanding,  was  vociferously 
cheered,  and  Mr.  Bunn's  unheard  appeal  was  as  well  received 
as  though  every  syllable  haf  been  audible.     The  entertain- 
ments concluded  with  Mr.  Bunn's  popular  and  amusing  farce. 
My  Neighbour's  Wife,  in  which  Messrs.  F.  Yining,  Oxberry, 
and  Attwood,  and  the  Mesdameil  H.  Hughes,  R.  Hughes, 
and  Miss  Rebecca  Isaacs  performed.     Between  the  opera  and 
afterpiece  a  Pas  de  Devx^  by  Les   Sceurs  St.  Louin,  and  a 
Pas  de  Caractere^  by  Miss  Annie  Payne,  were  introduced. 

Mr.  Bunn  has  commenced  his  campaign  with  spirit,  and 
under  the  most  favorable  omens.  He  has  brought  a  company, 
a  chorus  and  orchestra  together,  that  certainly  were  never 
heard  previously  within  the  Surrey  theatre ;  and  he  has  had  a 
success  on  his  first  nights  unparalleled  in  the  annals  of  that 
establishment.  We  are  bound  to  aid  Mr.  Bunn  inbis  endeayourt 


to  disseminate  the  works  of  our  best  English  writers  on  the 
other  side  of  the  i^ater,  where,  it  is  acknowledged,  the  taste  of 
the  people  is  as  different  from  that  of  the  Middlesex  side  as 
though  they  were  removed  hundreds  of  leagues  from  the 
capital.  Mr.  Bunn  has  therefore  a  new  world  to  exhibit  his 
energies  in,  and  a  new  audience  to  indoctrinate.  We  are 
bound,  we  repeat,  to  aid  the  manager  in  his  new  musical 
mission.  The  theatre  has  undergone  some  repairs,  alterations, 
and  re-decorations,  and  is  in  course  of  undergoing  more. 
Among  the  principal  improvements,  a  distinct  entrance  to  the 
private  boxes  will  be  reco;;nised  as  that  which  was  most 
desirable.  The  Bohemian  Girl  has  been  played  every  night 
during  the  week,  and  continues  to  be  as  great  a  source  of 
attraction  as  on  the  opening  night.  A  new  domestic  drama 
is  announc:cd  for  Monday  next. 

Sadler's  Wells. — The  public  interest  in  the  experiment 
for  restoring  the  plays  of  Shakspere  to  the  stage,  in  their 
original  form,  was  manifested  in  an  extraordinary  degree  on 
Monday  evening,  on  the  revival  o(  Macbeth  at  this  theatre,  the 
house  being  literally  crammed  in  every  nook  and  corner  before 
the  curtain  rose.     Whatever  may,  in  many  cases,  be  urged 
against  the  practice  of  having  altered  versions  of  Shakspere 
for  the  stage,  as,  for  example,  in  the  case  of  changing  the 
catastrophe  of  King  Lear,  a  gross  profanation  of  the  poet's 
genius,  the  desirableness  of  a  close  adherence,  on  all  occasions, 
to  the  original  text,  may  be  reasonably  doubted.     The  altera- 
tions  on   Monday  evening   were   not    very   important,   the 
chief   one    being    the    introduction   of  the  short  scene  of 
the  murder  of  Lady  Macduff  and  her  child.     I'he  zeal  and 
ability  shown  in  getting  up  the  piece  are  deserving  of  all  praise. 
From  the  most  important  down  to  the  most  minute  of  the 
scenic  arrangements^  the  same  care  and  attention  were  visible 
which  have  ever  characterised  this  theatre.     The  vanishing  of 
the  witches  is  admirably  done  by  means  of  gauzes^brought  in 
quick  succession  before  the  objects.     This  contrivance,  with 
the  stage  darkened,  gives  as  accurate  a  picture  of  the  **  vanish- 
ing into  air**  of  the  weird  sisters  as  it  is  perhaps  possible  to 
produce.    The  grouping  also,  throughout  the  piece,  is  especi- 
ally worthy  of  notice.     Thus,  in  the  gathering  of  the  retainers 
of  the  castle  immediately  after  the  murder  of  the|  King,  they 
appear  first  singly,  then  in  twos  and  threes,  and  finally  in 
groups,  the  whole  exhibiting  the  taste  and  confusion  of  a  mid- 
night summons  to  arms.  The  banquet  scene  was  very  splendid, 
but  it  would  have  been  better  had  the  usual  method  been 
followed  of  bringing  Macbeth's  chair  to  the  front  instead  of 
putting  it  between  the  tables,  which  were  placed  across  tho 
stage.     In  consequence  of  this  arrangement,  Mr.  Phelps  was 
compelled  to  deliver  his  first  speech  to  the  Ghost  with  his 
back  to  the  audience,  while  in  his  second  address  to  his  un- 
earthly visitor,  which  he  spoke  from  behind  the  table  in  the 
midst  of  his  guests,  he  was  so  far  back,  that  the  effect  was 
again   materially  injured.      Mr.    Phelps's  Macbeth    is  well 
known  for  its  spirit  and  energy.     The  Lady  Macbeth  of  Miss 
Addison  was  an  uneven  performance,  at  times  exhibiting  great 
force  and  truths  and  occasionally  sinking  to  the  level  of  mere 
mediocrity.  All  her  scenes  were  of  this  mixed  character.  Tho 
Macduff  of  Henry  Marston  was  excellent  throughout.     The 
very  trying  scene,  in  which  he  hears  of  the  murder  of  his  wife 
and   children,  elicited   a   well-merited   tribute  of  applause. 
Macbeth,  in  his  encounter  with  Macduff  in  the  last  scene,  is, 
according  to  the  original  version,  killed  off  the  stage,  and  his 
head  brought  in  on  a  pole,  which  latter  incident  should  have 
been  omitted.     On  the  appearance  of  the  head  it  evidently 
required  all  the  reverence  of  the  audience  for  Shakspere,  to 
re«tnia  an  open  demonstration  of  disapproval.    At  the  end  of 


638 


THE  MUSICAL  WORLD. 


the  play,  Mr.  Phelps  was  called  forward  amidst  a  hurricane 
of  applause  ;  after  which  Mr.  Marston  and  Miss  Addison 
stepped  forward  to  receive  their  share  of  applause. 

MUSIC  AT  MARGATE. 

Margate. — Our  correspondent,  Harmonicris^  informs  us» 
that  Mr.  Gardner,  director  to  the  promenade  concerts,  at  the 
Royal  Hotel,  took  his  benefit  on  Friday  evening,  which,  m'c 
are  glad  to  hear,  was  very  numerously  attended,  by  a  highly 
respectable  company.  The  vocalists  were  Miss  Felton,  Miss 
Chambers,  and  Mr.  J.  L.  Hatton,  who  sang  several  composi- 
tions with  great  success.  Mr.  Hatton  performed  a  prelude 
and  fugue  of  Handel's  on  the  pianoforte,  excellently  ;  and  he 
also  took  part  with  Messrs.  Bradley  and  Gardner  (violin  and 
violoncello)  in  a  trio  by  Beethoven.  A  solo  on  the  violoncello 
was  performed  with  great  taste  by  Mr.  Gardner,  and  loudly 
applauded.  The  performances  concluded  with  a  selection  of 
popular  quadrilles,  waltzes,  polkas,  &c.,  played  with  great 
spirit  by  the  band.  The  rooms  will  be  closed  this  evening 
(Saturday,  Oct.  2nd),  after  being  open  for  two  months.  Mr. 
Gardner  is  entitled  to  great  credit  for  the  highly  respectable 
manner  in  which  the  concerts  have  been  conducted,  //ar- 
monicus  says,  that  the  renowned  Fhillpott,  begins  to  make  a 
long  face,  when  he  cries,  for  most  of  the  summer  birds  have 
taken  wing.  Still  the  muses  do  not  desert  their  devotee ;  he 
called  on  his  old  friend  the  other  day,  to  show  him  his  parting 
address ;  which,  after  much  coaxing,  he  permitted  our  corres. 
pondent  to  copy,  for  the  amusement  of  "The  Vorld," — 
here  it  is — 

A  month  ago. 

As  1  well  know, 
In  scarce  a  vinder  could  you  see 

"  Lodgings  tolet," 

But  now  ril  bet, 

That  you  will  meet 

In  ev'ry  street 
Vitb  nothing  else,  but  L.  £.  T. 

Tlie  season's  o'er. 

So,  now  no  more, 
From  your  humble  sarvant — ^T.  P. 

A  few  seasons  ago,  the  erudite  Dolly  Dubbins,  with  her  pa 
and  ma,  paid  Margate  a  visit,  and  on  leaving,  she  sent  a  classi- 
cal poem  (?)  to  a  local  paper,  entitled  "  Farewell  to  Margate," 
concluding  with  the  following  expressive  and  elegant  lines — 

"  Farewell  to  the  Steamers,  the  Pier,  and  the  Jetty, 
Where  folk  ^as  the  Scotch  say)  so  often  got  wettie. 
Farewell  to  the  bathing,  the  walks,  and  the  rides, 
Farewell  to  the  donkeys,  and  all  friends  besides.". 

FOREIGN   INTELLIGENCE. 

Milan. — {From  our  own  Correspondent) » — My  dear 

Dieu  mercif  we  are  once  again  quiet,  and  one  can  reach  one's 
house  without  the  chance  of  being  maimed  by  a  set  of 
ruffianly  miliiaires.  You  will  be  surprised  at  my  remaining 
here  so  long,  and  1  fear  that  I  shall  get  no  World  this  week, 
so  must  make  up  my  mind  to  wait  for  English  musical  gossip 
until  I  get  to  Venice.  To-night  we  have  Linda  di  Chamounix 
for  the  re -appearance  of  the  Hayes.  You  shall  have  some 
account  of  it  in  a  postscript  to-morrow  morning  before  post 
time.  Jullien  went  from  this  to  Bergamo  to  engage  her  for 
Drury-Lane,  such  was  the  furore  she  had  occasioned  here, 
but  the  fastidious  director  thought  she  was  not  sufficiently 
perfect  for  his  troupe^  which  all  the  world  are  raving  about. 
They  could  not  come  to  terms.  A  report  was  raised  here  that 
Alboni  was  engaged  by  Lumley  to  appear  with  Lind ;  1  at 
once  contradicted  U,  and  offered  to  back  my  assertion  by  a  bet. 
By  the  bye,  after  dinner  at  the  ca/^  yesterday,  I  saw  a  little 


knot  of  idlers  very  much  amused  at  something  in  a  newspaper, 
and  on  my  approach  they  showed  me  an  article  in  Galiff- 
nani,  copied  from  a  Manchester  paper,  stating  that  "  Jenny 
Lind  manifested  great  emotion  while  regarding  the  casts  of 
Weber  and  Malibran."  I  was  jokingly  reproached  for  belong- 
ing to  a  country  where  such  absurd  means  were  taken  to  pro- 
cure notoriety  for  an  artiste.  You  can  have  no  idea  of  the 
ridicule  to  which  this  talented  lady  is  subjected  by  the  hyper- 
bolical articles  which  are  put  into  circulation  to  render  her 
notorious.  The  charming  Fanny  Elssler  is  engaged  here  for 
the  Carnival,  with  Perrot ;  she  has  85,000  fhincs.  Miss 
Noble,  the  daughter  of  the  dancer,  many  years  at  Dr^ry-Lane, 
has  had  great  success  in  some  of  the  Italian  theatres.  She 
was  offered  a  lucrative  engagement  at  Lisbon  but  she  feared 
disturbances  in  that  country,  so  will,  in  all  probability,  accept 
an  engagement  which  has  been  ofiered  her  at  the  Teairo  Re, 
for  the  Carnival.  La  Parepa  is  gone  to  Sienna,  where  she  has 
created  a  great  furore  in  Beatrice  di  Tenda.  i  saw  Favanti 
and  her  sister  at  the  Scala  on  Thursday  ;  she  is  engaged  to  sing 
at  Varese,  to  strengthen  the  troupe,  which  is  now  at  Verona. 
Miss  Bingley,  an  English  lady  of  great  talent,  is  gone  to  Parma 
as  prima  donna  ;  she  has  to  find  all  her  own  costumes ! !  The 
gossips  say  that  Covent  Garden  is  to  have  several  additions  to 
its  already  efficient  troupe  next  season ;  hut  it  appears  the 
director  is  difficult  to  deal  with,  and  will  listen  to  none  hot 
those  of  undoubted  reputation  and  talent.  The  fortanate 
director,  Mr.  Lumley,  was  rather  more  easy  last  season,  for  he 
engaged  people  who  had  never  sang  out  of  a  village  in  Italy. 
The  agents  here  (there  are  only  two  of  any  repute)  find  Mr. 
Beale  a  very  difficult  person  to  deal  with. 

P.S. — The  Linda  went  very  well,  and  the  reception  of  the 
Hayes  was  tremendous ;  but,  alas !  the  end  of  the  fint  act 
showed  that  the  size  of  the  Seala  had  sadly  deteriorated  from 
the  quality  of  her  voice  since  last  season,  and  I  am  inclined 
to  think  Jullien  was  right  in  not  engaging  her.  The  Milanese 
will  not  tolerate  a  defective  note,  however  great  a  fi&vorite  the 
artiste  may  have  been  the  year  before.  This  was  clearly 
proved  last  night,  for  painful  indeed  was  it  to  hear  how 
gradually  the  applause  lessened  towards  the  end  of  the  opera. 
Gruitz,  who  sings  in  Don  Sebastiano,  is  decidedly  better ;  she 
has  more  compass  and  strength  of  voice.  I  enclose  the  caeiey 
so  you  can  make  what  use  you  like  of  it.     It  was  as  follows : 

II  Marchese  di  Boisfleury         .        .        .        Soaret  CeMore, 

11  Visconte  di  Sirvai        ....        Mutieh  Rug^emo. 

11  Prefetto Deriunt  Protpero. 

Antonio,  alflttijolo,  padre  di  Linda  .        Corsi  G.  B. 

Pierotto,  giovine  orfiano  savojardo    .        .        Poppi  AmaUa. 

V  Intendente  del  feudo  .        .        .        Marconi  Napol. 

Maddtlena,  madre  di      .        .        .        .        Ruggen  Teresa. 

Linda     .•..,..        Hayez  Catarma. 

N.B. — Learti  and  his  wife  (late  Miss  Hobbs,  who  sang  at 
Varese  last  year),  are  engaged  by  JuUien  for  concert  singing ; 
they  are  both  first  rate. 

ORIGINAL   CORRESPQNDEIiCE. 

To  the  Bditor  of"  The  Muncal  Worldr 

SiB,*-Perhapt  an  account  of  Jenny  Lind's  visit  to  Norwich  may  not 
be  unaccepUble  to  you.  She  was  expected  on  Saturday,  the  18tli  ult.; 
^ut  owing  to  the  postponement  of  the  Edinburgh  concerts,  from  her  ill- 
^ess,  she  was  not  abte  to  reach  here  till  the  21st;  she  was  expected  by 
^he  four  o'cloclc  train,  when  a  very  large  concourse  of  persons  came  to 
^neet  her.  She  did  not  aniye  till  eight ;  when  she  immediately  proceeded 
^o  the  palace  of  the  Bishop,  having  been  Invited  by  his  lordship  to  take 
op  her  stay  there  during  her  engagement.  She  sang  at  these  concerts  on 
Wednesday  and  Thursday  evenings,  and  Saturday  morning ;  the  concert 
on  the  latter,  being  the  result  of  the  succrss  of  the  former  two.  These 
entertainments  took  place  in  St.  Andrew's  Hall,  which  was  haDdaomely- 
itted  up  as  at  the  festival;  with  the  exception  that  the  orchestra  occupied 


THE  MUSICAL  WORLD. 


699 


the  site  of  the  patron's  gallery.  This  orchestra  wis  well  filled  on  the  two 
evenings,  and  crowded  on  Saturday  morning ;  and  it  is  impossible  to  des- 
cribe tlie  enthusiasm  with  which  Jenny  Lind  was  received.  Her  singing 
excited  the  most  intense  feeling  of  wonder  and  admiration ;  the  close  of 
every  song  was  marked  with  repeated  rounds  of  applause,  and  there  were 
several  encores  each  night.  Her  voice  has  some  qualities,  which  no 
other  singer*  as  far  as  1  am  aware,  possesses.  Her  echoing  the  notes  of 
the  Swedish  melodies,  is  one  of  the  most  beautiful  things  I  have  heard, 
and  the  way  in  which  she  executes  the  different  passages  in  the  opening 
scene  f^om  La  Figlia,  and  those  in  Can  Pazienza,  is  astonishing.  Then  her 
style  is  so  pure;  her  intonation  so  perfect ;  her  feeling  so  intense ;  there  is 
BO  much  sweetness  in  her  voice,  and  her  shake  is  so  exquisite,  that  I  can 
scarcely  imagine  any  singing  more  perfect.  Here  she  has  created  a  per- 
fect/Virortf,  the  people  are  all  Jenny  Lind  mad ;  and  her  noble  generosity 
in  giving  up  to  the  managers  of  the  concerts  (Mr.  C.  F.  HaU,  leader  at 
the  Surrey  Theatre,  a  young  man  of  talent,  and  Mr.  G.  Smith,  late 
manager  of  our  theatre^,  £200,  because  she  thought,  the  prices  of  ad- 
mission being  reduced  at  the  suggestion  of  one  of  the  patrons,  that  the 
profits  of  the  managers  were  not  so  large  as  they  ought  to  have  L  cen, 
and  also  presenting  £200  to  our  charities,  has  won  for  her  most  de- 
servedly, "golden  opinions."  She  consented  to  pay  £50  towards  the 
expenses  of  the  extra  printing,  advertising,  &c.,  rendered  necessary  by 
the  postponement  of  the  concerts :  this,  however,.  Mr.  Hall  positively 
refused,  much  to  his  honor,  to  accept.  Much  has  been  written  of  Jenny 
Und,  but  not  too  much.  I  was  delighted  with  her  in  London ;  but  almost 
feared  she  would  not  be  so  attractive  in  a  concert-room.  I  am  agreeably 
disappointed.  She  enchsnted  every  one — or  nearly  so,  for  there  will 
always  be  some  discontented  mortals.  Gardoni,  and  Madame  and  Signor 
F.  Lablache  accompanied  Madlle.  Lind.  They  all  sang  very  charmingly. 
The  latter  was  extremely  happy  in  "  John  Anderson,  my  Joe,"  and  in 
Balfe's  beautiful  ballad  of  "Chide  not."  The  band  was  selected  in 
London  by  Mr.  C.  P.  Hall,  and  included  W.  Thomas,  violin ;  W.  L. 
Phillips  and  W.  Reed,  violoncelli ;  Percival,  double  bass ;  WlUoughby, 
bassoon;  King,  flute;  Handley,  comet-a-piston ;  Hortoo,  oboe;  W. 
Kochester,  trombone;  Kielbach,  horn;  Wright,  ophecleide;  Maycock, 
clarionet,  &c.,  &c.,  fcc.  These  artists,  Mr.  Balfe  conducting,  and  Mr.  C. 
F.  Hall  leading,  played  admirably.  The  overtures  went  well,  and  the  ac- 
companiments to  the  songs,  &c.  were,  as  they  ought  to  be,  made  sub- 
servient, as  helps  and  sustainers  to  the  voice ;  and  not  controlling  that 
organ  by  an  overpowering  noise.  This  band  plajed  at  several  promenade 
concerts,  (Mr.  C.  F.  Hall,  conductor,  Mr.  W.  Thomas,  leader),  and 
rivalled  the  excellence  of  JuUien's  celebrated  troupe.  If  you  think  the 
above  worthy  inserting,  I  shall  be  happy  to  see  it  in  the  columns  of  The 
Musical  World,  I  am,  dear  sir,  yours  truly, 

MUSICUS. 


7b  the  Bdiior  of  The  Musical  World. 

Sib,— Being  a  constant  reader  of  your  periodical  will  1  hope  be  some 
excuse  for  my  now  troubling  you.  A  gentleman,  who  is  a  great  advocate 
for  congregational  singing,  fwhicb  is  a  very  desirable  thingj  gave  me  a 
letter  to  read,  which  is  published  in  the  church  newspaper,  "Toronto." 
The  following  I  have  copied,  and  I  hope  one  of  your  many  correspondents 
will  be  able  to  give  some  explanation.  It  says,  "  Whence  comes  it,  that 
even  in  our  largest  churches,  where  there  are  both  choirs  and  organs,  the 
voice  of  congregational  melody  is  hushed,  and  no  one  seems  to  think  he 
has  any  part  to  perform  in  singing  the  praises  of  God?"  The  solution 
of  this  enigma  will,  I  am  confident,  be  found,  not  so  much  in  any  natural 
vrant  of  devotional  feeling,  as  in  the  fact  that  our  church  choirs  sing  the 
melody  of  their  tunes  in  the  triple  instead  of  the  tenor ;  and  in  place  of 
singing  in  unison^  as  was  formerly  the  practice  in  the  ancient  song  of  the 
churches,  make  it  a  point  as  much  as  possible  to  sing  in  harmony.  This, 
I  am  convinced,  is  the  chief  cause  of  the  present  indecent  silence  of  our 
congregations,  whilst  the  praises  of  God  are  being  sung.  The  melody  of 
the  tune,  whether  it  be  chant  or  metrical  psalm,  is  led  off  by  the  choir  in 
the  triple;  it  is  expected  the  congregation  will  follow,  but  how  is  it 
possible?  not  one  man  In  a  hundred  can  sing  a  tune  in  the  triple;  and 
the  consequence  is,  that  the  migority  of  every  congregation  are  dumb- 
not  willingly,  but  of  necessity.  I  am  no  opponent  of  singing  in  liarraony, 
quite  the  reverse,  I  readily  admit  thai  harmony  is  the  perfection  of  music ; 
but  I  contend  that  it  is  impracticable  in  congregational  singing,  and  that 
unison  singing  in  the  tenor  is  the  true  and  proper  ecclesiastical  mode  of 
singing,  and  the  only  mode  in  which  a  body  of  musically  uneducated 
worst^ippers  can  be  expected  to  join  heartily,  and  with  joy,  in  singing  the 
praises  of  God. 

September  29th,  1847.  Yours,  J.  B.  C. 


7b  the  Editor  qfthe  Musical  World. 
SiE,— 'Hophag  that  this  may  reach  you  before  the  next  Musical  World 


goes  to  press,  I  take  the  liberty  of  requesting  you  not  to  pass  over  with- 
out notice  the  shabby  way  in  which  the  audience  were  treated  at  the 
Gloucester  Festival,  by  tiie  curtailment  of  Beethoven's  magnificent  sym- 
phony in  B  flat,  on  the  Thursday  evening  concert.  At  the  end  of  the 
slow  movement  there  was  a  most  ominous  pause,  and  great  was  our  as- 
tonishment that  no  more  of  it  was  to  be  performed,  fas  we  were  told 
afterwards)  by  order  of  the  Stewards,  who  actually  considered  it  too  long. 
Hoping  you  will  excuse  this  liberty,  I  have  the  honor  to  be. 

Sir,  your  obedient  servant, 

Bristol,  September  30th,  1847.  A  CONSTANT  READER. 


THE   CLOSING   OF   COVENT   GARDEN. 

A  Lay  a  la  mcds  de  Marmion, 

(From  the  "  Man  in  the  Moon.") 

Through  Covent  Garden's  brilliant  halls. 
The  crowds  from  boxes  and  from  stalls. 
Are  hurrying  o'er  the  polished  fioors. 
And  pressing  to  the  outword  doors ; 
In  cabs  and  broughams  borne  along. 
The  parting  gueste  the  highways  throng. 
And  murmuring  still  some  well-known  air. 
In  broughams  couched,  the  happy  fair. 

Speed  homewards  to  their  rest ; 
And  issuing  from  the  portals  wide. 
With  joyous  sounds,  the  living  tide 

Rolls  gaily  to  the  west. 
But,  backward  many  a  glance  is  cast, 
The  Opera  season's  o'er  at  last. 

The  war,  which  since  the  spring  has  raged. 
By  rival  Opera's  fleicely  waged. 

Now  draws  towards  its  close. 
Retiring  into  private  life. 
And  gathering  strength  for  future  strife — 

The  managers  repose. 
A  gallant  fight  they  both  have  fought. 
With  many  varying  chances  fraught; 
But  had  not  Lumley  Jenny  caught. 

His  fate  had  long  been  sealed. 
For  Orisi  still  as  Queen  would  reign. 
And  Persian!  fought  amain. 
And  brave  Albont  not  in  vain. 

Swore  she  to  none  would  yield  ; 
But  both  sides  now  from  strife  forbear. 
And  calmly  for  the  Spring  prepare. 

Let  Grisi  then  with  Mario  come. 
Let  Persiani  not  be  dumb, 

Nor  young  Corbari  mute — 
Let  Tamburini's  voice  ring  out, 
Marini  with  his  deep-toned  shout. 

With  him  the  palm  dispute. 
And  thou,  our  latest,  dearest  prize  1 
Alboni,  let  thy  notes  arise 
In  varied  tones  of  joy  or  woe. 
Now  echoing  loud,  now  wispering  low^ 

As  softly  breathing  wind. 
Ronconi,  too,  shall  lend  his  aid. 
And  spite  of  all  the  efforts  made, 
Costa  shall  yet  his  bftton  wield. 
And  Beale's  fine  Theatre  keep  the  field 

'tiainst  Lumley  and  'gainst  Lind. 


PROVINCIAL. 

Cheltenham. —The  Annual  Concert  for  the  benefit  of  Mr.  Julian 
Adams,  the  eminent  pianist,  took  place  on  Saturday  evening  last,  in  the 
Pump  Boom.  A  considerable  degree  of  interest  was  excited,  not  only 
from  the  high  esteem  in  which  Mr.  Adams  is  held  as  a  musician  and  con« 
ductor  of  the  concerU  held  ih  this  place  of  fashionable  amusement,  but 
also  from  the  announcement  that  the  Collins'  family  would  take  part  in 
the  performance.  Although  the  room  was  not  lull,  yet  tha  attendance 
was  very  good  and  highly  respectable,  many  of  the  distinguished  families 
at  present  sojourning  in  Harrowgate  being  present.  The  programme  was 
iweil  chosen,  contauung  selections  from  some  of  the  first  masters.    The 


640 


THE  MUSICAL  WORLD. 


prof^ramme  was  well  chosen,  containing  select  ons  from  some  of  the  first 
routers.  The  concerted  pieces  were  performed  with  the  utmost  skill  and 
precision ;  and  the  execution  of  the  solos  reflected  much  credit  upon 
those  who  took  part  iu  them.  The  auditory  frequently  testified  their 
approbation  of  the  performers  by  bursts  of  applause.  The  song,  "  Thee 
you'll  remember  me/'  given  by  Miss  E.  Collins,  with  cornet  obligato.  by 
H.  Kohler,  was  encored ;  and  we  much  admired  a  fantasia  on  the  piano, 
by  J.  Adams,  and  a  solo  on  the  fiute«  by  S.  Say  nor.  The  manner  in 
which  the  violin  was  played  by  Miss  Rossini  Collins,  and  the  violoncello, 
by  Miss  Victoria  Collins,  drew  forth  unequivocal  expressions  of  admira- 
tion. The  concert  did  not  conclude  till  ten  o'clock,  and  the  audience 
scjiarated  much  gratified  with  the  entertainment. — Harroirgate  Paper. 

WoRCESTKR.— The  second  concert  of  the  Worcester  Harmonic  Society 
for  tfic  season  took  place  at  the  Guildhall  on  Monday  evening.  Handel's 
Aihalia  was  given  almost  entire :  and  as  the  oratorio  was  a  novelty  to 
the  pt  ople  in  Worcester,  (never  having,  we  believe,  been  before  given 
here}  it  attracted  a  full  and  highly  respectable  company,  the  whole  of  the 
seats  in  the  assembly-room  being  occupied  at  eight  o'clock.  The  band 
was  led  by  Mr.  J.  H.  D'Egville,  and  Mr.  Done  was  the  conductor.  Taken 
as  a  whole,  the  perrormance  was  excellent.  Mr.  T.  Williams,  brother  of 
the  talented  ladies  of  that  name,  who  have  on  more  than  one  occasion 
delighted  a  Worcester  audience,  and  pupil  to  Mr.  T.  Cooke,  took  the 
principal  tenor  parts.  Mr.  Whitehouse  was  encored  in  the  air,  "  Ah, 
canst  thou  but  prove  me."  The  part  of  Joad,  the  high  priest,  was  sus- 
tained by  Mr.  J.Jones,  who  also  presided  at  the  pianoforte.  Of  the  band 
we  can  speak  in  terms  of  high  praise.  The  choruses  were,  with  perhaps 
one  or  two  exceptions,  sung  with  precision  and  effect.  Handel's  oratorio 
of  Jephtka  will  form  the  subject  of  the  next  concert  of  this  society.— 
Berrow's  Worcester  Journal, 

Bristol. — (Prom  a  Correspondent,) -^Tht  fact  that  Jenny  Lind's 
appearances  at  Bath  and  Bristol  would  be  her  last  in  England  added  no 
smnll  impetus  to  the  excitement  which  her  engagements  originated. 
The  prices  of  admissioo  were  encreased  at  both  places,  nearly  seven-fold, 
yet  the  theatres  of  Bath  and  Bristol  were  crowded  on  the  evening  of  the 
two  evenings  almost  to  suffocation.  At  the  concert  on  Monday  evening 
nt  the  Bristol  theatre  an  apology  was  made  for  Madame  Solari,  and 
Madame  F.  Lablache  on  the  score  of  illness.  But  nothing  was  considered, 
or  cared  about  save  the  "  Swedish  Nightingale/'  and  so  she  could  sing, 
the  audience  cared  not  one  rush  if  the  orchestra,  accompany ist,  and 
pianoforte  were  labouring  under  indisposition.  The  reception  of  Jenny 
Lind  WP.S  of  course  tremendous,  and  her  singing  excited  various  senti- 
ments among  the  listeners,  the  majority  being  certainly  among  her 
admirers.  I,  for  one,  felt  quite  charmed,  and  though  I  would  not  rank 
her  with  such  vocalists  as  Grisi,  or  Alboni,  I  must  say  she  is  a  very 
superior  artiste.  The  quality  of  her  voice  is  I  think  over-rated.  There 
is  an  unpleasant  guttural  sound  In  her  singing,  which  I  have  never  heard 
in  therltalians.  i  take  it  her  art  is  her  all  in  all.  Her  execution  is 
sometimes  surprifing,  and  pleases  me  as  quite  as  well  as  Pfrsiani's, 
though  it  may  not  have  her  astonishing  flight!  of  fancy,  or  self-depen- 
dencies which  seem  to  make  Pcrstam's  singing  so  spontaneous.  I  was 
disappointed,  I  must  confess,  with  Jenny  Lind's  "  Casta  Diva/'  Com- 
parrisons  naturally  suggested  themselves,  and  I  could  not  help  feeling 
that  the  **  Swedish  Nightingale"  had  not  power  to  usurp  the  throne  of 
"  La  Diva."  In  the  buffo  duet  from  the  II  Fanatico  per  La  Musica, 
with  F.  L.ablache,  she  was  much  happier,  her  singing  being  charac- 
terised by  great  beauty  and  expression.  In  the  flnal  aria  from  Sonamffula, 
she  was  al  o  excellent,  and  vocalised  with  great  precision.  The  throati- 
ncss  of  her  voice.  Just  mentioned,  injured,  occasionally,  the  eifect  of  this 
very  brilliant  display.  The  air  was  heard  amid  a  tumult  of  acclamations. 
In  the  "  Quando  lascia  l\  Normandia/'  from  Rtberto  U  Diavolo,  and  in  a 
canzonet  of  Haydn's,  with  German  words,  she  sang  with  great  purity  and 
taste.  Her  greatest  impression  of  the  evening  was  the  Swedish 
melodies.  In  these  and  like  national  airs  which  require  purity  of  tone, 
and  facility  of  execution,  1  do  not  think  she  can  be  surpassed,  now  that 
Madame  Siockhausen  is  gone ;  and  Jenny  Lind  certainly  surpasses  that 
delightful  vocalist  in  warmth  and  energy,  for  Stockhausen  was  as  cold  as 
ire.  Most  of  the  Swedish  melodies  were  repeated  by  uproarious  request, 
and  the  concert  concluded  to  the  delight  of  nearly  every  one  present.  I 
need  not  allude  to  the  concert  which  took  place  on  Tuesday  evening  at 
Bath,  which  was  almost  in  every  respect  a  fac-simile  of  the  one  held  the 
previous  evening  in  Bristol.  Mr.  Balfe  deserves  the  highest  possible  praise 
for  the  masterly  manner  in  which  he  officiated  at  the  piano  and  con- 
ducted.   Mr.  Balfe  at  the  piano  is  really  an  orchestra  in  himself. 


MISCELLANEOUS. 

Madkmoiselle  Alboni. —This  vocalist  is  engaged  at  the 
French  Opera-house  for  a  short  period,  after  which  she  will 
proceed  to  fulfil  an  engagement  in  Hungary. —  Times. 


Tub  Royal  Italian  Opera.— A  correspondent,  in  noticing 
the  letter  of  £.  D.  C,  which  appeared  in  our  last  number, 
very  prudently  enquires,  what  would  become  of  the  Philhar- 
monic and  Ancient  Concerts,  were  the  operas  at  Coven t  Garden 
to  take  place  on  Mondays  and  Wednesdays  ;  and,  what  is  of 
the  utmost  importance,  what  would  become  of  the  band ;  for 
most  of  those  who  play  in  the  orchestra  at  Covent  Garden,  are 
engaged  at  both  the  Ancient  and  Philharmonic,  and  have  been 
80,  for  many  years,     **  It  winna  do,  E..,D.  C." 

Death  of  Madame  Albertazzi. — We  regret  to  announce, 
that  this  talented  vocalist  died  on  Saturday  last,  aged  33,  after 
a  protracted  illness.  In  Vol.  VII.  of  the  Musical  World,  page 
103,  may  be  found  a  memoir  of  Albertazzi,  whose  maiden 
name  was  Hewson;  daughter  of  a  teacher  of  music.  She  was 
married  to  Albertazzi  when  only  fifteen  years  old.  She  went 
abroad,  and  remained  there  for  many  years,  performing  with 
great  success  at  various  theatres.  In  April  1837*  she  made 
her  debiit  at  Her  Majesty's  Theatre,  in  the  Hay-market,  in 
Cenerentola^  with  decided  success.  She  sang  both  at  the 
Ancient  and  Philharmonic  Concerts;  and,  in  1840,  appeared 
with  great  success  at  Drury  Lane  Theatre.  Her  health  began 
to  fail ;  and  when  she  appeared  at  the  Princess'  Theatre  last 
year,  her  voice  became  visibly  weak  and  uncertain  ;  she  has 
suffered  severely  for  several  months,  and  a  rapid  consumption 
ended  her  days  in  the  prime  of  life,  leaving  a  husband  and 
a  family  to  lament  her  loss. 

Mr.  French  Flowers  is,  we  understand,  composing  an 
oraiorio ;  we  have  not  heard  what  subject  the  founder  of  the 
'*  Contrapuntists*  Society  "  has  selected. 

Mr.  Wrthbrbee  has  accepted  an  engagement  to  deliver  a 
course  of  six  lectures  on  the  Italian  and  German  schools  of 
vocal  melody,  at  the  Royal  Institution,  Manchester,  in  February 
next. 

HossiNi  has  been  appointed  Captain  of  the  National  Guard 
at  Bologna.  The  grand  maestro,  it  is  said,  already  takes  great 
interest  in  his  military  avocaUons,  and  threatens  to  indite  a 
National  Hymn,  the  very  sound  of  which  will  rouse  all  Italy 
to  frenzy,  and  affright  Austria  back  to  her  capital. 

Madame  Dulcken  gave  pianoforte  matineis  this  week,  at 
Weymouth,  Southampton,  and  Ryde,  with  very  brilliant 
success ;  and  her  performance  e)icited  the  greatest  applause. 
She  was  accompanied  by  Mr.  John  Parry,  whose  buffo  songs 
were  rapturously  encored,  especially  his  last  new  one,  ''  Har- 
riet and  her  Governess." 

The  Haymarkbt  Theatre  will  open  this  evening  with 
the  School  for  Scandal,  and  The  Invisible  Prince.  The  comedy 
will  include  in  its  cast  Mrs.  Glover,  Mrs.  Nisbett,  Mrs.  W. 
Clifford,  Mr.  W.  Farren,  Mr.  Webster,  Mr.  Henry  Farren, 
(his  debut),  Mr.  A.  Wigan,  Mr.  Creswick,  Mr.  H.  Vanden- 
hoff,  Mr.  Rogers,  Mr.  Brindal,  &c.  Miss  Helen  Faucit  will 
make  her  appearance  on  Monday  in  the  Ladtf  of  Lyons ;  and 
Mr.  and  Mrs.  Keelcy  will  perform  the  same  evening  in 
Twice  Killed.  Several  novelties  are  in  preparation,  among 
which  we  may  mention  a  new  five-act  comedy  by  Douglas 
Jerrold. 

The  Messrs.  Distins  gave  concerts  at  Scarborough  on 
Friday  morning  and  evening  last ;  at  Whitby  on  Monday  the 
27th;  at  Stockton-on-Tees  on  Tuesday  evening;  at  North- 
Shields  on  Thursday ;  and  at  Sunderland  yesterday. 

Frederick  Sou  lie,  the  celebrated  French  literateur,  died" 
last  week  in  Paris  from  chronic  gout.  He  was  cue  of  the 
most  brilliant  and  popular  of  the  French  novelists,  and  enjoyed 


THE  MUSICAL  WORLD. 


mi 


a  great  reputation  for  many  years.  His  Memoires  du  Diable 
created  a  greater  sensation  on  its  first  appearance  than  any 
work  tliat  had  preceded  it  since  the  Kotre  Dame  of  Victor 
Hugo.  Frederick  Souli^  died  in  tlie  thirty-eighth  year  of 
his  age. 

The  Princess's  Theatre  commences  its  winter  campaign 
on  Monday  with  Macbeth  very  strongly  cast,  Macready  and 
Miss  Cushman  playing  the  principal  characters.  Mr.  Maddoz 
has  brought  together  as  capital  a  tragic  company  as  could  be 
well  procured  in  the  present  state  of  the  dramatic  market. 
We  perceive  that  Madame  Anna  Thillon  is  also  engaged  ;  but 
with  her,  who  are  to  form  the  operatic  corps  we  have  no  means 
of  fathoming.  The  only  vocalists*  names  we  perceive  in  the 
list  of  singers  in  the  Macbeth  choruses  are  ^- Mr.  Bodda, 
Mr.  Barker,  Miss  £.  Romer,  and  Miss  Emma  Stanley. 
But  doubtless  the  manager  has  something  more  in  reserve. 

Yiardot-Garcia. — M.  Jullien,  during  his  late  tour,ff  "  red 
this  celebrated  vocalist  the  encnnous  terms  of  100  guineas  per 
night,  to  appear  40  nights  at  Drury-Lane  theatre,  the  money  to 
be  deposited  at  Rothschild's  bank.  This  offer,  liberal  as  it 
wasi  was  declined  by  Mad.  Viardot.  Negotiations,  however, 
are  still  pending,  and  it  is  hoped  that  M.  Jullien  will  eventu- 
ally succeed  in  obtaining  the  services  of  this  wonderful  artiste 
for  his  new  speculation. 

Alboki. — The  renewal  of  this  popular  artiste's  engagement 
has  been  certified  for  the  Royal  Italian  Opera  next  season,  at 
xtravagant  terms»-^06  times  the  amount  of  what  she  received 
for  the  season  just  expired.  Alboni  may  not  only  say  that 
she  sang  one  night  and  found  herself  famous,  but  that  she 
sang  one  season  in  London,  and  found  herself  a  millionaire. 

Balfb  has  gone  to  join  Madame  Balfe  and  his  family  in 
Paris.     Gardoni  and  Costa  have  also  arrived  in  Paris. 

Mdllb.  Corbari  makes  her  r entree,  with  Grisi,  Persiani, 
Mario,  and  Coletti  to  night,  at  the  Italiena  in  Paris,  in  Mozart's 
Don  Giovanni.  Her  part  is  Elvira.  Mdlle.  Corbari  is  re- 
engaged at  the  Royal  Italian  Opera  next  season. 

Mrs.  Nisbett  will  appear  for  the  first  time  in  Helen,  in 
The  Hunchback^  on  Wednesday  next.  Miss  Helen  Faucit  as 
Julia,  Mr.  Creswick  as  Master  Walter,  and  Mr.  Webster  as 
Lord  Tinsel,  will  render  the  cast  unusually  strong. 

M.  Jullien  arrived  in  London  on  Tuesday  from  the  con- 
tinent. The  admirable  chef  has  returned  from  his  experi- 
mental tour,  furnished,  we  understand,  with  various  musical 
novelties,  to  be  forthcoming  at  the  Promenade  Concerts,  which 
commence  on  Friday  next.  One  of  the  musical  novelties  is 
the  real  Swiss  horn  to  be  played  by  M.  Koenig.  Mr.  Jullien 
has  made  sundry  engagements  during  his  sejour  in  Italy,  of 
which  we  shall  give  due  notice  by  and  bye. 

Drury-Lanb. — Two  hundred  workmen  are  employed  daily 
in  the  alterations  and  decorations  of  this  house.  The  hangings, 
we  learn,  are  to  be  scarlet  and  gold,  and  the  omanTental  por- 
tions are  to  be  on  the  lightest  possible  scale.  The  theatre, 
&shioned  after  the  French  Opera-house,  will  no  doubt  be 
extremely  beautiful. 

Actors  and  Singers.— C/Vom  a  Dublin  Paper.) — "It 
has  been  invidiously  alleged,  by  a  certain  class  of  men, 
more  celebrated  for  their  egotism  than  their  judgment,  that 
the  salaries  of  sjngers  are  ridiculously  disproportionate  to 
those  of  actors ;  in  short,  that  the  least  deserving  are  the 
most  paid.  They  who  are  led  to  this  consideration  either 
'Wilfully  blink  their  eyes  on  the  naked  truth,  or  are,  from  their 
vanity,  so  obnubilated  in  \lieit  mental  optics,  that  they  cannot 
distinguish  rationality  fj^^  inconsequence.  There  are  three 
reasons,  good  and  irue,  ^«  ^  tbe  singer  should  be  better  pud 


than  the  actor.  First,  the  singer  must  be  brought  up  to  his 
profession  and  requires  a  specific  course  of  education  which 
involves  an  expensive  outlay.  The  actor  is  the  offspring  of 
chance,  one  of  Nature's  petlings,  and  his  education  is  always 
independent  of  his  following — he  may,  or  may  not  be  taught— 
the  profession  involves  no  necessity.  Secondly,  the  singer 
necessitates  the  abilities  of  an  actor  conjoined  with  his  own. 
He  that  would  aspire  to  be  a  great  vocalist  cannot  dispense 
with  the  possession  of  the  highest  dramatic  powers.  On  the 
other  hand  music  is  little,  or  no  aid  to  the  great  actor.  It  is 
no  recommendation  to  a  tragedian  that  he  has  a  brilliant  tenor, 
or  a  splendid  barytone,  or  that  his  intonation  is  faultless. 
The  third  cause  why  vocalists  should  necessarily  be  paid  more 
than  actors,  is,  that  the  voice  is  a  precarious  organ,  and  that 
the  singer's  livelihood  is  ever  at  the  mercy  of  temperature 
and  the  weather,  and  that  a  catarrh  or  deafness  will,  in  one 
moment,  subvert  the  acquirements  of  study  and  experience, 
and  nullify  the  finest  efforts  of  genius.  To  this  last,  as  a 
corollary,  may  be  added  that  the  ravages  of  time  on  the  voice 
renders  the  singer's  remaining  on  ths  stage,  after  the  prime  of 
life,  a  matter  of  infrequency.  A  great  vocalist  demands  the 
possession  of  more  abilities  than  a  great  actor,  and  spite  of 
what  may  be  urged  by  the  class  of  men  alluded  to  at  the 
beginning  of  this  paragraph  against  singers  being  paid  immo- 
derately, we  pronounce  that  the  singer  is  only  paid  propor- 
tionably  to  his  circumstances  and  fortune.  If  Tamburini 
receives  more  money  for  singing  and  acting  than  Macready 
does  for  acting,  it  is  only  natural  to  pay  one  artiste  more  for 
doing  two  things  well,  than  another  for  doing  one  thing 
well.'' 

Adslpui  Theatre. — A  new  and  original  five  act  drama  of 
domestic  interest  entitled  T^e  Willow  CopsCy  from  the  enjoined 
pens  of  Dion  de  P.  Bourcicault  and  Charles  Kemiey,  has  been 
read  and  accepted  by  the  fair  manageress  of  this  theatre. 
Report  speaks  in  the  highest  terms  of  the  new  drama,  which 
is  written  to  include  the  entire  strength  of  the  Adelphi 
company. 

The  Jenny  Lind  Mania  at  Edinburgh. — *♦  A  Qprres- 
pondent  of  the  Daily  News  at  Edinburgh,  in  a  letter,  dated 
Sept.  28th,  descanting  upon  the  abuses  to  which  the  inhabi- 
tants arc  exposed  makes  the  following  statenaent  : — **  A 
slighter  but  more  ludicrous  annoyance  to  which  the  fair  in- 
habitants of  St.  Mungo'a  are  exposed,  consists,  in  such  of 
them  as  are  of  Scandinavian  appearance,  being  mistaken  for 
Jenny  lind.  The  times  have  been  that  when  a  player  left  a 
town  there  was  an  end  to  him,  but  although  Jenny's  doings 
at  Norwich  have  been  duly  chronicled  so  as  to  put  her  alibi 
beyond  boubt,  a  light-1  aired,  blue-eyed  maiden  in  Buchanan- 
street,  wa»  yesterday  mobbed,  from  her.  supposed  idendity 
with  the  •* Nightingale,'  and  had  to  take  refuge  in  a  shop. 
And  the  trick  of  so  hunting  young  ladies,  either  as  a  joke  or 
for  collecting  a  crowd  to  favor  thitves,  seems  to  have  been  re- 
sorted to  more  than  once. 

Mr.  Edward  Loder  is  writing  a  new  opera  for  the  Drury 
Lane  company  to  a  libretto,  founded  on  Sheridan's  play  of 
Pizarro,  by  Charles  Rosenberg.  Mr.  Loder  is  also  far 
advanced  in  an  opera  for  the  Princess's ;  the  subject  is  The 
Last  Days  of  Pompeii. 

CHRirroPHSR  Tadfoli.— (Fyom  the  "Ten  TWii^'  Af«f«i^«r."J— By 
Albert  Smith.— To  sustain  the  interest  required  in  any  serial  publication, 
it  is  necessary  that  the  author  be  a  man  of  acute  observation  as  well  as 
of  general  information,  that  he  should  be  acquainted  with  the  proceedings 
of  every  grade  of  society,  and  have  seen  life  in  all  iU  shapes  and  hues. 
Very  few  men  have  had  these  advantages ;  those  ^ho  have  can  scarcely 
fail  to  make  the  dullest  tale  interesting,  and  those  who  have  not  invariably 


are  unsuccessful  in  investing  their  works  wit 


t^e^^^ 


^t^tom  of 


642 


THE  MUSICAL  WORLD. 


humour  or  of  ml,  Mr.  Albert  Smith  evidently  belongs  to  the  formei* 
class;  he  has  made  the  ascent  of  Mont  Blanc,  and  been  professionally 
initiated  into  the  mysteries  of  dissecting-rooms,  as  *' Ledbury"  will  testify; 
occasionally  he  has  peeped  behind  the  scenes  and  penetrated  into  the 
sanctity  of  the  green  room ;  he  has  steamed  it  up  the  Rhine  and  down  to 
GraTesend ;  visited  Rosherville  as  well  as  Vauxhall ;  he  has  seen  the 
Bridge  of  Sighs  at  Venice  as  well  as  paid  the  toll  to  its  contemporary  at 
Hungerford  ;  and  Judging  from  his  vi;ritings,  it  would  be  a  matter  of  con- 
siderable difficulty  to  say  what  place  the  author  of  Christopher  Tadpole 
has  not  visited,  or  what  region  he  has  not  explored.  The  reading  public 
have,  however,  been  the  gainers.  His  worics  have  been  stored  with 
well-told  anecdotes  and  comical  reminiscences  of  travel.  The  "  gent' 
has  been  somewhat  robbed  of  his  glory  by  the  disclosures  of  this  clever 
humorist.  The  ballet  girl  has  reason  to  thank  him  for  the  good  word  he 
gave  her  in  his  little  brochure  of  the  name.  "  Stuck-up  People"  will 
feel  an  arrow  from  his  shaft ;  public  nuisances  and  private  cant  have 
received  most  efifectual  reproofs  from  his  pen,  calculated  to  be  more 
serviceable  in  silencing  either  their  imposition  or  hypocrisy  than  any 
other  device  invented  hy  ingenious  humanity.  We  like  the  writings  of 
Albert  Smith ;  in  them  there  is  no  ill-placed  sentiment  nor  false  com- 
miseration. No  telling  us  that  we  are  upon  the  eve  of  some  social 
misery;  no  engaging  our  fears  by  pointing  out  an  imaginary  deplorable 
state,  but  a  blithe  and  heart>  good  humoured  style  of  writing,  full  of 
teal  wit  and  humour  in  every  sense  of  the  word — writing  that  will  make 
you  shriek  with  laughter  despite  your  efforts  to  restrain  it;  not  the 
stereotyped,  conventional,  aristocratic  sort  of  laugh,  but  an  unmistakeable 
one  that  makes  the  walls  ring  again  ^with  its  echo,  and  plays  no  incon- 
siderable part  in  aiding  the  digestive  organs  in  the  due  exercise  of  their 
proper  functions.  His  writing  is  natural ;  be  sketches  characters  with 
amazing  precision ;  Ledbury,  as  an  instance,  will  strike  home  to  many 
who  have  ambitiously  attempted  the  continental  tour  business;  and  Jack 
Johnson,  inimitable  Jack,  is  nature  itself.  The  present  tale,  Christopher 
Tadpole  may  not,  perhaps,  prove  so  interesting  to  the  general  class  of 
reader  as  some  of  Mr.  Smith's  former  works;  although  the  characters 
themselves  are  drawn  with  life-like  accuracy.  Nor  are  the  incidents  of 
the  plot  commonplace  or  devoid  of  spirit ;  there  is  not,  by  any  means,  so 
wide  a  field  for  display  as  in  Ledbury.  Our  author  has  not,  however, 
neglected  any  opportunities  to  make  his  tale  amusing.  Christopher 
Tadpole  is  in  no  way  an  unnatural  character;  there  are  many  such. 
Sprouts,  a  well-meaning  shop-boy,  figures  prominently,  and,  notwith- 
standing the  evidence  of  the  accuracy  with  which  the  character  is 
depicted  (for  we  regret  to  say  there  are  too  many  of  the  Sprouts'  genus 
in  the  world),  we  think  that  all  must  give  way  to  the  characters  of  Gudge 
and  Mrs.  Hamper,  to  us  the  best  drawn  in  the  whole  tale.  The  lawyer, 
a  sordid-minded,  ignorant  man,  incapable  of  a  generous  action,  and  un- 
troubled with  any  ideas  but  those  designed  to  entrap  some  of  his  less 
artfuiieUow  creatures  into  his  insidious  snares ;  and  Mrs.  Hamper,  one 
of  those  women  whom,  under  any  pretence,  you  cannot  shake  off;  who 
will  follow  you  with  the  perseverance  of  a  starved  spaniel ;  who  cannot 
conceive  that  an  addition  of  one  to  your  small  circle  will  be  a  formidable 
difference,  and  who,  of  course,  always  travels  without  her  purse — ergo 
the  expenses  of  the  said  one  must  be  defrayed  out  of  your  own  pocket. 
This  work  of  Albert  Smith's  is  like  all  the  works  of  this  author,  a  perfect 
copy  of  life ;  each  character  is  sketched  with  fidelity ;  the  plot  is  skilfully 
drawn }  the  interest  is  well  sustained.  We  consider  it  one  of  the  most 
attractive  publications  of  the  day,  and  it  adds  to  the  repuUtion  which 
Mr.  Smith  has  so  deservedly  gained. 

TO   CORRESPONDENTS. 

We  have  received,  on  several  occasions,  letters  from  various 
Correspondents,  requesting  to  know  why  certain  numbers  of  the 
Mnsical  World  could  not  be  procured  The  only  answer  we 
can  return  is,  that  these  numbers  of  the  Journal  had  a  greater 
attraction  than  others,  and  that  they  were  all  bought  up. 

T.  S. —  The  poetry  cannot  be  made  available  for  more  reasons 
than  one. 

Item. — Mr*  O.  A.  Macfarren  is  in  New  York,  and  will  return  in 
the  Spring, 

A  Constant  Rbadir.  —  Mons.  Hector  Berlioz  is  appointed 
conductor  of  the  Drury  Lane  Band,  Mr,  JuUien  will,  of  course, 
conduct  at  the  Promanade  Concerts, 

Inquiber. — It  was  Madame  Eugenia  Garcia,  Sister-in-law  of 
Malibran,  not  Pauline  Garcia,  who  appeared  at  the  Prineesk's 
in  Sonuainbula,  Lucrezia  Borgia,  &c«,  Sec. 


ADVERTISEMENTS. 


BY  APPOINTMENT  TO   THE   QUEEN- 

a.  psAeBBTt 

Mana&ctiirer  of  Improved 

Cabinet,  Cottage,  Piccolo,  &  Square  Pianofortes, 

73,   BI8HOPSGATB    STRB^T    WITHIN, 

Opposite  the  Marine  Society. 


Piccolo  PiaaofoTie. 

PIANOFORTES,  WARRANTED  of  the  best  manafscture,  and  at  the  lowest 
possible  prices,  for  Instruments  that  can  really  be  Warranted.  G.  PEACHBY 
respectfully  invites  bis  frieuds  and  tbe  public  to  inspect  bis  extensive  stodi  of 
IMPROVED  CABINET,  COITAGE,  PICCOLO,  and  s^QUARE  PIANOFORTES, 
New  Scale  6S  Octaves,  C  to  G,  upon  the  most  approved  principles,  for  tone, 
touch,  and  durability,  suitable  to  any  climate.  Also  a  large  collection  of  second- 
hand, of  every  description,  in  good  condition. 

Superior  Instraments  Lent  on  Hire,  in  Town  or  Covntry. 
One  Hundred  Pianofortes  for  general  inspection,  &  Packed  free  of  ezpeose. 
G.  PEACHEYy  73,  Bishopsgate-strbbt  Within,  opposite  the  Marine  Society. 


THE  STANDABD  LYRIC  DRAMA. 

Just  published  (October  1st),  Part  IV.  of  the  above  Work,  containing  Sixrr 
pages  more  of  M osart'9  charming  Opera,  the  "Marrlaire  of  n^mro,** 
with  an  English  Version,  in  addition  to  the  Original  Libretto,  the  whole  of  tbe 
unaccompanied  Recitatives,  Stage  Directions,  &c.  Thus,  at  the  outlay  of  28.  dd. 
per  month,  an  annually  increasing  Library  may  be  obtained  of  all  the  best 
Operas,  and  the  most  perfect  edition  yet  publithied.  It  is  expected  that  from 
three  to  five  Operas  will  be  completed  in  the  course  of  each  year. 

London:    T.  BOO  BEY  and  Co.,  flS,   Holloa   Street, 

and  all  Musicsellers  and  Booksellers  in  Town  and  Country. 


LONDON    ASSURANCE    CORPORATION, 

(Established  by  Royal  Charter,  in  the  reign  of  King  Qeorge  the  First,  a.  d.  1730) 
7,  ROYAL  nXCHANO^,  ComhiU,  and  ID,  EBOBNT  8TRBET. 


LIFE    DEPARTMENT. 

Two-thbds  of  the  Gross  Profits  are  given  to  the  Assured,  the  Corporation  taking 
the  remaining  third.  Out  of  which  They  pay  the  expenses  of  carrying  on  this 
department,  thus  giving,  the  public  all  the  benefits  derived  from  Mutual  Assurance, 
and  all  the  security  afforded  by  an  old  and  opulent  Corporation.  The  Profits  are 
added  as  a  Bonus  to  the  Policy,  or  paid  in  cash,  or  applied  to  the  redaction  of  the 
Aiture  Annual  Premiums. 

A  lower  fifed  rate  without  abatement. 

Annual  Premiums  for  the  Assurance  of  i^lOO. 


Age. 

Participating. 

Non-participating. 

30 

60 

60 

je  s.  d. 

f    0    3 

3  10    8 

5  5    1 

4  10    7 

6  13    5 

^  s.  d. 
1  15  11 

5  6  11 
8    0    0 
4    5    7 

6  6  11 

Prospectuses,  containing  a  variety  of  modes  of  effecting  Lift  Assurance,  and  all 
inibrnution,  may  be  had  by  a  perscmal,  or  written,  aiiplication  to  the  Actuary. 

Fire  Insnranoes,  on  every  description  ot  Property,  at  Moderate  Rates,  sad 
Marine  Assurances  at  the  Current  Premiums. 

JOHN  LAURENCE,  Secreti^  It;; 


THE  MUSICAL  WORLD 


643 


JVST  POBLISHED,  PRICE,  2». 

EVA  "N~D     E     R, 

A  PLAY,  IN  riVK  ACTS,  by  John  Smyth. 

London:— W.  8.  JOHNSON,   ^'Nassan  Steam  Press/'  60,  fit. 
Martin's  Xiane,  Charlnv  Cross. 

MONEY    GIVEN    AWAY! 

The  follewinf  SUMS  of  MONEY,  viz.— 
£AOO,  iBflOO,  £100,    £AO,  Two   of   iBfl5,  and  Ten  of   £10, 

Will  be  presented  by  the  Proprieton  of  the 


(f 


JERSEY     TELEGRAPH, 


» 


To  the  firit  5,000  Subscribers  to  that  paper  for  One  Year  froip  this  date,  and  a 
like  sum  to  every  additional  6,000.    The  Subscription  Is  8s.,  and  can  be  forwarded 
through  any  Bookseller  or  News  Agent,  or  in  Postage  Stamps,  or  by  Post  OAce 
Order,  payable  to 
Mr.  Charles  OUftbrd,  Telesraph  Ottce,  No.  15,  Klns-st.,  Jersey. 

Parties  forwarding  j^l  Is.  will  be  entitled  to  THREE  NUMBERS,  and  may 
obtainitfSOO. 

ADVERTISERS 
Wishing  to  avail  themselves  of  the  very  extensive  circuhition  (in  England,  Ireland, 
Scotland,  Wales,  and  the  Channel  Islands,)  secured  by  this  arrangement,  will,  to 
ensure  insertion,  forward  their  advertisements  with  as  little  delay  ss  possibles- 
charge  only  One  Penny  per  Line,  (no  duty).  By  the  Census  of  1841,  the  population 
of  Jersey  was  about  50,000,  since  which  time  it  has  enormously  increasedl 
Agencies  of  all  kinds  undertaken  for  Jersey. 

The  JERSEY  TELEGRAPH  can  be  sent  free  by  Post  to  any  part  of  the  United 
Kingdom  and  the  Colonies. 

Jersey,  Julp  lO/A,  1847. 

TO  THB  READERS    OF    THE    MUSICAL    WORX.D. 

THE  LIVERPOOL  COURIER, 

IS  PUbLlSHED  EVERY  WEDNESDAY. 

REDUCED    TO    3U. 

The  C&urUr  stands  unrivalled  amongst  its  Local  Contemporaries  for  the  high 
character  of  its  Circulation,  being  extensively  patronised  by  the  respectful  and 
influential  Classes  of  the  Town  and  Neighbourhood,  and  of  the  Ck)untry  generally; 
consequently  it  offers  peculiar 

ADVANTAGES   TO   ADVERTISERS. 

The  CMTltfr  it  printed  on  the  largest  sheet  allowed  by  Act  of  Parliament.  It 
obtains  the  most  fashionable  circulation  in  Lancashire.  In  addition  to  political 
(Conservative)  and  general  inter^t,  particular  attention  is  paid  to  Concerts, 
Lectures,  and  suchinformation  as  adapts  it  to  the  family  circle,  the  Courier  is 
therefore  the  best  medium  for  those  advertisers  who  Wish  to  appear  before  the  fash- 
ionable public  of  Ijuicasbire. 

It  has  also  an  extensive  influence  amongst  the  agricultural  and  commercial 
interests.  The  position  of  tlie  Courier  may  be  best  l^ned  from  the  fact  that  its 
circulation  has  aoubled  since  the  reduction  of  price,  and  is  still  progressing. 

THE  PATENT  HARMONIUM.-CAUTION. 


GEO.  LUFF  and  SON  having  discovered  that  several  inferior  imitations  of 
their  beautiAil  Instrument,  THE  PATENT  HARMONIUM,  have  been  sold 
under  the  same  name,  in  London,  Liverpool,  and  other  places,  caution  Purchasers 
either  to  visit  their  establishment,  or  to  write  for  their  illustrated  Prospectus,  and 
the  name  of  their  Country  Agent ;  this  will  ensure  the  possession  of  a  genuine 
FMtetit  Harmotiium. 

GEO.   XiUFF  AND    SON, 
Manufiicturers  of  Patent  Pianofortes,  in  every  variety  of  style  and  Ikshion,  war- 
ranted to  keep  well  in  tune,  and  prepared*  fbr  extreme  climates.    Price  lists  and 
drawings  forwarded  by  post,  or  enclosed  in  Book  or  Music-sellers  parcels  to  order. 
Geo.  Lvrr  and  Son,  m^  Great  RuBsell  Street,  Bloomsbury. 


CONCERTS  and  LECTURESi  BRISTOIs. 

ROYAL    ALBERT    ROOMS,   COLLEGE    GREEN,    BRISTOL. 

The  above  ELEGANT  ROOMS,  situate  in  the  most  fiishionable  spot 
between  Bristol  and  Clifton,  are  TO  LET  for  Concerts,  Lectures,  Exhi- 
bitions, &c. 

The  principal  Room,  from  its  great  height,  is  admirably  adapted  for  music, 
and  is,  perhaps,  the  best  Room  in  England  for  the  Exhibition  of  Works  of 
Art,  receiving  its  light  from  the  roof,  which  is  equally  diflfiised. 

Popular  Lecturers  will  find  this  worth  their  attention,  as  Ihe  lertns  will  be 
to  their  advantage. 

A  Line  addressed  to  the  Proprietors  will  be  attended  to. 


VACANCY   FOR   A   TENOR    SINGER. 

A  TENOR  SINGER  is  wanted  for  the  Choir  of  Ely  CJathedral.    None  need 
apply  who  cannot  produce  the  strongest  testimonials  of  their  sobriety  and  moraUty 
of  conduct.    The  successful  candidate  alone  will  have  his  expences  paid. 
A  BA88  VOICE  is  also  wanted  to  fill  up  another  vacancy. 

All    appUcations    must    be    addressed,    pre-paid,  to    the  Precentor,   the 
Rkv.  D.  J.  Stewart,  the  College,  Ely. 


PIANOFORTES, 

At  KENNAY  &  CO.'s,  15,  Berners  Street,  Oxford  St. 

Every  description  of  Piccolo,  Cottage,  and  Cabinet  Pianofortes,  of  the  best 
materials  and  the  lowest  prices.    Established  upward^  of  ^Ojears. 

A  variety  of  Second-hand  Instruments  always  on  Sale.    InstrumenU  taken  in 
exchang;e. 

KENNAY  &  Co.,  IS,  Bemers   Street,  Oxford  Street. 


BETTSSy 
FR^RES     HI 


Brown  48.  6d.  per  bottle. 
Pale  5s.  ditto. 


3s.  per  bottle. 


10s.  per  doz.  largest  bottle 
7s.         „  .  small       „ 
exclusive  of  carriage  from 
London. 

"THE    STANDARD    OF    COGNAC," 

WHICH    IS  THE  BESt    FOREIGN    BRANDY. 

THE   PATENT    BRANDT  AND  THE   GENUINE  SELTZERS  WATER, 

protected  by  the  Patent  Metallic  Capsule,  the  only  sure  and  self-evident  »«5aard 

SgSinstadJteration,  can  be  obtained  throughout  the  kingdom  at  the  respecuve 

prices  above  mentioned,  or  at 

Smithfield  Bars,  and  96,   St.  John's  Street,  London. 


GRIMSTONE'S  AROMATIC  REGENERATOR,  for  Improving  and  Promoting 
THli  GROWTH  OF  HUMAN    HAIR. 
To  TH8  Ladibs.— A  lady  had  the  following  letter  inserted  in  the  THmee  news- 
naoer  on  August  7, 1846.    Reader,  remember  Diis  letter  was  put  into  the  paper  by 
ISIudy  iVersSf,  as  a  testimony  to  the  virtues  of  Grimstone's  Aromatic  Regenerator, 
"Mrs  Weekley,  of  No.  3,  Swan-street,  Borough,  takes  this  opportaniu'otpiibnc- 
ivthMikinirMr  W  Grimstone,  of  the  Herbary,  Highgate,  for  th^»fflcacy  of  his 

^The  most  delicate  ladies  may  use  this  delightful  product  of  the  most  "ijmjtjj 
hprhsMd  flowers  with  confidence;  its  refreshing  odour  removes  head-ache  ud 
makL^  a  mJrtSeSswi^companion  to  the  toilet.  In  cases  of  nervous  head-ache, 
Si^JenortweWrdr^^  of  the  head;  if  very  bad,  repeat  iteyery 

SSSrter  of  an  hour.  In  most  cases,  relief  is  certain  m  tenjniuutes.  It  produces 
9  !-  ««  i.i,ri^..i«i>.  hpaH«  in  a  fewaoDlications.  If  used  on  mfsnts'  heads,  it 
hSi  aS?h^  SaJ  J^linViS^enK  brain  as  to  prevent  convulsions, 

Ss  wSS  as  J^motinTthe  grS?Sb  of  hair.-See  pamphlet  of  testunonials  with 
every  bottie.  ^^^  ^^  RING-WORM    CURED. 

14,  DevoDshire-sq.,  Bishopsgate-st.,  19th  July,  1847. 
"  Mr.  Frederick  Bradshaw,  having  lost  some  portion  of  fis  >»**«■  ^l*"^,?^^^ 
has  had  it  wperfectly  and  so  wonderfully  restored  by  oiUya  short  W^JJJfon  of 
M?  arimatonVs  ^Aromatic  Regenerator,"  feels  thus  called  upon  gratef^ly  and 

make  any  use  of  this  communication  he  Meases.  ^^ 

so]?bfe?.-dTttS^ar^^^^ 

ConduiUstrS;  if.  Sanger,  Chemist,  4c.,  150,  Oxford-sgeet :  Mwsrs.  Barday  and 
aJrFarrinJdon.sW^  Johnston,  68,  fcornhill ;  Thwnas  Keatang,  Chemist, 

St  KuuXVch^;  Messrs.  Hannay  and  Co..  63,  Oxford- street;  and  by  aU 
ChfimStoSuSBts,aLd  Medicine  VenS^^  Sold  in  triangular  bottles,  at  4s., 
7.    RndnrS-  and  forwarded  by  post  at  4s.  6d.,  7s.8d.,  and  las..  ewe  m- 

The  Ts!  contain*  two  48.,  the  Us.  four  time*  the  quantity  of  the  4s.  jij  ^^ 


644 


THE  MUSICAL  WORLD. 


THBATBB   KOYAX., 


DftURY   LAMB. 


M.    JVLLIEN'S 

ANNUAL  SERIES  OF  CONCERTS. 

FOR  ONE  MONTH  ONLY  I 


MJULLIEN  hM  tlie  l^onor  to  annonnee  that,  emboldened  by  the  great  niC' 
•  cets  which  has  attended  hie  eeveral  moaicai  undertakings  in  this  coantry, 
he  hat  been  induced  to  become  the  leuee  of  the  above  national  eatablithment, 
in  which,  posaesaing  a  more  permanent  interest  than  he  was  enabled  to  bold  in 
the  Theatre  Royal,  Covent-gsrden,  he  will  have  the  power  of  carrying  out  those 
alterations  and  arrangements  which  he  conceives  to  be  desirable  for  the  proper 
aecoinmodation^^be' public,  and  at  the  same  time  to  secure  to  himself  a  suitaole 
fleld  for  his  future  exertions. 

^  'M;  JVLLIEN  is  fully  aware  of  the  arduous  task  npon  which  he  has  entered, 
and  of  the  very  serious  responsibilities  he  has  incurred  in  becoming  the  perma- 
nent lessee  of  an  English  national  theatre ;  but,  by  providing  during  the  year  a 
.  Tariety  of  entertainments,  and  by  producing  each  with  the  same  excellence  and 
completeness  which  he  trusts  have  characterised  his  foroaer  works,  he  hopes  to 
secure  that  approbation  and  consequent  success  which  will  well  compensate  him 
for  all  his  labours  and  anxieties. 

M.  JULL1EN  leaves  for  future  advertisements  a  detailed  exposition  of  his 
general  plans,  and  in  this  begs  merely  to  announce  that  his 

AHHTJAL   SEBIES   OF    COHCEBTS   FOB   1847 

'■,     '-  .    .  wnie 


ati  FRIDAY,   OCTOBER  Btk, 

and  continue  for  one  Month. 

Tl^e  orchestra  wilL  as  heretofore,  be  complete,  and  include  the  m  ost  distingalshcd 
members  of  the  ornieatras  of  the  Ancient  Omtferta,  the  Philharmonic  Society, 
the  Royal  Italian'Opera,  and  Her  Mi^esty*s  Theatre. 

The'Sie;R:tions  of  Music,  in  addition  to  that  of  a  lighter  character,  will  embrace 

the  Grand  Compositions  of  the  Classtcal  Composers,  the  gradual  introduction  of 

-  which  at  these  concerts,  and  the  masterly  manner  of  their  perfDrmaiioe,  have,  it 

is  generally  allowed,  contributed  in  some  measure  to  raise  tne  general  standard  of 

musical  taste  in  the  mettopolis. 

During  the  recess,  M.  JUIXIBN  has  spent  some  months  in  Switserland,  and 
has  there  composed  a 

NEW   DESCRIPTIVE  QUADRILLE, 

To  be  eatitkd 

VHB    B^VISS    QOADBI&LS. 

In  this  will  be  introduced  several  purely  Kational  Swiss  Melodies  (many  Quite 
new  to  this  country),  and  also  the  celebrated  RANS  DSS  VACHES :  soma  of 


them  will  be  performed  on  the  Alpen-bom  and  other  rustle  instniments  of  the 
mountains,  collectedbyM.JULLlBK  during  his  tour.  His  REFEaiOIRB  of 
MUSIQUK  DK  DANSE  conUins  various  other  novelties,  which  will  be  prodm:^ 
during  the  series. 

Many  important  alterations  have  been  effected  in  the  buildliig,  with  a  view  to 
afford  inftsreued  accommodation  to  the  visitors :  the  Dress  Circle  has  been  con- 
vS^nnr^aSiJiK^^  addlUon  of  an  open  Amphitheatre,  and  the  Private 
^^^  *S  .  y^*^*!  ^*  •V».^**f*'»  rendered  more  commodioos.  A  new  and 
substantial  iloorinir  has  been  laid  down,  .nd  the  former  centra  chandelier  replaced 
by  one  more  suitable  to  the  theatre.    These  arrangemeoto,  as  wall  as  an  ratirdy 

NEW   DECOBATIOK 

The  prices  of  admission  will  be  as  usual,  vis. : 

PrOBsennde  and  Boxes la.  od 

Dress  Circle ^^^.V^^S.  M.' 

Privata  Boxes  10s.  M.,  fls.,  and  Sis.  6d.    '  ' 
The  Box.  Office  is  under  the  superintendence  of  Mr.  O^Reilley. 
Tlia  Refreshment-looms  nnder  the  management  of  Mr.  Payne. 
The  Illumination  of  the  house  under  the  care  of  Messrs.  Patrick  and  Co. 

J^  ^yjW^SiST?**™®**  «nptoyed  in  the  Decorations  are  executed  bv 
Mr.  C.  Bielcfleld,  of  Wenington-streer,  by  his  new  patent  machineiy.  ""^^~  "' 
Ftill  particulars  will  be  duly  announced. 


M.  JULLIBN  bogs  respectfully  to  sUte  that  the  CONCERTS  can  continue 
but  for 

ONE   MONTH   ONLY, 

the  theatre  being  required  for  the  rehearsals  of 

THE    GRAND    OPERA, 

the  firat  repr«entaUoii  of  which  wiQ  take  place  on  December  lat* 


NfW    MUSICAL    WORKS 

PUBLUMIED  BT 

MESSES.   JTTLLIEK   &  CO., 

^Oogal  iKtttskal  (SohseibatotSt 

SI4,  BSCIBKT  BUEBT. 


TROIS    ETUDES    CAAACTEBISTianES, 

En  forme  de  Caprices  pour  Violon  Sdo,  avec  AocomfiagnemeBt  de  PUno 
compos^es  et  dediftes  &  Son  Altesse  Royale  Mokseiombur  lb  Due  db 
Cambridge,  par 

P.  BAINTON,  Professeur  a  I'AoRddmle  moynle  de  SfwHqnf. 

Price  St.,  orsmgly,  Nos.  I.  and  11.,  8s.  {  Ko.  1 11^  4s. 


A    TR  E  ATI  S  E 


ON   THE 

ART    OF    SINCINC. 

Giving  Rules,  Exercises,  and  Examples  adapted  to  every  species  of  Voicr, 

Accompanied  by 

■ptelmtiui  of  the  most  Bnalaent  Masters  of  the  Ancient  an 
M o4tn&  tiOhodlS. 

Dedicated  to  Rossini,  by 
O.  DVPEtS,  VcBsber  of  the  Conserwatolre  noyelo. 

Psnt  the  First,  price  Sa. 


THE     MODERN     TUTOR 

FOR  THE 

PIANO-FCRTE, 

Comnaendng  with  the 

FIRST  RtJBIMENTS   OF   MTTSIC, 

A\kd  gradually  proceeding  through  a  Progressive  Course  of  Study  up  to  tlie 

MOST  REPINED  STYLE  OF  MODERN  PIANO-FORTE 

PLAYING, 

ninttrated  with  nnmeroiu  Examples  and  Ezeroises 

On  all  the  various  Fingerings  adopted  by  the  most  eminent  Masters  of  the 

Modern  School ; 

Interspersed  with  Morceaux  from  the  Works  of 

Bpohr,  BeetbOTon,  Vosart,  Rossini,  BelUni,  Boeh.JUbert, 
Halerir,  *o. 

ALSO 

KUISS    FOB    THE    70SMATI0V    OF   THE    HAVD, 

With  Sdections  from  the  PSano-forte  Compositions  of 
Hera,  BoUer,  Thalberv^  *o., 

Compoied,   Arranged,  and  Fingered  by  THOMAS   BAKBR,  Irosi 
Hkr  Majebty'b  Thbatrb  and  the  Rotal  Acasbmt  or  MuBic 

Priea  complete,  15s.;  or  in  two  parts,  8s.  eadi. 


Printed  and  publish««l,  Ibr  fbe  Pitoprlekors,  at  the  <«  Nassau  Steam  Pfcaa,>* 
by  William  SpniiQaa  Johnson,  60,  St.  Martin'a  Lane,  in  the  perish  ef  At. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex  t  where  aU  comnMuiicsrtena 
for  the  Bditor arete  be  addreasedpoatnakU  To  he  had  of  C.  Peitem, Dean 
Street.  Soho :  Strange.  Patemeater Bow ;  Wiiieheart,DubUn :  andall  Bookaeltea. 
CityAgen  Mr.Q.  r.Dennii«.S,BQckler8hury.-Saturdir«  October  tnd,iai7. 


(FU8LISHCD    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  CONCERT  ROOM,  MUSIC,  LITERATURE,  FINE  ARTS, 

FOREIGN  INTELLIGENCE,  &c. 

Tvnui  of  SubSCTlpttmit  »«r  Aaattaa,  16s.  Stamped ;  ISb.  Unstaaaved  $  to  bo  forwarded  liy  Vonoy  Ordor  or  Poataro  Staaftpa 
to  tho  PubUaberi  W.  8.  aohnaon,  ''Ifaaaaa  Stoam  Proaa/'  eo,  8t.  Martln'a  Irfno,  Ohart&r  Croaai 
^f^YtatljMuhmeHb^ru  only  (whoao  aamoa  aro  roglatorod  at  tho  Oflco)  aro  ontltlod  to  an  Admlsaloa  to  tko  Aimml  Oonoort. 


No.  41— VouiXIL 


SATURDAY,  OCTOBER  9,  1847. 


(PKICB  TUMEFRNCB. 
1  STAMPJBD,  FOUEPBMCS. 


LETTEM   FROM   PAR1$. 

(So.  Z.J 

TO   DX8M0ND   RYAN,   X8Q. 

Mt  dbae  Rtan, — I  have  only  time  to  write  you  a  few 
hasty  IineSt  into  which  I  roust  coropreB3  all  the  news  I  can 
gather,  on  the  B<ntlevards  and  elsewhere. 

My  joamey  from  i^ondon  ofi^red  little  worthy  of  remark. 
The  weather  was  fine  and  the  passage  from  Folkestone  de- 
Bghtfnl.  N.  B.  When  you  take  a  trip  to  Paris,  if  you  are  not 
in  a  hurry,  divide  the  distance  from  Boulogne  to  Paris  into 
two  parts— from  Boulogne  to  Ahheville,  and  from  Ahheville 
to  Paris.  "Riere  is  much  worth  seeing  all  the  way,  and  greatly 
as  I  was  pleased  with  the  department  of  the  Seine  and  Gise, 
which  I  attempted  to  describe  in  my  Isst  letter,  I  was  still 
more  charmed  by  the  hills  and  valleys  of  the  Boidonais,  which 
I  shall  not  attempt  to  describe  in  this.  Among  the  remarkable 
oljectSy  however,  must  be  cited  the  ehateau  o{  Pfmi^de^Brtque^ 
an  old  edifice,  in  which  Ni^leon  resided,  with  his  mareeJuUs, 
when  he  had  an  army  of  observation  near  Boulogne ;  Uie  little 
town  of  St«  Mer,  situated  on  a  lofty  prominence,  overlooking 
a  large  tract  of  country,  the  Basin  du  Boulonais,  one  of  the 
finest  bits  of  plain  hilUand-vale  scenery  I  ever  saw,  present- 
ing, literally,  the  appearance  of  a  gigantic  basin,  formed  by  a 
ridge  of  bills  bounding,  amphitheatrically,  an  enormous  valley ; 
the  forest  of  Montreuil ;  and  last,  and  best,  the  ancient  for* 
tified  town  of  Montreuil,  with  the  still  more  ancient  Basse- 
villa  adjoining:,  one  of  the  most  interesting  objects  in  the  whole 
of  France.  All  these  present  themselves  successively,  in  the 
order  in  which  I  have  placed  them,  and  all  are  well  worth  in- 
spection. Sterne^  you  may  remember,  alludes  to  Montreuil, 
in  his  Seniimenial  Journey,  Therefore  don*t  fail»  as  i  have 
hinted,  to  divide  your  journey  from  Boulogne  to  Paris  into 
halves,  and  take  both  tquUb  by  daylight— or  you  will  miss 
much  worth  seeing,  both  in  respect  of  fine  scenery  and  his- 
torical interest.  Also,  mind  you  get  a  seat  in  the  ^aa^tte/te, 
or  you  lose  the  b6st  part  of  the  views,  together  with  the  society 
of  die  conducteur^  who  (I  speak  of  him  from  the  Menageries 
MoyaleS'-'not  Lafitte's)  is  a  very  well-informed  and  advanta- 
geously loquacious  person,  who,  to  make  up  for  the  slowness 
of  his  horses,  tells  you  all  he  knows  of  the  country,  and  a 
great  deal  more  besides.  But  beware  putting  what  he  says 
into  a  book,  or  you  may  chance  to  be  rebuked  by  the  re- 
viewers as  Baron  Munchausen  the  second. 

I  reached  Paris  at  five  o'clock  on  Tuesday  morning.  On 
arriving  at  Abbeville  we  stopped  at  an  hotel,  to  partake  of 
what  was  styled  j  in  courtesy^  a  dinner,  which  consisted  of  nine 
or  ten  different  preparations  of  sundry  tough  and  ill-flavoured 
fowls,  with  some  spinach,  some  fruits,  and  some  egregiously 
vnpaktable  vin  ordinaire.  This  refection  occurred  at  nine 
o'clock  in  the  evening.    I  have  forgotten  the  name  of  the 


hotel,  but  [  remember  we  paid  three-francs-and-a»half  per 
head  for  *' the  dinner,"  with  something  extra  to  the  gar^on. 
If  you  ever  travel  by  this  road,  avoid  entering  the  hotel  at 
which  the  dUigenee  stops — which  might  be  called  Le  Potdet 
varU — and  go  to  a  cafe  hard  by,  where  you  will  get  something 
to  eat  and  drink,  more  palatable  endless  expensive.  Afdlow- 
traveller  informed  me  that  the  horses,  dogs  and  cats  belonging 
to  the  hotel  were  all  fed  with  the  same  dish,  and  that  "  toujours 
fowl'*  was  so  much  the  motto  of  the  landlords  that  he  never 
ate  anything  else  himself^  nor  would  he  allow  his  ftmily  or  his 
servants  to  nourish  themselves  with  aught  besides.  At  Abbe- 
ville the  diUgenee  was  attached  to  the  convoi  on  the  railroad, 
by  a  mechanical  process,  which  occupied  more  than  half-an- 
hour  in  the  performance,  during  part  of  which  time,  we  were, 
like  Mahomet's  cofiin,  swinging  mid-way  betwixt  earth  and 
heaven.  This  contrivance  is  curious  enough,  but  redounds 
more  to  the  glory  of  the  mechanic  who  invented  it  than  to  the 
personal  comfort  of  the  passengers  who  are  obliged  to  submit 
to  it.  However,  maugre  the  fowls  of  the  landlord  of  Abbe- 
ville, and  the  ingenuity  of  the  railroad  mechanic,  we  arrived 
safely  in  Paris  at  the  hour  I  have  mentioned,  and  were  extri- 
cated from  the  convoi,  by  a  process  similar  to  that  by  means  of 
which  we  were  previously  attached  to  it. 

Paris  is  filling  gradually  ;  the  season  will  soon  commence, 
and  the  great  personages  return  from  the  chace  and  the  other 
"pleasures"  of  a  country-life.  Yesterday  it  was  raining  all 
day  long,  and  it  was  useless  attempting  to  explore  the  town — 
for  Paris,  you  must  know,  on  a  rainy  day,  is  dirtier  than  all 
the  towns  and  cities  of  England  put  together.  Your  only 
resource  is  the  Passages^  which  are  covered  in,  like  Burlington 
Arcade,  and  these  are  numerous  enough ;  besides  which  they 
are  little  towns  of  themselves,  consisting  ofanumber  of  arcades 
joined  together  in  groups,  like  constellations,  where,  if  you  be 
a  stranger,  you  may  very  easily  lose  yourself  for  half-an-hour 
at  least.  In  these,  and  in  the  Palais  Royal^  you  may  find 
amusements  to  suit  every  taste^eo/i^,  reading-rooms,  billiard- 
rooms,  shooting-rooms,  coiffeurs,  restaurants,  guingettes,  caba- 
rets,  griseties,  boot-cleaners  at  all  the  thoroughfares,  and  many 
other  resources,  combining  pleasure  and  convenience.  But, 
blas^  to  all  this  kind  of  thing,  I  contented  myself  by  walking 
about,  and  as  I  observed  the  motley  crowd  of  passers-by, 
constructing  an  imaginary  physiologic  des  passages  de  Paris, 
untU  the  time  for  dmner  arrived,  when  I  dined  very  agreeably, 
in  society  the  most  agreeable,  and  forgot  altogether  the  in- 
clemency of  the  weather  and  the  filthiness  of  the  streets,  paven 
or  unpaven — ^for  there  is  Uttle  to  choose  between  them  in  the 
rainy  time— in  the  comfort  and  sociality  of  the  moment.  With 
whom  I  dined  I  shall  not  tell  you — ^if  you  cannot  guess,  you 
inust  remain  in  ignorance. 

To*day  the  weather  is  totally  changed«»8un8hine  bathes  the 
Digitized  by^^OOy  It: 


6^6 


THE   MUSICAL  WORLD. 


ho^Hn  and  th«  4tr«^  9  g^dflR  ^Hf  lAd  everytllba  W^ 


gay  ai«4  biflliant,    W<4|mgff4tht 


meet  all  the  world — was  the  fair  and  buxom  Alboni,  looking 
very  handsome,  and  saucier  than  ever.  I  got  some  news  from 
her,  at  least — and  not  the  less  welcome  wa^  it«  inasn^ucl^  as  it 
conoemed  herself*  On  Saturday*  a  representation-extraordi- 
nary will  be  given  at  the  Opera  (the  Acadtmie  I  mean),  to  be 
divided  into  two  parts : — the  first  part  will  oonsist  of  a  Imlhi ; 
the  second  of  a  misMllaneous  coneertj  \ti  the  oourse  of  which 
Albttu  will  sing  the  grand  duet  from  Taneredi  with  Duprez, 
the  grand  duet  from  SemWamide  with  Alizard,  an  air  from 
L'ltalianUj  and  the  rondo  from  Cenerentoh*  Should  this 
representation  prove  attractive — and  how  can  it  be  otherwise, 
when  Alboni  is  concerned  ? — it  will,  I  am  told,  be  followed  by 
m  second  on  Monday  or  Tuesday,  and  subsequently,  it  is  pos- 
atU«»  by  several  others.  The  engagement  of  Alboni  was 
made,  in  the  names  of  MM.  Duponchel  and  Roqueplan,  by  M. 
Marie  Esendier,  one  of  the  proprietors  of  La  France  Musicale, 
who  went  to  Brighton,  where  Alboni  was  singing  at  a  conoert, 
expressly  for  Aat  purpose.  It  is  not  true,  as  the  London 
journals  have  statedi  that  Alboni  is  engaged  to  perform  in  the 
eperae  at  the  Academe,  fiut  it  is  possible  that,  in  January, 
sdfter  her  engagement  at  Pesth  is  ooneluded,  that  she  may  be 
persuaded  to  come  to  Paris  and  appear  on  the  French  stage. 
I  doubt  the  result,  however.  The  Parisians  are  all  on  fire  to 
hear  Alboni,  and  there  will  be  no  standing-room  at  the  Opera 
«n  Saturday. 

The  affairs  of  MM.  Duponohel  and  Roqueplan,  who  have 
succeeded  M.  Pillet  in  the  direction  of  the  Opera,  are  pro- 
ceeding prosperously ;  the  reeettes,  since  the  re-opening  of 
the  establishment,  have  been  splendid.  Duprez,  has  so  well 
profited  by  his  six  months  holiday,  that  he  is  all  his  former- 
self  again.  I  have  heard  him  in  La  Juive,  and  La  Favorite, 
two  of  his  great  operas,  and  was  delighted  both  with  his 
singing  and  his  acting.  It  will  be  indeed  difBcult  to  fill  up 
the  vacancy  that  must  be  left  when  this  extraordinary  artist 
retires  from  the  stage  |  there  is  at  present  nothing  that 
approaehes,  or  is  Kkely  to  approach  him,  in  his  own  walk. 
M.  Poultier  has  been  recalled  ftom  Italy,  by  the  new  manage- 
ment, and  made  his  rentr^e,  the  other  night,  in  La  Muette, 
which  magnificent  ehef  d'ceuvre  has  been  reproduced  with  the 
splendor  and  eare  that  marked  its  performnnoe  when  it  was 
first  brought  out.  If  you  w&nt  to  judge  the  quality  of  the 
chorus  and  orchestra  of  the  Aoademie,  you  should  hear  them 
in  La  Mueite,  the  square  and  stilted  instrumentation  of 
Hal^vy  gives  but  poor  occasion  for  displaying  their  powers. 
In  La  Juive  you  will  say  that  the  reputation  of  the  Aeademie 
orchestra  is  prodigiously  overrated,  but  in  La  Muette  you 
will  say  that  it  is  full  worthy  of  its  celebrity.  Poultier  was 
•nooesaful,  but  I  shall  take  another  occasion  to  speak  of  him 
more  at  length.  By  the  way,  he  sang  your  favorite  song 
(while  EenelU  is  sleeping)  With  very  great  feeling.  Maria 
(whom  Mr.  Bunn  once  introdueed  to  London)  played  Fenella» 
aofb  your  little  Plunkett  danced  the  Manola^  which  wa9 
rewarded  (as  in  London)  with  an  encore.  The  women  here, 
M  present,  are  Mdlles.  Dameron,  Kau,  and  Masson.  The 
first  I  heard  in  La  Juive  ;  sha  is  a  clever  singer  and  a  graee*- 
fiil  actress }  her  voice  is  a  eoprano  of  moderate  power,  which 
abe  manages  with  considerable  skill ,  her  person  is  prepos* 
aessing,  if  not  decidedly  handsome ;  but  she  had  none  of  the 
•lemenU  of  greatness.  With  Mdlle.  Nau  (who  is  engaged  by 
M.  Jullien  for  Drury  Lane)  you  are  already  acquainted  j 
Mr.  Maddox  introduced  her  to  the  London  public  three  or 

''<      *      i'         i.MiWHi;w^    u^i  *'    .^       ^   ^1     -ji    "J    "  nf.i.iyf   mill     ,    nil      m  t 


fonv  ym%  iir*  ^UUif  MlW>tt  ^adf  in  |i|«iens«  i||  In 
Loi  I^fiegite^  f he  }s  |  fffjf  young  W^%  V^<^'  H  ^7 
opbicM^  aeif .  ii^at  ^efm  ^Sir  voice  i^^  fnf^ae  s^m0*  .the 
middle  and  lower  notes  of  wtiich  are  of  delieious  quality. 
She  sings  well,  and  is  equally  effective  in  passages  where 
force  and  energy  are  demanded,  apd  in  tho^  wb^re  grao^  and 
tenderness  are  required.  She  acts,  moreover,  with  much 
judgment,  and  has  a  large  amount  of  passion  at  command, 
which  she  always  uses  with  effect,  and  in  the  proper  places, 
avoiding  exaggeration  and  inflated  expression  of  all  kinds. 
To  eonelnde,  Mdlle.  Masson  is  a  handsome  person,  and,  as 
Jules  Janin  grajdiically  expresses  it,  '^  8a  robe  fait  des  hnmx 
plis," — ^which  insinuates  that  she  moves  upon  the  stage  with 
the  ease  and  grace  of  one  long  accustomed  to  it,  and  that  her 
garments  are  not  embarrassments  to  her  motion.  Mdlle. 
Masson  has  since  appeared  in  La  Reine  de  Chypre  of  Hal^vy, 
and  in  Charles  VL  of  the  same  composer ;  but  1  have  not 
seen  her  in  either  of  these  operas.  By  the  way,  there  is  a 
great  out-cry  against  MM.  Duponchel  and  Roqueplan,  oa 
account  of  the  undue  partiality  they  have  hitherto  shown  for 
the  works  of  Hal^vy.  The  Aeademie  re^opened  with  La  Jmve^ 
and  already,  ia  less  than  a  month,  we  have  had  two  more 
**  grand"  operas  of  the  same  calibre.  If  the  new  managers 
persevere  in  dosing  the  public  with  these  tremendous  opiates, 
the  public  will  begin  to  think  that  they  have  gained  nothing 
by  the  abdication  of  M.  L^a  Pillel,  but  two  direetors  in  the 
place  of  one. 

Signor  Bettini  has  appeared  twice  in  Lueie^  and  has  been 
favorably  received ;  if  he  could  manage  to  check  his  enthnaiasm 
he  would  abg  much  better-<^but  I  believe  you  have  ohaerved 
the  same  thing  in  one  of  your  Royal  Italian  Opera  notices. 
The  other  singers  now  at  the  Opera  are  Paulin,  a  second-rate 
seeond  tenor ;  Alisard,  a  bass,  with  the  finest  voiee  ia  the 
world,  and  a  manner  of  singing  by  no  means  devoid  of  ex- 
pression ;  Porte-haut,  a  bass,  who  aosnetimes  reminds  me  of 
Borrani ;  Barhoilhet,  whom  you  recollect  at  Her  Majesty's 
Theatre  singing  very  indifferently,  and  who  at  pteaeat  does 
not  sing  differently ;  and  some  o^ers  whom  I  have  no  time 
to  mention  now. 

The  hallH  is  in  high  feather,  Garlotta  made  her  teiUrte  in 
Le  Liable  d  Quatre^  and  was  received  with  enthusiasm. 
Lueie  being  the  opera,  the  house  at  the  beginning  was  not 
very  good ;  but  Garlotta,  one  of  the  idols  of  the  Parisiana*— 
who  place  her  before  all  the  daneers  in  the  world,  Tagkioni 
and  Ellsler  included--*proved  such  an  attraction,  that  befiire 
the  curtain  drew  up  for  the  ballet  there  was  no  staading-«ioom 
in  any  part  of  the  house.  With  the  exception  of  Duprez, 
Garlotta  Grisi  is  the  only  artiste  whom  I  have  seen  appbuded 
by  the  audienoe,  independently  altogether  of  the  eiac^  du 
lustrSf  a  company  of  gentlemen  who  occupy  tlw  fburUi,  fii&, 
and  sixth  rows  in  the  pit,  and  annoy  the  reet  of  the  awdieace 
with  th(4r  boisterous  and  incessant  demonstratioiis  of  finfelt 
satislieiction.  But  Garlotta,  like  Duprea^  is  one  of  those 
talents  d  part  that  require  no  such  artifieial  aid }  she  asoves 
the  audience  to  the  heart,  and  the  audienoe  waits  not  for  the 
elaeque  to  point  out  where  and  when  they  should  applaisd. 
Garlotta's  renirte  was  a  new  triumph,^ihe  must  be  tirad  of 
triumphs  by  this  Ume)-^aad  after  the  grand  pav  ei  the  last 
scene  the  stage  was  covered  with  more  boaquets  thaft-  the 
charming  artiste  could  hold  in  both  her  arms.  GaHotta  has  also 
danced,  several  times,  the  Pas  de  deum  in  La  AaiH«a,  in 
whieh  she  ikst  debuted  at  the  Aeademie^  five  years  ago.  This 
is  one  of  her  most  graeefol  and  finished  efforts,  and  is  sSMifa 
an  attraction  to  the  Parinaa  publio.  Oa  Friday  sha  will  ifrnke 
in  La  Qisdk» 

Digitized  by^^UOy  It: 


THE  MUSICAL  WORLD 


647 


Cerito  and  St.  Leon  make  their  appearance  on  Monday,  in 
a  new  (yes»  a  new)  hallet^  called  La  Fille  de  Marbre,  the 
music,  with  the  exception  of  the  waltz  from  Alnutt  composed 
ezpsesaly  by  Pugai  for  the  oocaaioQ  ;  tha  ballei  aod  the  miiaic 
are  bo^h  spoken  big^  of,  and  gveaC  things  are  anticipated  of 
Cerito. 

Miss  Birch  will,  it  Is  expected,  make  her  deMt  in  about  a 
fortnight,  in  Guillaume  Tell,  which  is  tq  be  reproduced 
expressly  for  her  with  great  spleador. 

The  Italwu  opened  on  Saturday  idth  Jkm  Giovanni, — 
Grist,  Persian],  Corbari,  Mario,  Labhieha*  and  Goletti,  taking 
thair  usual  parts.  M.  Yatel  has  been  blamed  for  opening 
with  this  ehrf  d'auvre^  because  it  has  no  prominent  part  for 
one  artist  to  distinguish  himself  before  all  the  rest— >a  very 
good  reason,  in  my  opinion,  for  selecting  it.  What  a 
difference  between  the  orchestra  at  this  and  that  of  Costa  at 
the  Royal  Italian  Opera  I  Bat  mpr^  of  the  lialiens  in  my 
next.  Meanwhile  I  may  tell  you  that  Castellan  makes  her 
deM  on  Saturday,  in  Zmm,  and  that  Roneoai  and  his  wife 
(who  have  n^  been  to  Berlin,  tn  spile  of  your  correspondent) 
have  arriyed  fn  Paris. 

Donizetti*  who  left  Paris,  with  his  nephew  and  brother, 

L doctor — for  Bergamo,  was  taken  yery  ill,  ten  days  ago,  at 
ussels,  since  which  no  n6ws  whatever  has  been  heturd  of 
him*  and  his  friends  here  are  in  the  greatest  state  of  ia- 

Soietude*    Balfe  has  just  arrived  from  his  country  tour  with 
enny  Und,  who  has  gone  off   to   Berlin   md  Hamburgh. 
The  post*time  is  at  hand,  and  I  must  conclude.     Good  bye. 

Your*8  ever,  D. 

DRURY-UNE  AND  ITS  PROSPECTS. 

Ma.  JuLLiBM  has  eommenoed  his  campaign  in  reality,  llie 
Promenade  Concerts  may  be  said  to  constitute  the  heliacal 
rising  to  the  operatic  dawn  of  the  new  Academy.  Drury- 
Lane  Theatre  is  renovated  and  redecorated ;  has  doffed  its 
fool  and  wrinkled  ugliness,  and  has  donned  the  aspect  of 
youthful  and  smiling  beauty.  The  interior  of  the  house  is 
kardli^  recognisable.  Its  appearance  is  extremely  splendid, 
f  at  nothiftg  gorgeous  offends  the  severest  taste.  The  prevail- 
ing oolors  are  scarlet  and  white ;  the  ornaments  are  all  in  gold. 
The  ceiling  is  remarkably  handsome,  and  presents  the  appear- 
ance of  the  sky  as  seen  through  a  dome.  The  curtains,  scarlet 
and  gold,  profess  the  hues  of  the  Royal  livery.  An  extreme 
lightness  pervades  the  house,  and  gives  it  a  more  capacious 
appearance  than  it  was  wont  to  wear.  The  circle  above  the 
dress  has  been  transformed  into  private  boxes.  The  change  ap- 
pears judicious.  The  new  chandelier  is  chaste  and  beautiful,  and 
diffuses  a  charming  light  throughout  the  theatre.'.  The  purest 
taste  seems  to  have  directed  all  the  arrangements  and  altera- 
tions connected  with  Drury-Lane.  It  is  now  certainly  oi;p  of 
the  most  elegant  theatres  in  Europe.  As  we  shall  speak 
(elsewhere  of  the  Promenade  Concerts,  we  shall  overlook  them 
here.  Let  us  in  a  few  words,  now  that  Mr.  Jullien's  company 
is  established,  and  his  orchestra  completed,  speculate  on  the 
prospects  of  the  new  Academy,  A  priori,  one  thing  is  cer- 
tain, that  an  equal  amount  of  vocal  talent  has  seldom,  if  ever, 
been  congregated  within  the  walls  of  this  house.  The  new 
tenor,  Mr.  Reeves,  has  obtained  in  Italy  the  greatest  reputa- 
tion of  any  English  singer  since  the  days  of  Braham.  We 
only  heard  him  one  night  in  a  concert  at  Drury  Lane  last 
year,  when  we  were  inunediately  impressed  with  the  beauty 
of  his  voice,  and  exquisite  purity  of  his  style  and  method.     A 

Entleman,  and  no  mean  judge,  who  heard  him  at  Milan,  and 
lew  the  estimation  in  which  ha  W4«  hal^  d^lMmi  ta  ^$  thai 


I 


he  was  oonsidered  the  greatest  tenor  on  the  Italian  stage  since 
the  retirflMent  of  Rubini*  From  what  we  have  heard,  and 
from  what  we  learn,  we  are  inclined  to  think  that  Mr.  Reeves 
belongs  to  the  Duprez,  rather  than  the  Rubini  school.  His 
Edgardo  in  the  Lueia  di  Laimmermoar^  we  know  from  authentic 
report,  created  a  fur€T9  with  the  Milanese.  We  believe  Mr. 
Reeves  will  make  his  dehUt  in  an  £nglish  version  of  the 
Lucia,  Of  Piscbek  we  need  hardly  say  a  word.  Although 
his  dramatic  powers  are  unknown  in  England,  his  vocal  quali- 
ficadons  have  been  sufficiently  tested  in  this  country,  and  have 
won  for  him  a  great  repute.  In  Vienna,  Berlin,  and  other 
cities  of  Austria  and  Germany,  his  histrionic  capabilities  have 
been  spoken  of  as  something  wonderful.  His  performances 
of  Faust,  Don  Juan,  Zampa,  and  other  characters,  have 
placed  him,  with  his  own  countrymen,  among  the  first  bary- 
tones in  Europe.  His  first  appearance  may  be  reckoned  upon 
in  either  of  the  three  operas  just  named.  Of  Mr.  Whitworth 
Jones,  we  can  only  speak  from  report,  which  ^ves  him  a 
splendid  voice,  and  a  fine,  manly  style.  Of  the  ladies*  the  three 
principal  prime  dwMS  are  Miss  Birch,  Mademoiselle  Nau,  and 
Miss  Susan  Hobhs.  The  first-named  vocalist  has  for  several 
years  held  the  position  of  first  soprano  in  England.  Miss  Birch's 
high  talents  are  too  well  known  to  require  any  comments  in  this 
place.  Mdlle.  Nau,  who  has  lately  been  transplanted  firom  the 
Opera  Comique  at  Paris  to  the  Aeademie  Royale  de  Musique^ 
is  one  of  the  greatest  established  favorites  in  the  French 
capital.  She  was  announced  last  season  as  engaged  by  Mr. 
Maddox  for  the  Princess's,  and  was  to  have  made  her  debut  in 
Howard  Glover'a  c^ra,  written  expressly  for  her ;  but  from 
some  cause  that  has  not  transpired,  the  negotiation  was  iMroken 
off.  Mademoiselle  Nau  is  a  singer  of  the  brilliant  school. 
Both  as  a  vocal  and  histrionic  artist  she  stands  very  high  in 
French  estimation.  Miss  Susan  Hobbs  we  have  beard  on 
sundry  occasions,  some  seasons  since,  at  concerts.  Her  voice, 
a  high  eapranot  appeared  to  us  at  the  time  to  possess  great 
compass  and  flexibility;  but  the  organ  was  evidently  un- 
fbrmed,  and  requh'ed  a  severe  course  of  education.  She  has 
been  studying  in  Italy  for  two  years  under  the  best  masters, 
and  is  pronounced,  in  a  late  letter  from  our  Milan  corres- 
pondent, to  be  a  first-rate  vocalist.  Notwithstanding  this  great 
display  of  talent,  M.  JuUien  appears  to  us  to  require  one  very 
necessary  component  of  a  complete  operatic  company,  a  coa- 
irako,  M.  Jullien  has  announced  in  his  recent  advertisements 
the  engagement  of  Miss  Dolby  for  his  concerts.  If  the 
manager  could  contrive,  by  any  possible  means,  to  obtain  the 
assistance  of  this  talented  and  highly  popular  artiste  for  his 
operatic  corps,  he  would  not  only  add  to  its  intrinsic  strength 
and  efficiency,  but  the  engagement  would  create  a  feeling  of 
unqualified  delight  in  ail  true  lovers  of  music.  Miss  Dolby  is 
one  of  the  most— ^ if  not  the  most — popular  female  vocalists  in 
England,  and  her  engagement  at  the  Drury  Lane  Academy 
would  be  one  of  the  most  politic  acts  of  the  new  administration. 
We  are  much  mistaken  in  M,  Jullien's  keen-sightedness,  and 
his  diplomatic  talents,  if  he  endeavour  not  to  obtain,  by  might 
and  main.  Miss  Dolby  for  bis  theatre.  With  such  an  array  of 
talent,  with  the  splendid  chcMrus  promised,  and  which  no  doubt 
will  be  made  available,  and  with  his  magnificent  orchestra,  of 
which  we  had  a  good  foretaste  in  last  night's  performance,  it 
will  be  M.* Jullien's  own  fault  if  his  success  be  not  triumphant. 
Several  difficulties,  doubtless,  appear  in  prospedu,  as  when  do 
they  not,  in  a  gigantic  undertaking  like  that  entered  upon  by 
the  enterprising  manager.  We  shall  have  more  to  say  of  the 
Drury  Lane  doings  by  and  bye,  when  M.  Jullien  issues 
ofiknally  his  opMatic  prospectus,  which  we  expect  directly  the 
PromcMda  Concerts  w»  fflnalMfM 

Digitized  by  \^(JOy  It: 


&48 


THE  MUSICAL  AVORLD. 


ft  Kttati&t  on  tO^  *^  9fSnitiM  of    tttbtj^^/^ 

IN   ITS  WORLD-HISTORICAL  SIGNinCANXE, 
BSYXLOPBD  ACCOBSIVO  TO   ITB   HOBAIi  AVP  ABTISTICAL  TiXUB, 

SVdwtfoM  ft-om  tk&  Oerman  of  Dr.   Mnnrieh  Theodor  S&i^cher, 
Frofeaior  at  tbe  Royal  Oymnatiiim  at  Bnnubeis. 

CHAPTER  IK—(eontikued  firwm  page  6S3). 

THB  DSVELOPMBNT  OF  THE  8INOLK    CHARACTERS  IN  TUB  "AFFINITIES." 

Eye  N  independently  of  our  declaration  in  the  first  section,  Luciana, 
as  the  most  abstract  opposition  to  Ottilia,  would  most  aptly  follow 
the  description  of  the  latter.  But  with  us  there  is  the  additional 
circumstance  that  we  have  placed  her  in  that  g^roup  which  is  given 
to  lis  by  the  sight  of  those  natures,  which  stana  external  to  the 
collisions,  and  with  which  therefore  our  glance  is  averted  from  the 
struggle  of  the  heart.  Hence  with  us  Luciana  took  the  lowest 
place,  because  she  represented  a  point  at  which  such  a  conflict 
between  the  natural  force  of  feeling  and  morality  cannot  take 
place.  Luciano  announces  herself  as  an  individuality  entirely  lost 
in  surface  and  outward  show.  As  Ottilia  is  quite  internal,  and 
everything  with  her  is  only  an  occasion  for  a  return  into  her  sen- 
sitive thought,  so,  on  the  other  hand,  Luciana  is  completely  cast 
into  worldliuess  and  averse  from  all  the  still-life  of  feeling.  '  With 
very  good  talents,  an  over  vivacious  temperament,  and  a  very 
advantageous  exterior,  she  is  n  possession  of  all  those  qualities 
which  secure  her  a  brilliant  part  in  society.  But  her  whole  being 
has  regarded  the  diffusion  of  brilliancy  as  the  highest  goal  of  life. 
Completely  directed  towards  the  external,  Luciana  shews  herself 
throughout  utterly  incapable  of  undersUnding  a  character  com- 
pletely opposed  to  her  like  Ottilia.  Charlotte  had  already  Judged 
of  Luciana  that  she  was  bom  for  the  world,  cultivated  herself  for 
the  world,  and  strove,  by  an  innate  domineering  character,  to 
make  herself  queen  of  that  little  circle  to  which  she  vet 
belonged. 

The  testimonial  of  the  Governess,  and  especially  the  brilliant 
commendation  which  she  gives  at  the  public  examination,  so  much 
the  more  confirms  in  our  eyes  that  grasp  at  acknowledgment  and 
at  enjoyment  of  outward  show,  as  in  Ottilia's  disposition,  we  at 
once  perceive  the  greatest  contrast  to  this  tendency.  The  feeling 
of  the  triumph  she  had  gained  had  made  her  even  supercilious, 
and  against  whom  could  tliis  feeling  of  victory  rather  be  turned 
than  against  Ottilia,  who  in  the  sight  of  Luciano  is  nothing  but 
a  scantiljr  endowed  being,  very  subordinate  to  herself.*  These 
traits,  which  were  already  shown  to  us  during  her  residence  in  the 
boarding-school,  and  which  of  themselves  have  brought  her  into 
opposition  with  Ottilia,  soon,  on  her  actual  appearance,  came  forth 
with^  much  more  decision,  and  cultivated  to  perfection.  The 
elasticity  and  liveliness  of  her  nature  has  almost  reached  the 
moveabloness  of  a  whirlpool,  taking  delight  in  the  most  noisy, 
restless  impetuosity,  and  carrying  others  along  in  its  course.f  The 
endeavour  to  distinguish  herself  above  others,  and  to  riot  in  this 
feeling,  has  become  heightened  into  a  vain  desire  for  brilliancy, 
which  encompasses  her  entire  nature,  into  the  most  bare-faced 
ambition  to  make  herself,  in  every  respect,  the  centre  of  society, 
and  everythin|^  dependent  on  her  own  will  and  humor.  But  in  this 
every  relic  of "  intemalness"  and  deep  feeling  is  naturally  lost, 
having  yielded  to  an  activity  which  is  always  directed  towards 
outward  show  alone. 

Since  nothing  is  done  by  Luciana  for  the  sake  of  the  thing 
itself,  and  she  is  never  able  to  forget  herself  in  any  one  of  her 
acts,  so  even  the  good  which  she  docs  makes  no  pure  impression, 
and  the  various  benefits  which  she  lavishes  extravagantly  enough, 
are  marred  by  the  character  of  ostentation,  which  always  accom- 
panies them.  Hence  it  is  never  in  her  power,  even  to  avoid 
afflicting  a  wound,  nay,  becoming  cruel  by  her  beneficence,  because 
in  everything  she  has  only  herself  and  her  most  subjective  satisfac- 


•  In  the  Govemew's  letter  it  is  said  of  Luciana, «  she  Jumped  abont  the  rooms 
with  her  prises  and  testimonials,  and  shook  them  in  Ottilia's  face.  *Toa  have 
come  off  badly  to-day,*  the  exclaimed.  Ottilia  answered  very  quietly,  <  It  is  not 
yet  the  last  day  of  examination.*  « Bat  you  will  always  remain  the  last  l'  cried 
*^5  ??2?»  '"^y*  *»**  bounded  away."— Dr.  RdUdker's  note. 

t  «  She  scarcely  aUowed  the  oldest  person  any  rest  at  the  card-table.  Whoever 
was  in  any  dexree  moveable  was  forced,  if  not  to  the  dance,  at  any  rate  to  a 
lively  game  of  foritits,  penaltiei,  and  pasilflt/'-C«r#il  bg  Dr.  BSUckir. 


tion  in  view,  and  never  understands  how  to  adapt  herself  with 
delicacy  to  the  particular  cases.  Nay,  to  delineate  such  a  character 
the  poet  has  purposely  exhibited  a  trait,  in  which  this  longing 
recklessly  to  obtrude  her  beneficence,  her  care  for  others  perfectly 
(ails  on  the  moral  side,  and  changes  itself  into  the  greatest  pain  for 
the  person  for  whom  it  was  designed.  * 

Since  Luciana  is  entirely  deficient  in  depth  of  feeling,  and 
rather,  being  impelled  by  a  restless  disquiet,  an  eternal  grasp  at 
change,  plunges  into  the  noisiest  lile,t  and  calls  it  forth  when  it 
does  not  already  exist,  it  follows  that  we  never  see  her  turn  her 
glance  inwards  and  seek  a  quiet  restinff-place  of  hearty  feeling  and 
unostentatious  intercourse.  The  self-will  and  extravagance  of 
Luciana  not  proceeding  from  humor  are  even  without  the  basis  of 
love,  and  therefore  act  with  no  vivifying  power  upon  the  feelings, 
but  rather  cause  pain  and  uneasiness.  While  a  self-will,  which 
bubbles  up  out  of  humor,  alwa^-s  has  a  reconciling  effort,  because 
in  the  production  of  contrasts  in  the  extravagant  aimless  binding 
together  of  the  heterogenous,  it  allows  a  feefing  to  shine  through 
which  reveals  earnest  in  the  midst  of  jest^  so  on  the  contrary 
Luciana's  self-will  is  more  strained  and  monotonous.  Very 
characteristically  for  her  nature,  which  is  destitute  of  all  feeling,  it 
confines  itself  to  a  rapid  attempt  to  seize  every  circumstance  only 
on  the  ridiculous  side,  and  always  to  perceive  an  occasion  for 
ridicule.  Humbleness  b  completely  wanting  to  this  selfish  self- 
will.{  A  recklessness  which  brings  out  the  ridiculous  in  things, 
and  is  onlv  bent  upon  discovering  this,  appears  to  us  much  more 
as  the  product  of  an  unfeeling  undersUnding,  which  takes  delight 
ill  apprehending  far-fetched  contrasts,  and  is  not  unfrequently 
practised  at  the  expense  of  others.  Such  an  understanding  b 
wanting  in  the  element  of  a  real  humor,  which  does  not  pause  at  a 
one*sided  grasp  at  the  ridiculous,  but  everywhere,  even  when  it 
good  naturedly  scofis,  exhibiu  a  love  which  sees  and  brings  out  in 
everything  a  connection  with  the  Idea.  While  to  Luciaim  every- 
thing appears  ridiculous,  because  her  selfish  self-will  only  considers 
things  as  isolated,  and  traces  them  from  their  internal  connection, 
80  with  genuine  humor  the  exhibition  of  the  merely  ridiculous  is 
generally  absorbed  into  the  contemplation  of  an  idea  which  is 
everywhere  present.  The  morbid  desire  to  trace  the  ridiculous 
everywhere  therefore  gives  an  evidence  of  internal  coldness,  just  as 
genuine  humor  in  its  harmless  operation  reveals  to  us  the  most 
beneficent  warmth  of  the  heart.l 

As  the  deep  nature  of  Ottilia  strives  against  the  wordly 
individuality  of  Ludani,  which  merely  calculates  on  outward 
brilliancy,  nay,  even  awakens  in  the  latter  a  real  dislike  to  thb 
charming  being,§  so  are  the  more  ideal  nersons  generally  repelled 
by  Luciana's  manner,  as  the  poet  has  aamirably  signified  to  us  in 
the  cold,  almost  froety  deportment  of  the  noble  Architect  towards 
her. II  For  even  her  great  endeavours  to  gain  a  homage  from  the 
Architect,  and  to  count  him  in  the  number  of  her  adorers,  fails 
through  the  quiet  equilibrium,  which  the  natural  aversion  of  the 
ideal  youth  from  Luciana's  woridly  conduct  opposes  to  her  efforto. 
Neither  was  she  able  to  make  the  poet  an  admirer,  but  on  the 
contrary,  b  d>liged  to  receive  from  him  a  painful  sensation. 


*  We  here  remind  onr  readers  of  the  narrative  how  Luciane  endeavoured  to 


restore  to  society  a  yonng  rirl,  who  because  the  had  the  misfortune  to  occasion 
the  death  of  a  yoanger  brother,  had  entirely  secluded  herself.  But  this  violent 
attempt  produces  the  most  firightAil  effect  on  the  young  girl.— Dr.  RuUckar'g 


nol€' 

t  According  to  the  poet's  expression,  **  Luciana  always  lashed  before  her  the 
stonn  of  life  in  the  social  whirlpool."— /Mi(. 

t  This  unpleasant  combination  of  *<  selfish'*  and  *<  self-will"  does  not  bdong  to 
the  original,  but  arises  from  a  difficulty  in  finding  a  good  word  for  **  Muthwilie." 
I  do  not  like  "  self-will,"  but  still  leu  do  I  hke  "  petulancy,"  or  "  wantonness." 
^Tramslator, 

f  This  desire  of  Lndana  to  seek  the  ridiculous  evemrhere.  had  manifestiy  given 
Ottilia  occasion  to  express  in  her  diary,  the  profoona  thougnt :  *The  sensual  man 
laughs,  when  there  is  nothing  to  laugh  at.  Whatever  excites  him,  his  internal 
feeling  of  satisfaction  is  made  apparent,"  and  quite  especially  is  the  weicfaty  word 
called  forth!  '*The  man  of  understanding  finds  almost  evervthing  ndicnlom, 
the  man  of  reason  scarcely  anything."  We  have  endeavored  siso,  to  exhibit  the 
sense  of  the  expression  with  relation  to  Luciana's  individuality.— Z^.  BSUeker*9 
note 

(  This  dislike  had  increased  on  Luciana's  side.  **  A  real  bitterness  had  arisen 
in  nar  relations  towards  Ottilia.  She  looked  down  with  contempt  on  that  quiet 
uninterrupted  activity  of  the  dear  girl,  iriiich  was  observed  and  praised  by 
everybody.— /M<l. 

I  Here  belongs  the  very  masterly  description  of  Luciana's  representation  of 
Artemisia,  in  which  the  Architect  has  to  co-operate,  as  the  builder  who  sketches 
the  grave  of  Mausolus,  but  is  not  to  be  brought  out  of  his  tranquility  and  stiff- 


THE  MUSICAL  WORLD. 


64^ 


It  has  always  appeared  to  us  a  very  refined  trut  for  characteriz- 
iDg  Luciana,  that  the  poet  makes  her  interested  with  especial 
▼ivacity  and  zeal  for  a  class  of  artisttcal  exhibitions,  which  is  both 
subordinate  in  its  nature,  and  is  particularly  adapted  to  shew  forth 
one's  own  personality,  and  gratify  one's  Tanity  without  trouble. 
We  mean  tne  representation  of  taoleaux  vivans,  which  completely 
occupies  Luciana,  and  which  she  everywhere  calls  at  once  into  life, 
certain  that  she  will  thus  succeed  m  makins:  herself  a  natural 
centre  of  society,  and  in  being  admired  by  the  spectators*  Vfe 
have  called  this  class  subordinate,  because  it  is  completely  destitute 
of  all  real  ideality,  and  is  only  directed  to  a  show  of  it,  since  it 
can  make  use  of  no  other  means  than  the  form  and  personality  of 
a  few  persons  who  chance  to  be  brought  together,  which  must  be 
always  relatively  deficient. 

Since  in  this  region  the  mind  can  bring  forth  no  product  of  its 
own,  not  being  able,  as  in  sculpture  and  painting,  to  elevate  the 
given  material  into  a  si^n  and  expression  of  the  Idea,  but  must 
confine  itself  to  artificially  decking  out  that  which  is  presented 
by  chance— a  common  reality,  so  that  it  may  have  a  show  of  the 
Idea,  the  tableau  vivant  always  remains  a  poor  substitute  for  the 
real  art,  which  it  imitates,  it  always  leaves  us  in  a  state  of  con- 
tradiction between  artistical  illusion,  ideal  show,  and  common 
reality,  since  the  last  cannot  be  traly  overcome  and  transfigured. 
At  the  same  time  this  sort  of  exhibition  gives  great  room  to  show 
one*s  self  to  advantage  in  every  way,  and  by  various  means  to 
turn  all  the  attractions  of  form  to  account.  Hence  there  will  be 
no  want  of  an  effect  upon  the  laigest  portion  of  the  spectators, 
because  people  in  general  require  a  strong  spring,  and  are  by 
sensual  illusion  excited  to  a  much  higher  degree  than  by  a  beautiftil 
ideal  appearance,  which  also  requires  an  ideal  tendency  for  its 
appreciation.  This  sort  of  artistic  activity  everywhere,  as  in  the 
case  of  Luciana,  owes  its  origin  to  vanity  to  an  endeavour  to 
produce  strons  effects  with  the  least  possible  expenditure  of  art 
and  technicality,  and  without  any  of  toat  mastery  over  material 
which  is  gdncd  by  serious  labor,  and  in  the  most  allowable  manner 
to  make  one's  self  an  obiect  of  an  universal  attention, — ^nay, 
admiration,  which  can  express  itself  without  restraint  at  the  charms 
of  the  form  and  the  entire  personality ;  while,  on  the  other  hand 
this  acknowledgment  can  oe  received  without  blushing  under  the 
veil  of  art.  Hence,  it  may  be  said,  one  reaps  in  sport  without 
sowing.  Hence  Luciana  is  just  as  much  inspired  for  the  exhibition 
of  tableaux  vivans,  as,  on  the  other  hand,  Ottilia,  who  is  excluded 
from  them  altogether  must  feel  a  secret  dislike  to  them,  which,  on 
the  subsequent  representation  of  the  Madonna,  she  with  difficulty 
overcomes.  It  is,  therefore,  an  excellent  thought  that  Luciana.  wno 
is  so  completely  plunged  into  the  world,  is  even  in  art  seen  to 
elevate  herself  only  to  a  lively  interst  for  tableaux  vivans,'*  which 
are  as  worldly  as  herself,  and  only  in  the  service  of  vanity.  The 
deeper  grouncl  has  been  developed  out  of  the  nature  of  this  class 
in  harmony  with  Luciana's  personality. 

The  figure  of  Luciana  will  certainly  have  awakened  in  us  the 
conviction  that  in  this  soil  a  collision  lietween  inner  powers  cannot 
thrive,  because  such  a  collision  always  pre-supposes  a  certain  depth 
of  feeling  and  an  endeavour  directed  inwardly.  This  is  still  more 
confirmed  in  us  by  the  want  of  all  heartiness  and  of  all  ideality  in 
Luciana's  relation  to  her  bridegroom,  this  being  so  thoroughly 
external  and  superficial,  that  it  completely  removes  all  notion  of 
capacity  for  depth  and  a  warmth  of  genuine  feeling. 

As  Luciana,  on  account  of  her  nature  being  wholly  lost  in 
externality,  cannot  admit  the  possibility  of  this  collision,  so  does  the 
Teacher  and  the  Architect  raise  us  above  it  firom  an  opposite  cause. 
We  will  begin  with  the  Assistant. 

(To  be  continued,) 

%*  To  prevent  misnnderttandinf^.  It  may  be  stated  that  the  copyright  of  this 
translation  belongs  solely  to  the  translator. 

*  Lociana'B  whole  natnre  is  altogether  closed  to  tme  art.  Everywhere  the  effort 
is  alone  considered.  Thus,  it  is  said  of  her  very  characteristically :  *'  Lnciana, 
like  all  persons  of  the  kind,  who  always  mingle  togetber,  what  is  advantageous 
and  what  is  detrimental  to  them,  wished  also  to  try  ner  fortone  in  recitation,  the 
memory  was  good,  but  to  speek  honestly,  her  delivery  was  spiritlesa,  and 
vehement  without  passion."  The  want  of  depth  is  very  definitely  expressed  in 
another  place:  "Luciana  thought  she  understood  everything  better,  and  as  her 
feelings  were  common,  so  to  carry  them  out,  the  skill  of  a  dear  vatet-de-ckawtkre 
seemed  quite  as  well,  as  that  of  an  eminent  artist.  Farther  than  an  altar  for 
sacrifice  and  a  wreath,  her  imagination  could  not  ascend  if  she  thought  to  make 
a  festal  compliment  on  every  one's  birth-day»— X>r.  Rdt$ek€r*9  note. 


SONNET. 

No.  LIV. 

Think'st  thou  I'm  hsppyT— There  is  Bcaroe  a  day 
That  passes,  but  a  lurid  light  it  throws, 
Msking  my  heart  some  secret  wound  disclose, 

Which  in  it  unobserv'd,  but  rankling  lay. 

And  all  is  self-inflicted.     'Tis  the  play 
Of  mine  own  thoughts,— the  stream  which  ceaseless  flows 
From  my  soul's  centre,  pois'ning  as  it  goes. 

Which  scatters  wounds  with  its  corroding  spray. 

The  world  is  kind  to  me ;  but  still— but  sliil. 
That  bitter  stream  is  ever  onward  rushing, 
O'erwhelniing  ruthlessly  each  thought  of  bliss : 

My  soul  itself  is  cors'd ;  I  may  not  feel 
That  joy  which  flows  for  others,  full  and  gushing; 
For  me  there's  veaom  in  the  fondest  kiss.  N.  D. 

JENNYLINDI   JENNYLINDII   JENNYUNDIII 

We  have  yet,  once  more,  the  last  time,  to  offer  our  readers 
a  few  extracts  respecting  the  Swedish  Nightingale.  As  Jenny 
Lind  is,  while  we  write,  departing  from  our  shores,  we  give  them 
as  a  parting  salute  in  honor  of  the  accomplished  vocalist. 

No,  1.— (From  the  Bath  GazetleJ—Bein^  as  well  pleased  as  most 
people  with  our  own  performances,  we  have  the  conceit  to  imagine  that 
in  our  last  paper  we  awarded  her  full  due  to  Jenny  Lind,  and  spoke 
quite  as  highly  of  her  vocalisation  as  the  facts  warrant.  But  while 
entertaining  no  prejudices  hostile  to  the  pretensions  of  the  lady  in 
question,  we  cannot  be  blind  to  the  species  of  TAndiolatry  which  prevails 
to  the  North,  South,  East,  and  West  of  us.  Except  on  the  old  principle 
of  **  one  fool  making  many,"  we  can  see  no  reason  for  any  such  ridi- 
culous feeling  as  is  exhibited  towards  tne  "Swedish  nightingale." 
Neither  do  we  deem  it  reasonable,  because  this  fair  lady  has  well-tutored 
vocal  oiigans,  can  sing  marvellottsly  well,  and  produce  a  shake  so  pure 
as  to  be  only  comparable,  in  the  ears  of  a  neighbouring  critic,to  two 
notes  rattled  together,  that  therefore  her  name  should  be  imported  into 
every  pastry  cook's,  halter's,  or  tobacconist's,  shop  in  the  empire. 
Surely  we  may  concede  that  she  equals  aU  living  singers,  without 
being  obliged* to  munch  "  Jenny  Lind"  comfits,  wear  Jenny  Lind  hats, 
or  treat  our  adolescent  friends  with  Jenny  Lind  cigars !  We  have  no 
means  of  knowing  to  what  extent  this  folly  has  intruded  into  those 
temples  of  vanity,  drapers'  shops ;  but  doubtless  shall  soon  find  the 
"weaker  sex,"  as  they  are  are  unpolitely  called,  bedecked  with  "  Jenny 
Lind"  plaids,  silks,  and  muslins.  The  "gents"  are  always  the  foremost 
in  the  march  of  folly  and  senility :  and  speedily  will  these  exhibiUnts  of 
their  tailors,  shall  be  found  luxuriating  in  outr€  neck-ties  and  unexam- 
pled  wrappers,  dignified  by  the  above  common  combination  of  alphabetical 
digits.  We  should  be  surprised  at  this  amusing  madness,  did  we  not 
know,  (hat  if  £ng)uid  be  infected  with  a  monomania,  its  sway  is  always 
right  royal.  Madden  the  English  people  about  anything,— whether 
political,  literary,  or  musical,  and  the  result  will  be  amazing.  Inspire 
them  with  a  penchant  for  a  statesman,  for  a  novelist,  for  a  cantatrice,  and 
it  is  wonderful  how  unanimous  they  are.  They  have  not  the  enthusiasm 
of  Germany,  the  ardour  of  Italy,  or  the  levity  of  France,  and  it  is  there- 
fore only  by  extreme  good  fortune  on  the  part  of  aii  inventor  of  projects 
that  thay  are  aroused;  but  their  pertinacity  is  marvellous.  Once  raise 
the  clamour,— once  obtain  the  sweet  voices  of  the  multitude,— and  they 
are  boisterous  and  untiring  beyond  example.  Popular  fame  is  prover- 
bially transitory,  but  nowhere  less  so  than  in  England.  Thus  it  is,  that 
at  present  we  are  blessed  with  a  very  fine  snd  flourishing  musical  mania. 
The  three  kingdoms  are  wild  about  Jenny  Und.  Cities,  towns,  vilUges, 
solitary  farm-houses,  are  continually  resonant  with  the  name  of  the  re- 
nowned songstress.  People  of  all  ranks,  stations,  and  dispositions,  crowd 
to  hear  her  tones  in  altiirimo,  and  profess  themselves  delighted.  Any 
other  opinion  is  pronounced  rank  heresy.  The  Queen  graces  her  by  the 
regal  gift  of  a  bouquet ;  young  men  commit  dishonest  acts  to  raise  money 
in  order  to  hear  her.  She  is  overwhelmed  by  encores,  bouquets,  ecstasies, 
testimonials;  and  last  of  all,  provincial  managers  purchase  her  services 
at  five  hundred  pounds  a-niglit.  As  seven  cities  contended  for  the 
honour  of  having  given  birth  to  Homer,  so  there  is  contention  as  to  the 
locality  of  Jenny's  matrimonial  predilections.  Half  the  journals  of  the 
kingdom  are  wild  on  this  topic.  Cutiers,  newspaper  editors,  clergymen. 
Iron-founders,  military  Lotharios,  Swedish  peasants,  simple  "  gentlemen," 
are  named  as  future  proprietors  of  the  band  of  this  mistress  of  "Unked 
sweetness."  It  is  quite  a  fortunate  hit  for  those  journalists  whose 
columns  are  usually  dreary  when  Parliament  is  not  sitting.  The  present 
season  would  tr>'  their  resources  terribly,  but  for  Jenny  Lind.  One 
cannot  get  a  French  ducal  murder  or  a  Thames  steam-boat  explosion 
every  week;  yet  on  the  feats»  the  connections,  the  intentions,  the 

Digitized  by  \^OOy  It: 


650 


THE  MUSICAL  WORLD. 


triumphs  of  the  ''  queen  of  song;"  it  is  possible  to  ring  innumerable 
changes.  We  need  not  repeat  that  all  this  is  wretchedly  absurd,  especi- 
ally as  all  musical  critics  declare  the  superiority  of  Jenny's  present 
rivals,  Grisi  and  Alboni.  Whether  this  opinion  be  right  or  wrong,  every 
good  judge  of  such  matters  must  smile  at  the  hack-writers,  the  empty 
connoisseurs,  the  praters,  whose  qualification  is  wealth  of  technical  words, 
whose  "  vaHsnt  voices"  have  led  to  this  universal  uproar.  We  know 
that  Jbnny  LiND  sings  vell,--that  her  voice  is  limpid,  clear,  and  con- 
stant,— but  there  is  no  foundation  for  this  astonishing  hubbub.  It  tends 
to  degrade  us  in  the  eyes  of  sensible  foreigners,  and  to  deprive  the  nation 
of  its  reputation  for  possessing  more  than  average  sobriety,  wisdom, 
and  "  common  sense."  Surely  the  lady's  admirers  can  pay  fitting  respect 
to  the  musical  abilities  and  artless  demeanour  of  their  prodigy,  without 
losing  their  senses  in  an  intoiication  of  delight.  The  truth  is,  that, 
sagacious  as  we  English  esteem  ourselves,  we  are  more  easily  than  any 
people  gulled  by  overweening  pretence,  and  its  success  is  generally 
proportionate  to  its  exaggeration.  We  reverence  what  we  style  re- 
spectability, and  have  great  faith  in  the  respectability  of  a  good  suit  of 
clothes.  "We  declare  our  contempt  for  quackery ;  and  yet  swallow  tons 
of  rubbish  in  the  shape  of  universal  panaceas.  With  us,  men  who  effect 
profundity  are  esteemed  profound,  and  pedantic  sraatterers  are  con- 
sidered learned.  And  we  greatly  incline  to  the  opinion,  that  Jbnny 
Limd's  successes,  the  noisy  acclamations  of  her  thousands  of  idolaters, 
and  the  accumulated  store  of  plnvial  gold  are  owing  quite  as  much  to 
this  self-delodlng  spirit  as  to  the  etoquent  music  of  her  voice. 

No.  II. ^From  the  Bath  Gazette.) — ^Atthe  Bristol  theatre,  on  the  oc- 
casion of  Jenny  Lind's  late  performance,  the  elite  of  the  Ught-ftngered 
gentry  had  a  few  pickings.  Capt.  Talbot,  whilst  passing  along  the  lobby 
was  relieved  of  his  purse,  containing  about  11..  Another  gentleman 
from  London,  lost  his  purse,  containing  six  sovereigns.  A  lady  for 
better  security  as  she  thought,  gave  her  purse  to  her  husband,  when, 
hey,  presto,  it  disappeared  most  mysieriously,  and  was  found  soon 
afterwards  by  a  gentleman  in  his  coat  pocket,  quite  empty,  the  con- 
tents having  been  carefully  removed  by  some  expert  thief. 

No.  III. — (Prom  the  OUugow  Cofuti(tt/tonal.)— Tub  Lord  Justicb 
Clxhr  Hopb  AMn  Ibnnt  LiNo.^The  Inverary  Circuit  fell  this  year  to 
be  holden  upon  Thursday  the  16th  current.  Could  any  of  your  readers 
inform  me,  whether  the  Lord  Justice  Clerk  was  present  in  the  City  Hall, 
Glasgow;  having  Madlie.  Jenny  Lind,  upon  Friday,  the  I7th?  The 
object  of  this,  apparently  is  to  account  for  his  lordship's  haste  to  leave 
Campbelton  without  waiting  for  the  jury,  at  the  late  circuit. 

No.  IV. — (Prom  the  Daily  New$.) — ^Jknkt  Lifin  APPBaaiD  at  Exeter 
on  Friday  and  Saturday,  exciting  the  enthusiasm  which*  has  now  become  a 
matter  of  course.  The  prices  of  admission  to  the  subscription  rooms  were 
£1  Is.,  158.,  and  10s.  6d.  Some  expert  thieves  were  busy  in  the  throng 
on  the  first  occasion,  and  several  robberies  were  effected.  One  gentle* 
man  lost  nearly  £2,  another  £3  IDs.,  and  a  lady  upwards  of  £100. 
Certain  parties,  it  is  said,  speculated  to  the  amount  of  £300  worth  of 
tickets,  which  they  wene  ultimately  glad  to  dispose  of  at  As.  each. 

No.  V,-^From  the  Bath  Herald.) —"We  should  like  to  make  the 
acquaintance  of  the  man  who,  after  hearing  Jenny  Lind,  could  sit  down 
coolly  and  write  you  all  about  it :  speak  in  calm  professional  tones  of  the 
quality  and  register  of  her  voice ;  anatomise  the  trills  and  cadences,  the 
arpeggios  and  fiorituros  with  which  she  embellishes  her  song ;  discuss 
gravely  the  cast  and  expression  of  her  features,  and  deliberate  method- 
ically upon  her  claims  to  beauty.  Such  a  man's  acquaintances,  we  say, 
we  should  be  glad  to  make ;  we  confess  to  a  taste  for  monstrosities ;  such 
an  unfeathered  biped  would  have  a  cltarm  for  us,  equal  to  Tdni  Thumb, 
the  Swiss  giantess,  the  Man-monkey,  and  the  Bosjesmans ;  we  should 
Hk)e  to  see  him— behind  the  bars  in  his  cag«;  but  we  should  be  sorry  to 
shake  him  by  the  hand  as  our  friend.  Although  yet  young  in  the  moat 
sweet  service  of  the  public,  a  tolerably  familiar  acquaintance  with  the 
stage  and  the  concert  room  has  made  us  prematurely  callous;  we  flattered 
ourselves  we  were  proof  against  emotion ;  w^e  can  sit  out  the  deepest  of 
tragedies  or  the  most  pathetic  of  melo-dramas  vrithout  winkinr,  sAd 
have  listened  to  the  duhsetest  of  dulcet  voices  without  being  raised  from 
our  seat.  Until  we  saw  and  heard  Jenny  Lind  wt  did  labour  under  an 
impression  that  we  were  indifferently  self-possessed ;  from  and  after  that 
time  (as  the  lawyers  say  in  the  deeds)  we  have  been  abundantly  convinced 
that  that  impression  was  a  delusion  and  a  snare.  To  fix  the  gaze  upon 
Jenny's  earnest  eyes,  and  listen  to  the  music  which  breaths  forth  as  if 
from  every  feature  in  her  icentle  face,  is  at  once  to  abandon  all  thought 
and  rememberance  of  individual  existence,  and  to  yield  up  the  imagina- 
tion unconditionally  to  a  charm  more  potent  than  that  of  the  fabled 
syreni.  And  then  to  criticise  her  features  1  We  have  an  innate  respect 
for  those  strong-minded  individuals  who  will  undertake  the  execution  of 
difficulties  only  just  within  the  bounds  of  possibility ;  but  we  regard  the 
man  as  a  maniac  who  will  attempt  that  which,  in  rerum  natiureg,  is  not 
to  be  compassed.  Were  we  a  praetioner  duly  qualHIed,  we  would  giv« 
without  compunction  an  order  for  admission  to  the  strongest  room  of 


the  securest  lunatic  asylum,  of  that  individual  who  should  be  proved  to 
have  attempted  anything  so  desperately  hopeless  as  descnbing  the  face 
of  Jenny  Lind  when  lighted  up  with  the  fire  of  genius  and  animation. 
The  task  would  be  more  easy  to  contey  to  a  blind  man,  by  viirhal  des- 
cription, an  idea  of  the  prismatic  colours.  No  I  the  face,  the  voice,  the 
action,  the  expression  of  Jenny  Lind,  are  things  to  be  seen,  and  beard, 
and  thought  of,  and  dreamt  about,  and  gloated  over,  iMft  not  to  be 
described.  With  this  negative  exordium,  then,  let  us  proceed  to  note 
down  some  few  cifcumstanees  connected  with  the  charming  Jamy'e 
visit  to  Bath  !l< 

And  80  we  bid  adieu  for  h  season  to  the  fiifr  Jenny,  the 
far-famed  Jenny,  the  overwhelmed-with-praises,  the  nniver- 
sally-sougbt,  the  gr^at-curioBity-exciting  Jenny.  We  wish 
her  well,  albeit  we  have  labored  herd  to  pull  her  down  from 
that  pride  of  place^  where  we  were  satisfied  judgment  and  sober 
conTictaon  could  never  have  placed  her.  We  wish  her  well» 
and  trust  she  may  return  to  us  next  season,  with  powers  imim^ 
paired  and  reason  untouched  by  the  A-antfe  eulogies  of  her 
English  admirers. 


AN   AflALYSHI  Of  THE  HUlNAtl   VOtC£. 

Compiled  by  Frbdbrick  Wbbstkr,  Pro/etsor  of  Elocution  to  theRogal 
Academy  of  Mutic. 

(CONTINUBD  FROM   PA.OB  634.) 

Thi  seven  radical  sounds  with  their  vanishes,  which  have  been 
described,  include  as  far  as  1  perceive,  all  the'^eleraentary  diph- 
tliongs  of  the  English  Language.  The  term  diplitboog  denotes  the 
transition  of  the  voice  from  one  tonic  sound  to  another  s  forming 
thus  the  impulse  of  one  sylable  by  a  continuous  gliding,  without  a 
perceptible  change  of  organic  effort  in  the  transition.  By  the 
term  eleoMntarv,  as  qualifying  a  diphthong,  I  mean  to  point  out 
the  inseparable  Dood  of  its  constituents ;  dio  nature  ortne  habit, 
whichever  it  may  bo,  of  the  voice  having  so  decreed  the  series  ef 
the  two  sounds  that  the  iirst  or  radical  cannot,  in  unpremeditated 
utterance,  bo  given  without  terminating  in  the  second  or  vanish. 
The  remaining  ^vb  tonics  are  raonotbongs,  and  have  one  sort  of 
sonnd  for  botti  the  radical  and  vanishing  movement,  they  are** 
(MMte,  ee4,  e-rr,  ^-nd,  i-n.  When  the  clement  m-1  is  deliberately 
uttered,  in  the  node  of  asking  a  question  with  earnest  surprise, 
one  unvaried  sound  of  ev-l,  b  heard  rising  from  the  radical  outset 
to  the  top  of  the  vanish.  This  concrete  rise  in  interrc^tion  will 
be  described  hereafter,  as  being  the  interval  of  a  radical  and 
vanishing  octave  t  but  the  homogeneous  course  of  ee-\  mar  be 
heard  through  theiiflh,  third  tone  and  semitone.  These  modes  of 
(tisplaying  the  course  of  the  unchanged  concrete  iu  ee-1,  show  an 
analagous  result  in  the  eases  of  the  four  other  monothongal  tonics. 
Whereas  if  the  diphthongal  tonics  are  uttered  with  the  interrogadve 
intonation,  the  difference  between  their  radical  and  vanishing 
portions  is  at  once  perceptible.  The  nature  of  the  tonics  as  here 
described,  may  be  otherwise  plainly  shosm.  We  learned  in  the 
last  section,  toe  distinction  between  the  equable  ooncrete  of  speech 
and  the  protracted  radical,  and  protracted  vanish  of  song  and 
recitative.  Now  the  use  of  these  protracted  forms  of  intonation 
will  exhibit  the  structure  of  the  tonic  elements.  For  an  at- 
tentive ear  nay  perceive^  when  the  diphthongs  are  smu  with  a 
protracted  vanish^  that  the  voice  quictily  leaves  the  radical,  and 
dwells  in  continuation  on  the  different  sound  of  the  vanish.  The 
protracted  note,  in  the  vanish  of  the  monothongs,  will  be  the  same 
m  sound  as  their  radicals.  The  words  of  an  ordinary  melody  in 
slow  time,  or  any  church  psalm,  will  afford  proof  on  this  point. 
Another  mode  of  illustrating  the  real  diphtiiongal  character  of 
seven  of  the  tonics,  may  be  drawn  from  the  phenomena  of  rhyme. 
Rhyme  is  that  peculiar  relationship  in  the  sound  of  syllables, 
which  consists  in  a  difforonce  between  ttie  first  sound  of  eacho 
the  compared  syHables,  and  an  idendity  between  all  the  eabsequeak 
sounds,  each  to  each  t  the  agreeable  efieet  of  rhyme  depending 
chiefly  on  the  particular  relation  between  the  tonic  sounds.  The 
first  condition  is  that  of  identity  in  the  tonics,  as  dame^  cona. 
The  second  degree  of  relationship  is  made  by  tonics  which  have 
a  different  radical,  but  the  same  vanishing  movement,  as  cars^ 
wars.  The  third  consists  of  those  tonics  that  differ  both  in  their 
radicals,  and  vanishes,  yet  are  of  nearest  resemblance  in  their  sort 
of  sound,  as,  good,  blood.    The  use  of  the  second  kind  of  rhyme 


THE  MUSICAL  WORLD. 


6dl 


shows  the  compomtion  of  the  diphthongal  tonie«.  In  the  following 
lines  the  Correspondence  of  oo-se  in  doom,  with  o-ld,  in  home^  and 
of  a»le,  in  obey,  with  ee-l*  fai  tea,  is  admitted  as  canonical,  from  the 
identity  of  the  Tanishes  of  a-le,  and  o-ld,  respectitely  with  the 
monothongs  e«-],  and  oo-ae. 

Here  Britain's  statesmen  oft'  the  fall  foredoom 
Of  foreign  tyrants,  and  of  nymphs  at  home; 
Here  thou,  great  Anna  I  whom  three  realms  obey, 
Dost  sometimes  coonsal  talic*-and  sometimes  tea. 
The  assimilation  of  the  sounds  of  a-Ie,  and  ee^l,  by  the  identity 
of  their  vanishes,  produces  the  monotony  of  the  four  following  lines. 
Swift  to  the  Lock,  a  thousand  sprites  repair, 
A  thousand  wings,  by  turns,  blow  back  the  hair; 
And  thrice  they  twitch'd  the  diamond  in  her  ear. 
Thrice  she  look'd  back,  and  thriea  tlie  foe  drew  near. 
(To  Im  cofilfmMd.) 

ORIGINAL   CORRKtPONDEMCE. 

Ttf  tko  RdUor  of  "  The  Muikei  World:' 

"pumHO."  Oct,  6,  184V. 

6ia,— In  this  centnry,  "  p^^ttig"  has  mads  so  immense  and  ingenious 
an  advance  that  It  has  become  a  very  giant  in  its  power  and  resources. 
Tt  has  ceased  to  be  the  pigmy  thing  it  was  of  yore,  a  thing  of  ridicule 
and  contetr.pt,  the  exclusive  property  of  the  tradesmkn, — the  special 
attribnte  of  the  counter  and  the  barber's  pole :  it  is  now  an  oigan  of 
llsrmidable  grandeur  and  importance,  capable  of  the  greataat  achieve- 
meoU,  stretching  forth  its  mighty,  hydra-headed,  branches  far  and  wide, 
into  every  corner,  an  engine,  most  mysterious  in  its  machinery,  most 
wonderful  in  its  works.  In  this  century,  *'  puffing**  has  ceased  to  be  a 
trade,  it  fate  become  a  scimetf,— an  intrieate  and  deep  seated  ancncs/ 
Let  those  wboaooouot  this  a  misnomer,  study  the  advertisement  columns 
of  o«r  newspapers,  the  pamphlet  forms  presented  us  by  the  Hebrew 
tailors,  the  placards  on  our  walls,  the  vans  and  boards  perambulating 
the  metropolis,  the  windows  of  the  London  shopkeepers,  the  nicely 
worded  eulogioms  that  appear  in  the  auctioneers  announcements,  the 
|»oetlcaI  fiighta  of  fancy  indnlged  in  by  the  *'  Bed  and  Bolster  MarU," 
the  modem  play  biUs,  the  ^-— ,  but  I  shall  go  on  until  doomsday ;  let 
those  who  doubt  study  and  ponder  on  but  one  of  these  things  and  they 
will  be  convinced,  that  pi{fflng  is  a  science  I 

There  is  a  very  striking  example  of  the  power,  the  poightlhess,  the 
grandeur,  of  this  same  sdence  of  *'  pnfBng,"  more  piominently  before 
the  public«  I  approach  the  theme  however  with  fear  and  trembling,  for 
the  aubject  ii  one,  of  which  the  world  has  heard,  with  which  it  has  been 
bored,  (the  one  is  a  se^utfur  naturally  following  the  other)  ad  nauseam, 

Jenny  Lind — the  very  name  so  oft  repeated  begins  to  possess  ennuyanii 
pfopeitie^-4s  the  ftndble  eanmple  to  whidi  I  refer.  The  reputation  of 
the  Swedish  Nightfngak,  is  based  almost  altogether  upon  puffs.  The 
impOKtanoe  attached  to  her  name  is  one  of  the  greatest  deeds  of  the 
science  of  '*  puflSng,"  for  it  is  through  its  medium,  that  she  has  attained 
the  high  position  she  now  holds.  For  it  is  through  its  medium  that  her 
Whole  career  has  been  one  of  triumph,— brilliant  triumph.  Per  it  is  through 
its  medium,  that  she  has  been  called  "  ikejmma  donna  of  prima  dswnas," 
"  the  greeiett  ringer  tn  the  world,"  "  a  phenomenon,"  "a  vocalist  un^ 
equalledby  past  or  present  artists/*  "  a  better  singer  than  idalibran  and  a 
greater  actress  than  Rachel,'**  8fC,,  dfc,  S^c,  that  she  has  I>een  magnified 
and  praised  till  the  fbrce  of  puffery  could  no  farther  go,— when  she  is, 
in  ttuth  and  fisct, — a  poor  actress,  and  not  a  first«rate  singer,  with  a  vefy 
brilliant  but  far  from  a  perfect  orgas. 

The  first  appearance  of  the  Nightingale  in  this  country  was  the  signal 
for  the  grand  headlong  outburst,  —  the  gigantic  display  of  the 
"  pufl^ng"  in  all  its  glory.  The  pufiii  previous  to  the  arrival  of  the 
songstress,  had  been  great,  very  great,  bat  they  sank  into  utter  in- 
BignillcaDce,  before  the  grandeur  of  the  storm  which  bailed  her' on  her 
first  appearance  in  this  country.  But  it  was,  as  we  say  of  a  storm  of 
rain,  '*  too  violent  to  last."  The  effect  was  wonderful,  unprecedented, 
because  it  was  the  grandest  effbrt  the  science  of  "  puffing"  had  ever 
underiakeHi  P^ple  were  at  first  so  panic  struck,— so  totally  over- 
whelmed, by  the  immense  force  with  which  the  torrent  sw^t  down,  that 
they  became,  as  it  were,  intoxicated  with  its  tremendous  fury,  and  were 
carried  along  with  it,  in  spite  of  themselves  joining  and  swelling  the 
force  of  its  hyperbolical  cry.  Indeed,  it  seemed  heresy  to  be  silent.  Few 
beyond  an  isolated  number  of  tough  old  musical  philoso^ers  were  found 
powerful  enongli  to  resist  the  immense  might  of  the  opposing  current. 
With  time,  however,  reason  returned,  and  the  world  has  now  commenced 
alowlj  but  surely  to  retrace  its  steps,  wondering  at  its  own  weakness  and 

*  Quotations,  reader,  fh>m  the  Jenny  Lind  crittts,  which  miSht  be  increased  ed 


determined  as  speedily  as  possible  altogether  to  reverse  a  jildgment  m 
madly  and  heedlessly  given. 

The  furious  outburst  of  the  science  of  puffing  is  now  pretty  well  over. 
The  direct  system,  the  flying  In  the  fkce  of  all  truth  and  reaaon,— the 
out-herodiDg  Herod  course  that  had  been  pursued,  in  raising  Jenny  Lind 
so  high  above  all  the  rest  of  humanity  that  other  artists  sunk  altogether 
into  pigmies  in  comparison  with  her,  is  a  style  of  "  puffing"  now 
gradusUy  dying  off— becoming  small  by  degrees  and  beautifully  less.  We 
now  but  seldom  hear  of  it.  The  science  of  *'  puffing"  has  now  (to  use 
a  hacknied  nautical  phrase)  altered  its  tach. 

If  you  meet  a  fierce  Jenny  Lind  maniac,  at  the  present  tlme^  he  win 
scarcely  venture  to  pronounce  on  his  goddess,  (inltemMa)  the  high 
sounding  titles,  quoted  above,  as  of  yore.  No,  another  ramification  froos 
the  puff-trunk  Is  extended.  Tell  him  that  the  Nightingale's  Toice  ia 
husky  in  the  lower  notes,  and  feeble  and  uncerUin  in  the  upper.  I^e 
does  not  now  directly  contradict  you.  nevertheless  he  does  not  leave  yott 
unattacked  in  possession  of  the  field.  He  will  say,  "  Perhaps  so,  htU 
then  what  a  dear  good  moral  creature  she  is  /"  Tell  him  that  in  your 
opinion  Jenny's  Norma  cannot  be  better  defined  than  in  the  words 
"  frozen  milk  and  water."  He  will  reply,  "  That  moy  be  but  then  Aou> 
kinfl,  hovD  amiable  she  is  /"  Tell  him  that  her  Susanna  is  worse  than  her 
Norma,  he  will  answer,  "  Very  lihely,  but  then  how  heavenly  pAre  she  if— 
how  noble-^how  charitable  /"  One  is  met  no  longer  with  opposition  on 
musical  grounds  1  TM  msniac  no  longer  objects  to  your  attacka  but 
defends  her  moral  character — which  no  one  ever  ventured  to  say  one 
word  sgainst.  I'he  science  of  "  puffing"  unable  any  longer  to  keep  up 
the  delusion  that  Mdlle.  Lind  is  a  musical  phenomenon  and  superior  to 
all  other  vocalists  In  a  musical  point  of  view,  is  new  determined  to  sake 
her  a  moral  phenomenon— a  paragon  of  virtue,  an  angd  of  piety—- an4 
therefore  better  than  other  vocalist,  who  does  not  proftea  the  sane 
qualities,  and  more  deserving  the  public  regard  t 

Heaven  forbid  that  I  should  cAvil  at  her  morafityer  sneer  at  her  plotf. 
But  still,  I  must  say,  that  in  my  opinion  these  are  matters,  with  WMch 
the  musical  public  have  nothing  whatever  to  do.  Mdlle.  Jenny  Lind  does  not 
appear  Upon  the  stage  of  Her  Majesty'l  Theatt«  to  be  examined  tobching 
her  moral  views,  her  amiability,  her  correctness  t)f  Uffe-,  or  her  chaiiitjrt 
but  to  exhibit  and  to  have  criticised  her  musical  powers,  her  style  of 
vocalisation,  her  voice,  and  her  acting.  What  has  the  critic  whose  duty 
it  is  to  judge  and  dutmide  her  musical  talents,  to  do  vrith  her  morality 
and  the  rectitude  of  her  virtue,  off  ^e  stage,  in  her  private  career? 
With  what  wild  amaaement  would  the  judges  of  the  Court  of  Queen's 
Bench  stare,  were  they  called  upon  to  eulogize  instead  of  condemning  a 
felon,  because  he  happened  to  be  a  splendid  vocalist  I  And  yet  it  ia  no 
less  abrurd  to  gloss  over  and  praise  Jenny  Lind's  musical  deficiencies 
because  she  happens  to  be  a  very  virtuous  and  pious  young  woman !  By 
the  way,  the  critic  of  The  Morning  Post  will  have  it  that  she  Is  ft  girl  i 
I  always  gave  the  critic  credit  for  very  strange  notions,  but  If  girthood 
is  not  passed  at  twenty-six  or  twenty-seven  years  of  age  I  should  Mke  tO 
know  when  it  is  ?  However,  I  do  think  that  With  the  private  Iffe  afid 
actions  of  singers  and  actors  the  public  have  nothing  Whatever  to  do. 
They  cease  to  be  public  property  when  they  are  off  the  atage,  and  to 
question  or  examine  into  their  private  career  is  neither  more  nor  less, 
thsn  an  impertinent  and  disgraceful  intrusion. 

For  my  own  part  1  would  believe  more  about  Mdlle.  JeAny  Lind*«  good 
deeds  aOd  charitable  actions,  were  1  to  hear  iesi  about  thefk.  t  am  not 
inclined  to  thmk  very  highly  of  charity,  when  it  is  followed  by  a  tnu^pet^ 
when  It  is  the  talk  of  everybody,  when  it  is  so  puffed  and  reported  in 
the  newspapers  and  periodicals  of  the  day,  that  its  good  actions  become 
mere  advertisements,  mere  vehicles  to  keep  a  name  and  reputatfon  cota- 
tinoally  before  the  public  eye.  It  appears  to  me  to  b^  to  say  the  least 
of  it,  a  very  et|uivocal  virtue.  It  is  not  the  eftiarity  of  thoae,  who  '*  de 
good  by  ateelth  and  blush  to  find  it  fame."  Tales  about  Jenny  Lind's 
refunding  money  to  managers,  with  fears  that  they  have  not  profitted  by 
her  engagement,  her  terms  being  so  enormous,  make  prettv  paragraphs 
in  newspapers,  but  it  appears  to  me  that  much  trouble  would  have  been 
spared  if  those  terms  had  been  less  exorbitant  in  the  fitat  inslanee,  and 
the  difficulty  of  refunding  would  have  been  obviated.  But  then  the 
newspaper  paragraphs — the  advertisements — the  "  puffing,"  for  it  comea 
to  that  after  all,  would  be  done  away  with — mischief  indeed,  that  would 
be,  to  such  superficial  musical  merits  as  Jenny  Lind*s ! 

When  I  look  back  and  seethe  immense  length  to  wMoh  mydisaertatiolk 

on  *'  puffing,"  has  extended,  I  fed  how  many  apologies  ate  due  to  yon 

for  thus  trespassing  on  your  patience,  and  with  the  knowledge  that  eveiy 

additional  word  but  adds  to  my  fault.    I  hastily  subscribe  myself, 

Otober  6,  1847.  Your  obedient  servant,     £.  D.  C 

P.  S.— My  suggestion  for  changing  the  opera  nighta  at  Covent  Garden 
to  Mondays  and  Wednesdays  has  been  met  by,  I  fear,  an  insuperable 
objection,  in  the  fact  ei  the  Philharmonic  Coneerta  toklng  place  en  thoae 
enreninga.    It  appeaia  to  nse  that  mf  poor  plan  ia  in  that  fcspect  entirely 


652 


THE  MUSICAL  WORLD. 


obviated,  and  I  have  only  left  me  to  regret  I  bo  encroached  on  your 
•pace  to  no  pupose. 

To  the  Editor  of  the  MuHcal  World. 

8iB,...WUl  you  have  the  kindneM  to  recommend  to  me,  in  an  ensuing 
number  of  the  Musical  World,  some  songs  that  will  suit  the  register  of 
my  voice,  which  is  a  barytone,  ranging  from  F  natural  to  D  natural,  or 
£  flat,  thus  embracing  nearly  two  octaves?  It  is  very  difficult  for  me  to 
sing  several  fiat  E's,  and  I  prefer  going  no  higher  than  D  natural.  Henry 
Russell's  style  of  songs  is  one  which  I  lilce  much,  espectaily  the  more 
spirited  of  them.  I  can  use  the  lowest  notes  of  my  voice  without 
difficulty.  I  lilce  songs  the  best  that  contain  great  contrasts  of  forte  and 
piano.  I  have  few  means  of  choice  among  songs,  which  1  trust  you  will 
consider  anMpology  fbr  writing  to  you  on  the  subject.  You  criticise  one 
.  irhis  week's  World,  by  Linley,  which  I  shall  procure.-— With  much 
esteem,  I  am.  Sir, 

October  5,  1847.  A  Lovir  of  Song. 

[We  are  not  sufficiently  versed  in  modem  ballad  writing  to  recom- 
mend the  songs  required  by  our  correspondent.  Nearly  all  the  bass 
songs  reach  the  E  flat,  or  E  natural.  Our  correspondent  had  best  apply 
at  the  publUhers.— En.  M.  W.] 

To  the  Editor  of  The  Musical  World. 

DtAR  Mr.  Editor,— Can  you  inform  me  whether  your  talented  cor- 
respondent, Mr.  Flowers,  has  ever  turned  his  attention  to,  or  composed 
anything  for  the  accordion  T  I  feel  confident  that  a  judicious  arrangement 
of  some  of  his  organ  fugues,  which  I  have  at  present  in  my  possession, 
would  suit  the  instrument  admirably.  This  beautiful  and  soul-thrilling 
sound  produced  only  vrants  the  patronage  of  some  talented  and  energetic 
gentleman,  like  the  one  I  have  named,  to  bring  it  to  its  proper  position, 
and  make  it  truly  a  national  instrument.  I  mention  Mr.  Flowers'  name 
because,  as  an  admiring  reader  of  your  journal,  I  have  been  frequently 
struck  with  his  great  perseverance  and  untiring  energy  in  the  cause  of 
our  beloved  art.  I  have  the  honour  to  remain,  dear  Mr.  Editor,  your 
constant  reader  and  subscriber, 

Sept,  29,  1847.  A  Profcsbor  of  tbk  Accordioh. 

To  tkiSiUor  of  The  Musical  World. 

DsAR  Sir,— Your  numbers  of  the  3nd  have  only  just  reached  me.    I 
•m  obliged  by  your  insertion  of  my  letter  relative  to  Jenny  Lind's 
Concerts  there,  but  there  are  a  few  errors  owing,  no  doubt,  to  my  bad 
writing.    Will  it  be  too  much  trouble  to  ask  you  to  correct  them  t 
Col.  3,  p.  638,  line  6  from  bottom;  for  "  these  concerts,**  read  '*  three 

concerts." 
Col.  1,  p.  639,  line  1,  for  *'  this  orchestra,"  read  "  the  haU." 
Ditto,  line  9,  and  for"  opening  scenes,"  read  "  singing  tenors." 
Ditto,  line  80,  for  "  the  latter,"  read  **  the  second." 

Norwich,  Oct.  7.  Yours  truly,  Muaicua. 

DRAMATIC  INTELLIGENCE. 

Hatmasket.«— The  season  commenced  on  Saturday  evening, 
with  The  School  for  Scandal  and  The  Invisibh  Prince.  The 
house  was  crowded  in  CTcry  nook  and  comer.  The  comedy  on 
the  whole  was  finely  perfonned.  Of  Farren's  Sir  Peter  Teazle, 
Mrs.  Glover's  Mrs.  Candour,  and  Mrs.  Kishett's  Lady  Teazle, 
it  would  he'  superfluous  to  speak.  They  were  as  excellent  as 
ever.  Of  Uie  other  character&,Mrs.W.  Clifford's  Lady  Sneerwell, 
Mr.  Wehster's  Moses,  and  Mr.  Brindal's  Trip,  demand  nearly 
the  same  praise.  We  thus  heboid  a  comedy  supported,  as  re- 
gards six  of  its  characters,  in  capital  style.  But  this  does  not 
make  the  performance  perfect.  There  are  other  parts  as  pro- 
minent which  require  to  he  conceived  and  embodied  with  equal 
life  and  strength,  or  the  comedy  must  necessarily  lose  as  a  com- 
plete performance.  The  parts  of  Charles  and  Joseph  Surface, 
for  the  first  time  at  this  theatre,  by  Mr.  H.  Farren  and  Mr. 
Creswick,  demand  a  little  consideration  before  we  can  arrive 
at  their  real  value.  The  appearance  of  Mr.  H.  Farren  is  much 
in  his  fiivour*  He  is  tall,  well-made,  and  his  deportment  is 
gentlemanly  and  easy.  He  is  a  good  stage  tactician  and  has 
evidently  studied  in  the  Farren-schooL  Nevertheless  with 
these  qualifications  we  cannot  think  that  Nature  ever  intended 
Mr,  H.  Farren  for  a  light  comedian.    His  voice  is  deep^ 


almost  solemn  ;  bis  look  serious  ;  he  is  totally  devoid  of  that 
mercurial  spirit  so  necessary  to  the  impersonations  of  the 
Charles  Surface  class,  and  which  characterised  the  performances 
of  ElKston,  Jones,  and  others.  With  all  this  we  are  inclined 
to  believe  Mr.  H.  Farren  to  be  a  young  man  of  much  ability, 
and  have  no  doubt  that  by  and  bye  he  Mill  find  a  part  more 
in  unison  with  his  sympathies  and  powers.  Mr.  Creswick's 
Joseph  Surface  was  heavy  and  monotonous.  This  gentleman 
has  talent,  but  it  is  not  always  under  the  best  governance,  or 
the  best  judgment.  His  conception  of  Joseph  Surface  was 
certainly  a  mistaken  one.  Miss  £.  Messent  made  a  most 
favourable  delmt  in  Maria.  She  is  quite  a  novice  to  the  boards, 
but  played  with  as  much  ease  and  propriety  as  though  she 
had  been  stage  born.  The  comedy  was  received  with  much 
favour,  and  all  the  performers  were  summoned  at  the  end.  It 
was  repeated  on  Tuesday  evening. 

On  Monday  Miss  Helen  Faucit  re-appeared  after  an  absence 
of  three  seasons.  She  played  her  own — absolutely  her  offfs— 
part  of  Pauline  Deschappelles  in  The  Lady  of  Lyons,  one  of 
the  best  and  most  finished  original  impersonations  of  modem 
times.  Miss  Helen  Faucit  was  received  with  immense  applause. 
Her  performance  of  Pauline  was  characterised  by  all  its  former 
grace,  elegance,  feeling,  and  power.  It  would  be  no  easy  task 
to  find  its  superior  as  a  piece  of  acting  on  the  English  stage. 
Mr.  Creswick  played  Claude  Melnotte.  He  looked  die  part 
well,  and  in  the  earlier  scenes  exhibited  no  mean  power  as  an 
artiste.  In  all  the  latter  portions  of  the  play  we  could  discern 
but  little  indications  of  tragic  ability.  An  entire  want  of 
intensity  rendered  the  passionate  scenes  cold  and  ineflfective, 
nor  was  his  judgment  always  to  be  commended.  Mr.  Creswick^ 
in  secondary  characters,  may  be  entitled  to  eulogy,  but  at 
present  his  position  at  this  house  is  somewhat  elevated  beyond 
his  merits.  On  Monday  evening  Mr.  and  Mrs.  Keeley 
appeared  in  Twice  Killed  with  the  usual  effect.  Mr.  Keeley 
is,  we  understand,  engaged  to  supply  Mr.  Buckstone's  place. 

On  Wednesday  The  Hunchback  was  perfonned  witii, 
positively,  one  of  the  best  casts  we  ever  witnessed.  Miss 
Helen  Faucit  was  the  Julia ;  Mrs.  Nisbett  (first  time  of 
performance),  Helen;  Mr.  Creswick,  Master  Walter;  Mr. 
H.  Farren,  Modus;  Mr.  A.  Wigan,  Lord  Tinsel;  and  Mr. 
Howe,  Sir  Thomas  Clifford.  We  repeat.  The  Hunekback 
was  better  cast  than  we  ever  saw  it  before,  aye,  even  in 
Fanny  Kemble's  heyday.  Miss  Faudt's  Julia  is  a  great,  very 
great  performance.  It  is  hardly  possible  to  fency  a  represen- 
tation more  exquisitely  conceived,  or  more  perfectly -developed. 
We  have  seen  multitudes  of  Julia's,  from  Fanny  Kemblc 
downwards,  in  the  race  of  time,  and  confess  we  have  witnessed 
none  at  all  comparable  to  Helen  Faucit*s.  Not  only  do  ease 
and  grace,  which  are  Nature's  free  gifts,  belong  to  her,  and 
consummate  art,  which  is  the  offspring  of  study  and  experience ; 
but  that  innate  faculty  of  imagining  with  truth  and  beauty, 
demonstrated  by  outward  signs  akin  to  that  imagining,  which 
is  the  rarest  bestowal  of  Heaven,  and  which  mortals  denommate 
genius,  appertains  to  this  artiste.  For  power,  truthfulness,  and 
artistic  finish,  Miss  Helen  Faucit's  Julia  is  equal  to  any  per- 
formance we  have  seen  in  modem  times.  To  select  scenes  in 
the  play  for  particular  eulogy  would  prove  a  task  of  no  small 
difficulty.  Perhaps  the  scene  with  Master  Walter,  after  she 
discovers  Clifford  to  be  the  steward  of  her  affianced  lord, 
and  ultimately  uses  entreaties,  reproaches,  and  threaU  to  move 
her  seeming  hard-hearted  guardian;  and  that  in  which  she 
acknowledges,  after  many  struggles  her  love  to  Clifibrd  him- 
self, were  the  most  transcendant  parts  of  her  acting.  These 
were  incomparably  fine.  There  was  not  a  single  look,  attitude^ 
or  utterance  which  did  not  exhibit  ■  "  ' 


j^ia^^'iat^HjgTi!* 


THE  MUSICAL  WORLD 


653 


heart.  We  have  endeavoured,  in  our  feeble  way,  and  briefly 
as  we  could,  to.  do  justice  to  this  performance,  but  all  we  hare 
said  falls  far  short  of  the  reality.  Mrs.  Nisbett's  Helen,  it 
may  he  well  imagined,  was  admirable.  This  delightful  actress 
could  hardly  be  seen  to  greater  advantage  than  in  this  cha- 
racter, which  suited  her  vivacious  and  arch  style  to  perfection. 
Her  scenes  with  Modus  were  most  excellent,  and  in  her 
advances  to  her  timid  lover  she  displayed  the  greatest  pro- 
priety in  not  outstepping  the  limits  of  feminine  delicacy,  a 
fault  we  have  had  f^quently  to  lay  to  the  charge  of  sundry 
modern  Helens.  In  this  newly  undertaken  part  Mrs.  Nisbett 
has  added  another  shining  leaf  to  her  wreath  of  laurel.  Mr. 
Creswick*s  Master  Walter  was  a  careful  aud  efiective  imper- 
sonation. The  character,  as  it  deasanded  neither  great  tragic 
power,  nor  variety  of  phase  in  its  embodiment,  adapted  itself 
well  to  the  actor.  Mr.  H.  Farren  was  infinitely  better  in 
Modus  than  in  Charles  Surfiace.  The  quaintnesa  and  hu- 
mourous repose  of  the  part  were  capitally  conceived. — 
The  performance  obtained  iiinmense  applauge.  All  the 
principal  actors  were  called  for  at  the  end.  The  Hunchback 
was  repeated  last  evening  with,  if  possible,  greater  applause, 
than  on  Wednesday.  After  the  Hunchback,  on  Wednesday, 
The  Rcmantie  Widow  was  performed,  and  introduced  Mr, 
Ranger  in  the  same  character,  the  Marquis  St.  Croix,  in  which 
he  made  his  debut  eight  years  since.  He  was  received  with 
grear  favor, 

SuERBT.—  The  Bohemian  Girl,  with  the  after  entertain- 
ments varied,  has  been  played  nightly  during  the  week,  and 
on  each  occasion  attracted  overflowing  houses,  several  nights 
hundreds  having  been  turned  away  from  the  doors,  not  being 
able  to  obtain  admission.  Mr.  Bunn's  campaign  promises 
great  things. 

Princbsb*s.— The  announcement  of  Macready  and  Miss 
Cushman's  conjoined  appearance  in  dfacbeih  drew  a  full  and 
curious  audience  on  Monday,  the  opening  night  of  the  winter 
campaign.  It  was  the  first  time  that  these  two  celebrated 
artistes  had  played  together  in  this  country.  Miss  Cnshman 
obtained  a  great  and  universal  reputation  from  the  moment  she 
played  Romeo  at  the  Haymarket.  Previous  to  that  her  claims 
to  be  considered  a  first-rate  artiste  were  not  conceded  gene- 
rally. There  were  many  iriio  argued,  not  without  good 
grounds  of  reason,  tfiat  her  intellect  was  better  adapted  to 
melo-dramatic  displays  than  to  the  loftier  ezhibiCion  of  pure 
tragedy.  He?  somewhat  masculine  conception  of  character, 
her  want  of  grace,  redundancy  of  action  and  frequent  striving 
after  effect  induced  us  to  coincide  with  this  opinion.  It  was 
only  when  we  had  seen  her  in  Romeo  that  we  were  induced 
to  allow  her  the  possession  of  the  highest  capabilities  demanded 
in  tragic  impersonation.  On  Monday  night  her  performance 
of  Lady  Mi^beth  threw  us  back  once  more  upon  the  con- 
viction that  she  was  unsuited  to  the  loftiest  efforts  of  the 
histrionic  muse.  It  was  a  performance  unequal  and  inadequate, 
and  failed  to  realise  to  sober  judgment  the  grandeur,  power, 
and  intensity  of  the  character  she  pourtrayed.  Some  points 
she  certainly  made  which  were  new  and  striking,  but  these 
were  opposed  by  so  many  errors,  inconsistencies,  and  impro- 
prieties, that  we  arose  from  the  performance  thoroughly 
satisfied  that  the  Lady  Macbeth  of  Shakespere  was  out  of  the 
pale  of  Miss  Cushman's  intellect.  When  last  we  beheld  the 
actress  in  this  character  we  viewed  it  far  more  favourably  : 
our  change  of  opinion  may  be  attributed  either  to  a  falling  off 
in  the  artiste's  conception,  or  to  the  iact  that  by  being  placed 
in  contact  with  Macready  her  performance  was  more  exposed 
to  critical  judgment,  her  faults  and  deficiendea  being  thereby 


made  more  manifest.  Certainly  the  contrast,  or  comparison 
was  anything  but  favourable  to  Miss  Cusbman,  and  though 
she  obtained  great  applause,  we  are  convinced  the  general 
impression  of  the  performance  was  that  of  a  comparative 
failure.  The  reading  of  the  letter  in  her  first  scene  gave  the 
audience  a  foretaste  of  Miss  Cushmao*s  melodramatic  con- 
ception of  Lady  Macbeth.  It  displayed  neither  taste,  nor 
propriety  ;  and  the  awful  speech  that  follows  was  deficient  in 
power  and  vitality.  The  banquet  scene  was  good,  and  at  the 
close,  where  the  guests  were  dismissed,  her  looks  and  attitude 
of  agony  were  conceived  with  great  truth.  Her  answer  to 
Macbeth*s  question,  "How  goes  the  night  V  simple  as  the  words 
were  in  themselves,  in  their  tone  and  apparent  abstraction,, 
convinced  us  that  Miss  Cushman  has  moments  when  she  is 
swayed  by  the  most  admirable  judgment.  The  sleep-walking 
scene,  which  we  admired  so  much  on  a  former  occasion,  dis- 
pleased us  entirely  on  Monday  night.  She  fell  precisely  into 
the  same  error  into  which  Jenny  Lind  fell  in  the  sleep-walking 
scenes  in  the  Sonnambulay  viz :  illustrating  every  phrase,  or 
word  by  a  corresponding  action.  It  strikes  us  that  Shaks- 
pere*s  notion  was,  that  under  such  influences  as  pervaded  the 
mind  of  his  heroine  one  great  idea  would  be  paramount,  and 
that  however  busy,  or  irrelevant  the  tongue  might  be,  the 
absorbing  thought  of  blood  upon  her  hands,  would  be  ex- 
hibited by  a  continued  attempt  to  wash  the  stains  therefrom; 
and  the  text,  as  it  appears  to  us,  explains  it  clearly.  In  Miss 
Cushman's  variety  of  action,  and  essays  of  illustration,  the 
whole  scene  lost  its  unity  and  its  sublimity.  Independent  of 
this,  the  actions  and  attitudes  of  the  actress  were  divested  of 
all  grace,  and  this,  in  no  small  degree,  subtracted  from  the 
dignity  of  the  representation.  We  are  bound  to  admit  that 
Miss  Cushman  was  received  throughout  her  performance  with 
the  greatest  applause,  but  this  does  not  alter  our  conviction 
one  jot.  Macready's  Macbeth  appeared  to  us  grander  than 
ever.  It  is  indeed  a  most  wonderful  performance.  We  need 
not  descant  here  upon  what  has  occupied  our  pen  so  fre- 
quently upon  former  occasions.  Mr.  Cooper  was  not  equal 
to  Macduff.  This  actor  is  entirely  deficient  in  power  and 
pathos.  The  terrible  scene  in  which  Macduff  receives  in- 
formation of  the  slaughter  of  his  wife  and  children  was 
rendered  by  Mr.  Cooper  'so  tamely  that  it  degenerated  into 
absolute  burlesque.  Mr.  James  Yining's  Rosse  was  played 
with  great  propriety.  A  Mr.  Conway,  fifom  the  Edinburgh 
Theatre,  made  his  first  appearance  m  Malcolm.  Having  little 
to  record  favourable  to  this  gentleman,  we  shall  forbear  criti- 
cising him  on  the  present  occasion,  trusting  that  another 
opportunity  may  bring  him  before  us  in  a  better  light.  The 
chorus  was  altogether  inefficient.  Mr.  Bodda  was  tolerable  in 
Hecate.  In  the  present  epoch  of  stage  reformation,  in 
the  prevailing  reverence  for  Shakspere,  and  the  universal 
feeling  gone  abroad  to  give  his  works  to  the  public  in  their 
naked  integrity  and  purity,  we  are  absolutely  astounded  at 
the  retention  of  Lock's  puny  music  fitted  to  words  never 
written  by  Shakspere.  In  reading  the  written  "  Macbeth,*' 
the  mind  receives  a  feeling  of  awe  and  horror,  when  perusing 
the  congregation  of  fearful  items  that  make  up  the  magical 
ingredients  of  the  cauldron.  But  how  much  is  this  feeling 
dissipated  axfd  turned  into  laughter,  when  in  the  acted  play 
we  find  the  following  line  tagged  to  the  end  of  Shakspere  s 
awful  catalogue  :— 

"  Three  ounces  of  a  red-hair'd  wench." 
Is  it  possible  that   Macready,   with   all    his  adoration  for 
Shakespere,  could  have  allowed  so  filthy  and  unmeaning  a 
line  to  have  lived  by  the  side  of  the  author's  verses  ?     It  may 
be  said  that  the  music,  being  fifj^^^  these  words,  required 


65^ 


THE   MTTSIOAL  WORLt) 


their  retention.  Mo»t  futile  reasoa.  Then  cat  ftway  the  music 
altogether,*^ 

"  Three  ounces  of  a  i«d-hair'd  veach." 
Etery  eomponelit  named  hy  the  witches  to  charm  the  metn-* 
phjfical  agents  of  evil,  is  particularised  and  circumstantiated. 

**  Eye  of  newt,  and  toe  of  fh>g» 
Wool  of  bat,  and  totigoe  of  do^. 
Adder's  fork,  and  bliod-worm's  sting; 
Lisard's  left  and  owlets  ving, 

•  *  •  • 

6cale  Of  dragon,  tooth  of  wolf. 
Witch's  nuimmy  (  maw  and  gulf 
Of  the  raTin'd  salt>8ea  shark ; 
Root  of  hemlock  digg'd  i'  the  dark ; 
Liver  of  blaspheming  Jew ; 
Gall  of  goat,  and  slips  of  yew 
SliTer'd  in  the  moon's  eclipse ; 
Nose  of  Turk,  and  Turtar's  lips  s 
Finger  of  bkth^raagled  babe^ 
Ditch  deliver*d  by  a  drab,  &c .  &c." 

To  this  list  of  horrors,  so  perfectly  in  eonsonaaos  with  the 
hellish  operations  of  the  weird  sisters,  must  he  added  an  in- 
gredient so  low,  vagne  and  meuiingless,  as  to  convert  the 
author's  seriousness  into  the  hyperbolical  absurd.  And  sUch  is 
the  modern  reverence  for  die  works  of  the  great  poet  Nor  is  this 
all  we  have  to  complain  of  in  the  acted  version  of  Jfae^stf/k. 
To  give  place  to  Lock's  music,  which  occupies  a  considerable 
space  of  time  in  the  performance,  several  scenes  are  4MBitted9 
and  some  of  the  finest  speeches  in  the  play  expunged.  Take 
that,  for  instance,  when  Macbeth  seeks  the  witdies  in  the 
oavem,  and  conjures  them  to  answer  his  questioBs.-— 
'*  Though  you  untie  the  winds,  and  let  them  llgfat 

Against  the  churches  j  though  the  yesty  waves 

Confound  and  swallow  navigation  up ; 

Though  bladed  Corn  be  lodged,  and  trees  blown  down ; 

Though  castle*  topple  on  their  warders'  hetdsj 

Though  palaces  and  pyramids  do  slope 

Their  heads  to  their  foundation,  though  the  tretsare 

Of  Nature's  germias  tumble  sU  together. 

Even  till  destraction  sicken,  answer  me 

To  what  t  aek  yen," 

The  words  in  italics  only  are  spoken  ;  and  this  is  what  is 
called  the  restoration  of  Shakespere.  Mr.  t^helps  deserves 
the  lasting  gratitude  of  all  lovers  of  the  poet,  for  being  the 
first  to  rescue  Shakespere  from  this  foul  emasculation,  and 
rendering  him  in  his  full  integrity.  The  fact  is,  thai  Lock's 
music  should  be  omitted  entirely,  with  the  exception  of  the 
choruses,  •*  Come  away,  come  away/'  and  **  Black  spirits  and 
white,'*  which  alone  the  author  intended  to  be  sung ;  and 
even  then,  we  should  demand  music  something  superior  to 
that  of  the  over-lauded  Lock.  Macbeth,  in  its  modern  guisci 
has  too  much  of  a  melodramatic  show,  and  all  this  musical 
podder  tends  to  detract  considerably  from  its  grandeur  and 
sublimity. 

On  Tuesday  evening  Miss  Cushlnan  played  Mrs.  Haller  in 
The  Stranger,  This  was  an  excellent  performance,  and  the 
actress  pleased  us  as  much  in  it  as  we  disliked  her  in  Lady 
Macbeth.  With  the  exception  of  Miss  Cushman's  Borneo, 
and  perhaps  her  Meg  Merrilies,  we  have  seen  her  in  no  part 
which  wins  fVoln  us  so  much  admiration.  Her  acting  was 
natural,  and  extremely  touching,  and  was  unmarked  by  those 
extra  endeavours  at  making  points,  which  we  have  found  fault 
with  in  noticing  her  Lady  MacbeUi.  Mr.  Cooper's  Stranger 
was  dolorous,  and  over-strained.  The  rest  of  the  characters 
demand  no  particular  notice.  After  the  play  a  new  afterpiece 
was  produced,  under  the  title  of  A  Romaiice  of  the  Rhine. 
It  is  lq)parently  taken  from  the  French  and  is  tolerably  trans- 
lated*   Hie  piece  is  ahiusing,  and  was  Well  acted  by  the 


Misses  Rmma  Stanley  and  ViUars,  J.  Vining  and  Compton^ 
Compton  had  a  good  part,  and  made  it  as  efficient  as  it  could 
be  made.  We  are  glad  to  see  Miss  ViUars  on  the  boards  of 
the  Princess's.  She  is  a  worthy  addition  to  the  corps  dra^ 
matique.  The  Romance  of  the  R^ne  met  w  ith  the  greatest 
success. 

On  Wednesday  Othello  was  played  with  an  entirely  new 
castt  if  we  except  Macready  in  the  hero,  and  J.  Yining  ia 
B.oderigo.  Miss  Cushman  performed  Emilia,  and.  Miss 
Emmeline  Montague  made  her  debut  at  this  theatre  in 
Desdemona.  Macready's  Othello  never  wholly  gratified  us. 
It  is,  to  our  thinking,  an  erroneous  conception  altogether.  It 
appears,  however,  to  be  one  of  the  parts  in  which  the  great 
tragedian  is  most  favourably  received  by  the  multitude.  For 
the  actor's  sake  we  wish  we  were  of  the  mob.  Miss  Cushmaa 
played  Emilia  with  a  degree  of  fire  and  earnestness  we  have 
never  seen  surpassed  on  the  stage.  The  scene  in  the  bed-room« 
where  Emelia  taunts  Othello,  most  deservedly  drew  dowa 
thunders  of  applause.  Miss  Emmeline  Montague  in  Desde- 
mona produced  a  most  favourable  impression.  There  is  a 
natural  grace  and  gentleness  of  deportment  in  this  lady  that 
befits  her  for  such  parts  as  Desdemona*  We  admired  Miss 
Cmmeline  Montague  some  years  since  when  she  played  Juliet 
at  Drury  Lane.  Since  then  we  have  lost  sight  of  kerj  saving 
through  occasional  provincial  reports  in  which  she  generally 
obtained  high  praise.  The  part  of  Desdemona  does  not  tax 
the  highest  capabilities  of  an  actress,  nevertheless  there  is 
sufficient  in  the  acting  to  call  for  some  of  the  rarest  qdalifi- 
cations  of  A  tragic  artist.  Onr  verdict  is  certainly  hi  fiivoor 
of  the  debutante^  and  we  do  not  hesitate  to  pronounce  her  a 
decided  hit.  Mr.  Cooper's  lago  was  a  powerless  performance. 
We  can  say  so  just  much  for  Mr.  Conway's  Cassio.  This 
gentleman's  nasal  voice  is  much  against  him.  He  ^Msks  as 
li  he  had  a  cold  in  his  head.  He  has  tact  and  experience  in 
his  business,  but  he  has  as  yet  given  no  indication  of  tragia 
genius.  The  performance  was  received  with  raptures  by  an 
over-thronged  housCi  and  all  the  principal  actors  obtained  the 
usual  re-calls. 

Romeo  and  Juliet  was  produced  on  Thursday  with  Miss 
Cushman  and  Miss  Susan  Coshman  as  the  hero  and  heroine. 
We  have  already  overstept  our  limitations,  and  must  postpone 
our  notice  of  the  performance  until  nexrwedc.  Af«cMA  was 
repeated  last  evening.  The  Romance  of  the  Rhine  is  played 
nightly. 


PROVINCIAL. 

MAftcBBSTKa.-— HAaeacAvas'  Choeal  Soeiart.— TIm  afatth  annJMI 
meeting  of  this  society  was  held  st  the  Albion  UoCsl,  Pkasdillf  • 
Manchester,  on  Thursday  evenings  John  0«ren,  Esq.,  fone  of  the 
executors  of  Mr.  Hsirgreaves)  in  the  chair.  The  report  of  the  oom- 
mlttee  was  read  by  the  honorary  secretary.  The  treasarer  then  read 
the  financiAl  statement,  from  which  it  appcand  that  the  total  rscelpU 
(including  £50  i  9a.  5d.  from  the  Hargreaves  bequest)  wferc  £l|46e  10a.  ad* 
The  expenditure  amottnted  to  £l,481  Os.  Bd.,  the  principal  items  being: 
musical  fees,  £l,D23  5s.;  purchase  and  hire  of  music  £19  7s.  6d.; 
printing  and  advertising^  £76  198. 6d. ;  rent,  £125  Us. ;  leaving  a  baUnoe 
in  the  bank  of  £7  iOs.  The  vsual  routine  of  reaolatlons  hating  been 
passed,  a  conversation  took  place  upon  the  importance  of  a  more  strict 
enforcement  of  the  regulation  respecting  the  admission  of  noa-sob- 
scribers;  and  a  resolution  was  passed  unanimously  to  the  effect  that 
*' the  committee  be  instructed  to  enforce  a  more  strict  observance  of 
the  regulation  respecting  the  admission  of  non-snbscribers,  hy  a  mofft 
careful  examination  of  the  tidceta  on  entering;  to  see  that  they  an 
correctly  filled  up,  according  to  the  instmctioas  printed  thereoD,-«4if 
requesting  the  instant  retirement  from  the  Concert  Room  of  all  parties 
found  there  in  violation  of  the  regulation,*— and  by  adopting  such  other 
measures  as  they  may  deem  necessary ;  and  this  meeting  pledges  Itself, 
on  behalf  of  the  subacrihers  at  laive^  to  co-operate  so  the  utmost  wMI 
the  committee  in  carrying  out  the  proposed  arrangements.'*    It  was 


THE  MUSICAL  WORLD. 


656 


anoouaced  that  the  committee  intended  to  commence  their  seventh 
season  on  the  28th  of  October  with  the  oratorio  of  "  Elijah,"  which  was 
receHed  with  so  mach  approval  when  performed  in  April  last.  Henr 
Staudigl  would  have  been  engaged  for  the  part  of  the  prophet,  but  his 
oontiBentiU  engagement  would  not  allow  of  his  presence  in  England  at 
the  time.  Miss  Birch  had  also  been  written  to^  but  her  engagement  at 
the  French  Opera,  would  detain  her  in  Paris.  In  consequence  the 
Misses  Williams  have  been  engaged  in  the  place  of  Miss  Birch,  and  Miss 
Dolby  mid  Messrs.  Lockey  and  H.  PhiUlps  are  to  Ksame  their  former 
parts  in  the  oratorio.-^i/ancAesrer  Cotirwr. 

Tbb  Songs  op  Scotland,  England,  and  Iebland. — A.  musical  treat 
of  a  rare  character  was  afforded  to  a  Croydon  audience,  on  Monday  last, 
in  the  selection  of  Song,  Duets,  ftc.,  given  by  Mr.  H.  Phillips  and 
Mr.  Latid.  These  gentlemen  have  united  their  talents  for  the  purpose  of 
giving  a  series  of  vocal  entertainments,  with,  occasionally*  an  instrunenal 
pcrf6nBanoe,«nd  judging  from  the  enthusiastic  manner  in  which  their 
effbrts  were  received  they  will  doubtless  have  a  most  prosperous  career. 
Both  gentlemen  were  warmly  greeted  on  their  entrance,  when  Mr.  Phillips 
addressed  the  audience  by  sAying  that  on  the  present  occasion  he  felt 
uniftoal  gratification  in  appearing  associated  with  Mr.  Land,  whose 
talents  as  a  pianiat  whilst  connected  with  Mr.  Wilson  had  been  univer- 
sally acknowledged  and  appreciated ;  he  was  unwilling  to  allude  further 
to  Mr.  Land'a  merits  in  that  gentleman's  presence  and  would  merely  add 
that  his  vocal  abilities  had  too  long  been  sufiTered  to  He  dormant :  in 
conchnion  he  ventured  to  hope  by  their  combined  efforts  to  be  enabled 
to  praacnt  inasic  of  a  higher  daaa  than  had  hitherto  been  attempted  at 
similar  entertainments.  Mr.  Phillips,  in  the  delivery  of  the  remarks  and 
anecdotes  introducing  each  song,  and  in  his  address,  was  frequently 
applauded.  Mr.  Land,  in  his  first  song,  abundantly  proved  how  equally 
he  is  at  home  either  as  a  singer  or  an  accompanyist;  be  poesesses  a  well- 
trained  tenor  voice,  singularly  sweet  and  full  in  its  ngper  register  and 
capable  of  deep  eipressioa ;  he  sang  the  morceaux  allotted  to  him  in  a 
style  that  literally  took  the  audience  by  surprise.  His  rendering  of 
''Auld  Kobin  Gray"  was  chaste  and  pathetic  in  the  extreme:  equal 
praise,  too,  must  be  awarded  to  "My  bonnie  Mary,"  and  "The  Lass  of 
Gowrie,"  both  of  which  were  deservedly  encored.  la  the  duet  from 
Donizetti's  BdUario  with  Mr.  Phillips  he  was  no  less  happy  in  the  florid 
Italian  school :  it  was  highly  applauded.  Mr.  Phillips  was  in  fine  voice, 
and  gave  Callcott's  scena,  "  The  Last  Man,"  in  bis  usual  manner,  proving 
hitnself  the  only  man  that  can  do  it  justice.  He  was  encored  In  a 
beautiful  MS.  aong  "  Mine  be  a  cot,"  taken  from  Rogers'  Poems,  also 
in  Toia  Moote'a  capital  song  "To  ladies'  eyes,"  and  "The  Bear  Hunt." 
His  chaste  style  of  singing  Dibdin's  song  "  The  Lads  of  the  Village," 
afforded  great  delight  to  the  lovers  of  English  Melody.  It  may  truly  be 
said  that  "honours  were  divided*  between  the  gentlemen,  and  the 
pleasure  of  thefr  audience  doMed  by  their  auapicious  co-operation.  We 
consider  this  a  union  of  great  advantage  to  the  public  as  a  means  of 
diffusing  music  of  a  certain  character  throughout  the  ihree  kindonis.  A 
hearty  buret  of  applause  took  up  the  closing  strains^  of  this  decided 
musical  treat  which  we  venture  to  prophecy  will  be  loudlf  echoed 
wbetewi  it  ft  given.*— ^ufrey  ond  Suitsx  Standard, 

FOREIGN  INTELUQENCE. 

pAMt.**- Opera. — The  chief  features  at  the  Academy 
dorii^  the  week  past  has  been  the  reprise  of  the  Mnette  de 
PtftiH^  and  the  debut  of  Poiiltier  in  Maaaniello^  after  an 
aheetace  of  several  years  from  the  Opera.  The  engagenent 
of  Mademoiselle  Alboni  is  spoken  of  as  a  certainty.  This 
annoanoement  has  created  a  great  sensation  in  musical  circles. 
It  is  said  she  will  make  her  debut  at  the  latter  end  of  the 
present  month.  Cerito  and  St.  Leon  will  appear  in  a  new 
baiietf  written  expressly  for  them,  with  music  by  Pogni,  about 
the  same  time.  Verdi's  opera  is  in  rapid  progress.  The 
third  act  has  been  rehearsed. 

•—  Theatri-Italixn  opened  on  Saturday  with  li  Don 
Giovannu  Grisi,  Persian!,  Corbari,  Lablache,  Mario,  Tag- 
lfafeo»  and  Polonini  were  the  chief  executants.  All  were 
excellent,  exeept  Coletti,  whose  Don  was  very  indifferent.  A 
great  concourse  of  visitors  attended. 

•«— TAMB0R1NI  is  in  Paris,  having  arrived  some  days  since. 
He  would  have  departed  last  week  for  St.  Petersbnrgh,  but 
fot  Uie  sudden  indisposition  of  his  son. 

•—  RoGXs,  the  celebrated  tenor  of  the  Opera  Comiquey 
ittteDds  to  set  out  ibr  Italy  after  the  expiration  of  his  present 
engagement* 


REVIEWS   OF   MUSIC. 

" Emigrant* t   Farewell;*'    BaUad,      Compoted    fry    N.  J.  SpoBLid— 
B.  Williams,  Cheapside. 

Ma.  Sporlb's  ballads  are  remarkable,  in  most  instances,  for  a 
certain  felicity  of  tune,  which  is  sare  to  have  captivations  for  loven 
of  simple  song.  The  ballad  before  us  has  that  degree  of  mefH 
that  appertains  to  the  best  compositions  of  the  author.  It  is  written 
in  A,  three  sharps,  and  requires  a  voice  of  moderate  compass  to 
sing  it,  extending  from  E  on  the  first  line  to  E  in  the  fourth  space* 
The  song  will  be  found  useful  in  indoctrinating  beginners. 

"  Cathedral  and  Church  Chants,**     Composed  by  Johm  Hbnst  Mxcrxa- 

LANK,  Organist,-^ CtikRLU  Jepfekt's. 
This  is  part  first  of  a  work  with  the  above  title.  It  contains 
seventeen  double,  and  eight  single  chants.  They  appear  to  have 
been  indited  by  one  thorougfhly  conversant  with  compositions  of 
this  class,  and  well  versed  in^arrangins:  for  voices.  The  title-page 
is  splendid,  being  printed  in  gold  and  iTluminated  colors. 

AN   EPISODE  IN  THE   LIFE   OF  $E»ASTIAN   BACH. 

{Translated  from  the  " France  Musicale.**) 

Sebastian  Bach  was  indisputably  one  of  the  most  spiendid 
geniuses  which  Europe  produced  at  an  epoch  so  remarkabU 
for  the  reproduction  of  letters  and  the  fine  arts.  Sebastian 
Bach  played  a  character  in  Germany,  analogous  to  that  Which 
Palestrina  played  in  Italy  :  he  contributed  powerfully  to  the 
regeneration  of  music.  By  his  original  and  vigorous  compo* 
sitions,  and  by  his  didactic  works^  he  opened  a  novel  and 
unexplored  road-way  to  art. 

In  the  retreat,  where  he  had  made  his  abode,  liie  illus- 
trious composer  was  visited  by  persons  of  the  highest  rank 
and  consideration.  Nevertheless,  in  the  midst  of  all  the 
homage  which  was  rendered  to  him,  Sebastian  lived  after  a 
fashion  the  most  simple  and  patriarchal.  Luxury  was  banished 
from  his  establishment ;  order  and  propriety  reigned  his  house- 
hold gods ;  and  a  wife,  who  was  truly  a  model  for  woman- 
kind, directed  all  as  the  presiding  genius. 

Sebastian  had  but  an  only  daughter  in  the  viredded  state,  a 
charming  giri,  full  of  intelligence  and  candour*  He  gave  her 
the  name  of  Cecilia,  after  the  patroness  of  music,  and  lived  in 
hope  that  she  would  resemble,  by  her  virtues  and  her  talents, 
her  ilhistrious  homonyme. 

We  have  said  that  Sebastian  Bach  was  aceustotned  to 
receive  fret|uent  visits  from  those  who  reverenced  art.  The 
Baron  de  Norber^,  a  young  man  distinguished  by  his  wit  and 
by  the  good  qualities  of  his  heart,  was  one  of  tbose  who  mostly 
frequented  his  house.  Springing  from  a  noble  family,  the 
youthful  baron  enjoyed  a  high  position  and  an  independent 
fortune.  In  addition,  he  possessed,  in  an  extreme  degree,  a 
love  for  the  arts.  He  was  a  distinguished  musical  amateur.  He 
used  to  pass  hour  after  hour  in  the  society  of  Sebastian  Bach, 
and  the  master  loved  to  converse  with  the  young  nobleman, 
and  at  last  conceived  for  him  a  very  lively  affection.  One 
day  it  happened  that  Sebastian  was  in  the  gallery,  where  he 
used  to  work  during  the  warm  days  of  summer,  when  the 
Baron  suddenly  entering,  approached  him,  clothed  as  for  a 
ceremonial  visit,  and  before  he  had  time  to  salute  him,  de- 
manded of  him  his  daughter's  hand  in  marriage.  At  this 
unexpected  offer,  the  illustrious  master  rose,  lifted  his 
hat  from  his  head,  and  said,  after  a  moment's  refiee- 
tion :  "  My  dear  Baron,  I  cannot  be  otherwise  than  highly 
flattered  at  the  demand  you  have  made  to  me:  but  I  must 
add,  nevertheless,  that  it  is  impossible  to  accept  of  the  honor 
yon  wished  to  confer  upon  nie.*'  **  How  is  that  ?  "  inquired 
the  baron  confounded.  **  Hear  me,  my  dear  friend !  I  am 
sometimes  odd,  and  act  on  occasions  like  o^®  distraoiad^  lY^T 


*^'i5?fefgyT^^i9t5§i^ 


654 


THE  MUSICAL  WOULD. 


well,  it  is  my  humor.  I  bave  taken  it  into  my  head  not  to 
give  my  daughter  in  marriage  even  to  the  most  illustrious  man, 
unless  he  cultivate  that  art  to  which  I  have  devoted  my  whole 

existence."     "  But  consider "     *'  Nothing  on  earth," 

interrupted  Sebastian,  *^  can  alter  my  resolution  in  this  respect. 
However,  although  it  is  impossible  that  you  can  become  my 
son-in-law,  1  hope  that  will  not  hinder  us  from  being  as  good 
friends  as  ever ;  but  it  is  necessary  that  not  the  least  word 
should  transpire  to  my  wife,  still  less  to  my  daughter ;  and 
let  you  and  me  avoid  all  allusion  to  the  matter  firom  this  time 
forward.  It  also  appears  requisite  to  me  that  your  visits, 
however  agreeable  they  may  be  to  us  all*  should  become  less 
frequent,  if,  indeed,  they  should  not  cease  altogether."  The 
baron  de  Norberg  retired  astonished  and  confounded.  He  had 
assured  himself  of  the  mother's  consent;  and  had  received 
from  the  daughter's  lips  a  confirmation  that  she  would  present 
no  very  great  obstacle  to  his  desires.  He  had  never  enter- 
tained a  thought  that  he  would  have  met  with  opposition  from 
the  father.  The  refusal,  therefore,  seemed  to  him  more  cruel 
as  it  was  unexpected.  He  was  overwhelmed  and  afflicted. 
After  a  moment's  hesitation,  he  hastened  to  the  mother  and 
daughter,  who  awaited  with  anxiety  the  result  of  his  mission. 
He  related  to  them  the  reception  he  had  met  with.  Sebastian's 
wife  ran  instantly  to  find  her  husband.  She  complained 
bitterly  of  the  caprice  that  had  carried  him  so  far  as  to 
refuse  so  excellent  an  alliance  for  her  dear  Cecilia.  The 
baron  was  rich,  of  high  birth,  and  had  great  merits.  What 
did  he  want  more  ?  Why  refuse  advantages  so  superior  to 
what  he  expected  ?  Such  obstinacy  was  truly  inconceivable. 
These  arguments  were  enforced  with  as  much  force,  as  much 
heat,  and  as  much  eloquence  as  maternal  tenderness  and 
anxiety  could  inspire.  But  Sebastian  was  impregnable,  and 
his  wife,  convinced  that  it  was  impossible  to  overcome  his 
resolve,  returned  to  the  Baron  de  Norberg  and  her  daughter, 
and  related  the  ill-success  of  her  enterprise.  *'  My  dear 
child,"  she  added  in  conclusion,  **  you  know  that  your  fiither 
is  the  best  of  men ;  but  his  humor,  however  strange,  we  arc 
bound  to  submit  to.  I  know  him  long  and  well.  It  is  abso- 
lutely necessary  that  his  son-in-law  should  be  a  musician. 
When  an  idea  once  enters  into  his  head>  it  is  impossible  to 
drive  it  away." 

The  Baron  took  leave  of  the  mother  and  daughter ;  but 
before  separating  from  Cecilia,  he  said  to  her:  •'  I  depart  from 
you,  because  I  cannot,  at  this  moment,  make  or  imagine  any 
new  attempt  which  could  wear  an  aspect  of  success.  Only  I 
conjure  you,  do  not  banish  me  from  your  memory.  I  hope, 
some  yeara  hence  to  come  back  to  you,  and  flatter  myself,  I 
shall  then  obtain  the  consent  of  your  father."  The  Baron  de 
Norberg  departed  without  explaining  himself  farther.  But  a 
close  observer  might  have  remarked  that  a  sudden  change  had 
taken  place  in  his  looks.  The  sadness  and  despondence,  that 
had  darkened  his  countenance  had  entirely  disappeared.  His 
voice  was  firm :  his  eye  bright :  his  look  assured.  It  was 
not  difficult  to  see  that  he  had  conceived  some  sudden  reso- 
lution, and  felt  that  he  had  power  to  accomplish  it. 

Soon  after  the  interview  the  Baron  de  Norberg  quitted 
Germany.  Four  years  rolled  on,  and  still  he  returned  not. 
During  this  long  period,  he  wrote  frequently  to  Sebastian  and 
his  family.  His  letters  dated  from  Paris,  London,  Rome, 
Naples,  or  Florence,  breathed  the  greatest  enthusiasm  for 
art.  He  related  in  these  epistles,  in  a  highly  imaginative 
style,  the  impressions  of  his  voyage,  and  spoke  with  admi- 
ration of  all  the  great  musiciofis  he  had  seen,  and  all  the 
grand  works,  the  performance  of  which  had  filled  him  with 
wonder  and  delight. 


It  was  at  that  moment  an  era  of  regeneration  for  Europe. 
Italy  was  at  the  head  of  that  intellectual  progress,  and  of  that 
artistic  movement  which  signalized  the  sixteenth  century. 
The  lyric  drama,  the  splendour  of  which  had  disappeared  in 
the  chaos  of  the  middle  ages,  had  been  resuseitated  under  the 
genius  of  Scarlatti.  The  elements  of  a  new  art  were  in  a 
state  of  fusion.  The  burning  and  enthusiastic  soul  of  the 
Baron  was  impressed  in  a  lively  manner  by  this  spectacle^  and 
his  emotions  betrayed  themselves  in  a  remarkable  degree  in 
his  correspondence  with  his  friends.  His  letters  were  replete 
with  sparkling  eloquence,  information  conveyed  in  an  original 
and  fanciful  manner,  and  all  that  passed  in  the  artistic  world 
was  analysed  by  ingenious  and  witty  commentaries.  Often  in 
the  midst  of  his  interesting  peregrinations,  and  his  musical 
studies,  the  Baron  would  reiterate  with  all  his  poetical  feeling 
the  sentiments  he  had  avowed  for  the  charming  Cecilia.  Each 
of  his  letters  was  followed  by  a  postscript^  in  which  he  re- 
newed, in  a  respectful,  and  at  the  same  time,  a  tender  manner, 
the  assurance  of  his  unalterable  attachment. 

The  correspondence  of  the  Baron,  however,  after  some  time, 
grew  less  frequent,  and  at  length  ceased  entirely.  Sebastian 
Bach  and  his  wife  did  not  know  how  to  interpret  this  silence. 
Cecilia  was  grievously  afflicted. 

One  day  that  Sebastian  had  gone  to  Bonn  on  some  business, 
his  wife  and  daughter  were  seated  in  the  large  gallery  which 
generally  served  for  the  studio  of  the  composer.  Cecilia  was 
trying  some  new  music  on  her  harpsichord.  Her  light 
fingers  were  skimming  over  the  keys,  when  the  sound  of  foot- 
steps mad^  her  pause,  and  turning  round,  she  beheld 
Judge  with  how  much  surprise  —  the  Baron  de  Norberg, 
"  Mademoiselle,"  said  he  '*  it  is  four  years  since  I  bade  you 
farewell.  I  promised  to  return  when  circumstances  would 
permit  me,  and  I  conjured  you  not  to  banish  me  from  your 
recollection.  It  appeared  to  me  then  that  I  had  it  in  my 
power,  on  some  far  future  day,  by  dint  of  study  and  perse- 
verance, to  fulfil  the  condition  that  your  father  required  as 
indispensable  in  a  son-in-law.  I  put  myself  immediately  to 
work.  That  art,  which  I  only  cultivated  for  pastime  as  an 
amateur,  became,  thenceforward  the  object  of  my  constant 
studies  ;  and  love  efilected  what  neither  fame,  glory,  nor  the 
desire  of  popularity  could  effecl.  I  have  become  a  musician. 
Italy  already  knows  my  name  and  my  works.  Doubtless, 
there  are  many  artistes  more  illustrious,  and  more  deserving 
than  I  am ;  but  your  father  will  judge  of  my  weak  talents 

with  indulgence,  and  render  me  credit  for  all  ray  efforts 

and  now  permit  me,  charming  Cecilia,  to  make  you  judge  of 
my  progress,"  added  the  Baron  smiling,  He  sat  down  and 
executed  a  suite  de  melodies  of  his  own  composition,  written 
in  an  original  form  and  character.  In  this  work  he  retraced 
the  emotions  of  his  adventurous  life,  his  visions  of  love  and 
poesy,  his  aspirations  towards  goodness,  his  tortures  in  exile, 
his  joy  at  his  returning  to  his  country,  and  the  places  made 
happy  by  the  light  of  his  dear  heart's  countenance.  The  style 
of  Uie  composition  modified  itself  according  to  the  different 
situations,  and  the  songs,  by  turns  lively  and  light,  plaintive 
and  melancholy,  full  of  passion  and  tenderness,  translated  every 
varied  impression  of  his  soul. 

Such  was  the  work  of  the  Baron  de  Norberg.  In  his  icase 
the  merit  of  the  executant  equalled  the  talent  of  the  composer. 
Cecilia  and  her  mother  listened  with  astonishment,  widi  en- 
thusiasm. But  whilst  they  were  spell-bound  under  the  en* 
chantment  of  this  music  and  of  this  performance,  they  had  not 
noticed  a  new  auditor,  who  had  glided  imperceptibly  into  the 
room.  It  was  Sebastian.  The  illustrious  composer  was  him- 
self seized  with  astonishment  and  admiration.   He  endeavoared 


Digitized  by  \^OOy  ItT 


THE  MUSICAL  WORLD. 


657 


awhile  to  suppress  the  heatings  of  his  hearty  and  to  lull  the 
sentiments  which  agitated  him,  hut  in  vain.  He  could  con- 
tain himself  no  longer ;  and  throwing  himself  on  the  Baron's 
neckt  cried,  *'  No,  my  friend,  I  shall  make  no  objection  to 
your  marriage.  My  child  is  yours.  You  did  not  withdraw 
yourself  from  her  society  to  obtain  her,  without  undergoing 
long  and  painful  labors  :  you  have  given  an  amiable  and  in- 
contestable proof  of  your  attachment.  Here  me,  my  friend: 
When  I  told  you  that  I  wished  a  musician  for  my  son-in-law, 
that  must  have  appeared  strange  to  you*  Do  not  pre-judge 
me,  however,  as  a  capricious  man,  or  one  half-deranged. 
What  I  desired  above  all  things  was,  that  he  who  would 
become  the  husband  of  my  beloved  daughter,  should 
embrace  a  profession,  a  career  in  which  he  would  obtain  an 
assured  independence.  The  most  splendid  fortunes  are  liable 
to  sudden  loss,  especially  in  these  times  of  agitation  and  civil 
troubles.  Who  can  foresee  the  ills  that  to-morrow  may  have 
in  store  for  us  ?  But  talent  and  merit  are  solid  advantages* 
which  no  outward  disaster  can  take  from  us.  These  prin- 
ciples, based  on  a  long  experience,  dictated  my  conduct 
towards  you,  when  four  years  since  you  demanded  from  me 
the  hand  of  my  daughter.  1  said  to  myself,  **  Mons.  le  Baron 
has  good  dispositions  for  music.  He  is  young  :  has  time  to 
labour.  Let  us  turn  these  faculties  in  a  happy  direction :  let  us 
trace  for  him  the  route  which  he  ought  to  take,  and  if  he 
love  Cecilia,  he  will  kaoYr  how  to  triumph  over  every  obstacle, 
and  regain  for  himself  a  rank  in  the  artistic  world."  This, 
my  friend,  is  what  I  then  said.  I  could  not  explain  all  that 
clearly  and  precisely.  Judge  of  my  joy  when  I  found  you  had 
devised  my  intentions*  Cecilia^  Norberg,  my  dear  children  •  •  •  ^ 
I  bless  you." 

The  marriage  of  Cecilia  and  the  Baron  de  Norberg  took 
place  a  few  days  afterwards.  It  was  celebrated  with  a  noble 
simplicity.  The  principal  vocal  societies  of  Germany  assisted 
at  the  nuptial  feast.  Sebastian  exhibited  foresight  in  exacting 
that  his  son-in-law  should  possess  a  profession.  De  Norberg 
was  soon  able  to  convince  himself  of  his  father-in-law's  acute- 
ness  of  judgment.  In  consequence  of  the  wars  which  desolated 
Germany  he  was  deprived  of  all  his  fortune.  He  supported 
this  loss  with  resignation,  and  found  in  the  exercise  of  his  art 
pleasures  surpassing  those  of  goods  and  chattels. 


NIISCELLANEOUS. 

Drurt-Lane. — Mr.  Jullien's  Promenade  Concerts  com- 
menced last  night.  We  have  but  little  space  left  to  describe 
the  splendid  appearance  of  the  house  under  its  new  aspect, 
the  huge  crowd  that  attended,  the  performances  given,  or  the 
immense  encores  demanded  by  the  enthusiastic  audience.  It 
is  enough  to  say,  in  this  hurried  notice,  that  the  theatre  was 
universally  admired  for  the  novelty  and  extreme  beauty  of  its 
decorations,  and  that  the  orchestra  gratified  the  most  fastidious 
lover  of  instrumental  music.  The  vocal  essays  were  entrusted 
to  Miss  Dolby,  who  was  greeted  on  her  entrance  with  the 
heartiest  applause,  and  obtained  a  unanimous  encoxe  in  two 
songs.  In  consequence  of  our  going  to  press  early  we  must 
defer  particulars  till  next  week.  It  would  hardly  be  fair  in  s 
hasty  article  like  this,  to  comment  on  the  many  splendours  of 
the  new  decorations,  the  completeness  of  the  band,  or  to  attempt 
to  describe,  in  few  words,  the  excitement  of  the  vast  crowd  as- 
sembled. In  our  next  number  we  shall  give  full  and  true  par- 
ticulars of  the  new  theatre,  and  the  performances  of  the  week, 

HxRR  Staudiol  has  left  London  for  Vienna.  It  is  uncer- 
tain whether  he  will  be  able  to  obtain  leave  of  absence  from 
the  Imperial  Chapel  during  the  winter,  so  as  to  enable  him  to 
accept  an  engagement  from  M.  Jullien  for  Drory-Lane. ' 


Mr.  Hbnrt  Russell  is  giving  his  vocal  entertainments 
with  much  success  in  the  provinces,  having  visited  during  the 
months  of  August  and  September,  Chertsey,  Farnhara,  Win- 
chester, Salisbury,  Portsmouth,  Chichester,  Arundel  .Worthing, 
Hastings,  Norwich,  Yarmouth,  Ipswich,  Windsor,  Reading, 
Newbury,  Northampton,  Coventry,  Leamington,  Stratford- 
upon-Avon  ;  and  during  the  month  of  October  the  vocalist 
will  pursue  his  flight  to  Warwick,  Wolverhampton,  Shrews- 
bury, Wellington,  St.  Helen's,  Derby,  Nottingham,  Chester- 
field, Huddersfield,  Halifax,  Blackburn,  Carlisle,  Preston,  &c. 

The  New  Decorations  of  Drury-Lane  Theatre  are 
simple,  although  exceedingly  e£fective.  The  ground  of  the 
whole  is  a  faint  blossom  colour,  approaching  a  white,  and  the 
ornaments,  which  are  all  applique,  are  gilt.  The  fronts  of  all 
the  boxes  are  laced  with  a  trellis  of  large  mash,  formed  of  an 
enriched  moulding,  gilt,  and  upon  this  festoons  of  detached 
flowers,  very  nicely  modelled,  and  also  gilt,  are  suspended. 
On  the  dress  boxes  the  festoons  are  looped  through  wreaths ; 
on  the  next  tier,  tied  with  a  gilt  riband,  and  on  the  front  of 
the  third  tier  the  festoon  consists  of  riband  only.  The  fluted 
Corinthian  columns  which  form  the  proscenium,  two  on  each 
side,  have  their  caps  and  bases  gilt,  and  the  flutes  entwined 
by  a  continuous  wreath  of  flowers,  gilt,  as  have  also  the  small 
columns  which  support  the  boxes  throughout  the  house.  The 
whole  of  the  ornaments,  fruit  and  flower  work,  are  of  papier 
mdchS-^ihe  ornamental  moulding  which  forms  the  trellis  being 
of  a  new  patent  machine-made  kind,  and  were  made,  gilt 
and  fixed  in  ^ye  weeks  by  Mr.  Bielefield.  The  ceiling  is 
painted  to  represent  the  sky  seen  from  a  roofless  buUding, 
and  much  ingenuity  is  exhibited  in  the  endeavour.  A  con- 
tinuation of  the  trellis  work,  rising  from  the  walls,  forms  an 
indosure  around  the  lower  part  of  the  circle ;  and  the  central 
glass  chandelier,  a  new  one,  is  made  to  represent,  by  masses 
of  drops,  six  flags,  with  lines  of  the  union-jack  marked  on 
each  of  them  by  light.  It  is  kept  close  up  to  tlie  ceiling,  and 
is  seen  to  be  held  by  six  flying  cupids.  For  colour,  entire 
dependence  is  placed  on  the  draperies,  in  respect  of  which 
Mr.  Frederick  Gye  has  taken  a  bold  step.  Acting  probably 
on  the  proverbial  partiality  of  the  fairer  portion  of  the  British 
public  for  a  red  coat,  he  has  adopted  nothing  more  nor  less  for 
his  draperies  than  bright  scarlet  cloth  with  yellow  edging, 
which  must  produce  a  brilliant  effect.  The  boxes  are  lined 
with  a  yellow  paterned  paper  on  a  crimson  ground.  The 
**  family  boxes"  have  been  cleared  away,  so  as  to  form  an 
inclosed  area  for  standing  spectators. — The  Builder, 

SiONOR  Costa  has  been  unanimously  elected  a  member  of 
the  Royal  Society  of  Musicians.  Charles  Knyvett  is  the 
senior  member  of  the  institution,  having  been  elected  in  the 
year  1784.  Fran9ois  Cramer  was  elected  the  same  year, 
but  two  months  later  than  Knyvett. 

R.  B.  Peake,  the  celebrated  dramatist,  died  suddenly  on 
Monday  last,  at  his  residence  near  Queen's  Elms,  aged  55. — 
Mr.  P.  was  the  author  of  several  highly  popular  plays,  melo- 
dramas, and  farces,  among  which  we  may  specify  Amateurs 
and  Actors,  The  Duel,  Jonathan  in  England,  Before  Breakfast, 
JSIOO  Note,  Haunted  Inn,  Comfortable  Lodgings,  Bottle  Imp, 
Master's  Bival,  CUmhing  Boy,  Evil  Eye,  Blandie  of  Jersey, 
H.  B.,  Middle  Temple,  Uncle  Eip,  Miser's  Well,  Three  Wives  of 
Madrid,  Sheriff  of  the  County,  False  Mr,  Pope,  Colombia,  Title 
Deeds,  i^c»  Mr.  Peake  has  left  a  large  family  quite  unpro- 
vided for.  He  accumulated  some  money  by  his  dramatic 
writings,  but  lost  it  all,  we  understand,  by  an  unprofitable 
speculation  in  the  Lyceum — that  most  infelicitous  of  theatres. 
A  subscription  is  about  to  be  set  on  foot,  whiclh.we  yust,  will 
realise  something  handsome  for  the  family.    ^^X  '^^ 


66T8 


THE  MUSICAL  WORLD. 


Society  of  British  Musicians. — A  second  trial  of  new 
works  by  members  of  this  society  took  place  at  Erat's  Harp 
Saloon  on  Tuesday  last.  Among  the  instrumental  composi- 
tions brought  forward,  we  may  select  the  following  as 
deserving  considerable  approbation  : — ^A  Trio,  in  B  minor,  for 
piano,  violin,  and  violoncello,  and  a  Sonata,  in  G,  for  piano 
and  violoncello,  by  Charles  Horsley  (both  musicianly  works) ; 
a  Sonata,  in  G,  for  violin  and  piano  by  Kate  Loder  (a  pleas- 
ing specimen  of  this  fair  composer's  talent);  a  Trio,  in 
C  sharp  minor,  for  piano,  violin,  and  violoncello,  by  Walter 
C.  Macfarren  (an  exceedingly  clever  composition) ;  and  a 
Sonata,  for  the  pianoforte,  by  Haite.  Several  vocal  compo- 
sitions, by  Kate  Loder,  H.  C.  Banister,  James  Calkin,  and 
James  Coward,  were  also  tried,  and  deserved  the  applause 
they  obtained. 

Jbnmy  Limd's  Gekbbosity. — ^We  have  been  informed 
that  one  of  the  performances  at  Bristol  was  generously  given 
by  Madlle.  Lind  for  the  benefit  of  Mrs.  Macready,  and  that 
the  proceeds  of  this  munificent  act  of  the  Swedish  vocalist 
amounted  to  nearly  1900/. — Gloucester  Journal, 

Dr.  Essbx.— -This  well  known  musician  died  last  week, 
aged  83. 

ADVERTISCNIENTS. 


BY  APPOINTMENT  TO  THE   QUEEN- 

Hanufactarer  of  Improved 

Cabinet,  Cottage,  Piccolo,  &  Square  Pianofortes, 

73«  BIBHOPSGUkTB    8TBBET   WITHIN, 

Oppoiite  the  Marine  Society. 


Piccolo  Ptaaoforte.' 

PIANOFORTBS,  WARRANTED  of  the  best  manufacture,  and  at  the  lowe^ 
poesible  pricet,  tor  Iiutmments  that  can  really  be  Warranted.  O.  PEACHBY 
reapectfuiy  invitei  his  friends  and  the  public  to  inspect  bis  extensive  stock  of 
IBCnioVRD  CABINET,  CWITAGE,  vfcCOLO,  and  SQUARE  PIANOFORTES, 
Neir  Scale  6f  OctaTes,  C  to  G,  upon  the  most  approved  principles,  for  tone, 
toncli,  and  durability,  suitable  to  any  climate.  Also  a  large  collection  of  secondt 
kand,  of  every  description,  in  good  condition. 

•uptrlor  InstnunenCs  Iient  oa  Hire,  In  Town  or  Qonntrr* 

One  Hundred  Pianofortes  for  general  inspection,  &  Packed  free  of  expense. 

O.  PEACHET,  78,  Bishopsgate-strbbt  Within,  opposite  the  Marine  Society, 

The  AtrapllatoiT,  or  Uqnlil  Hair  Dye  | 

TIm  only  Dye  that  really  answers  for  all  colours,  and  does  not  require 
rt-doing,  but  as  the  Hair  grows,  as  it  never  fades  or  accTuires  thst  unnatura) 
reder  purple  tint  common  to  ail  other  dyes.  BOTANIC  WATER  AND 
JBEAR^S  GREASE.— When  the  Hair  is  becoming  thin  and  falling  off,  the 
only  e£RBGtual  reroedv,  besides  shaving  the  head,  is  the  use  of  the  two  above-i 
IMuned  articles,  applied  alternately— the  Botanic  Water  to  cleanse  the  root^ 
from  scur^  and  as  a  stimulant,  and  the  Bear's  Grease  as  a  nourishcr.  The 
KBW  TOOTH-PICK  BRUSH,  thoroughly  cleansing  between  the  Teeth, 
when  used  up  and  down,  and  polishing  the  surface  when  used  crossways^ 
The  hair  warranted  never  to  come  out  The  UliflON  AND  TRIPLE 
HAIR  BRUSHES.  The  Double  ANTI-PRESSURE  NAIL  BRUSH, 
The  Medium  SHAVING  BRUSH.  The  Railway  STROP  and  POWDER, 
The  above  new  and  elegant  articles,  in  addition  to  a  very  extensive  assort-i 
nent  of  beaudfU  PERFUMES  are  the  sole  MANUFACTURES  an(| 
INVBNTIOM  of  Messrs.  ROSS  and  S0N3, 119,  fuid  120,  Bishopigate-strcet, 
London. 


THEATRB    ROYAL, 


DRURY    liAHB. 


M.    JULLIEN'S 

ANNUAL  SERIES  OF  CONGEaTS, 

FOR  ONE  MONTH  ONLY ! 


THIRD   APPEARANCE    of   MISS    DOLBT. 
FIRST    APPEARANCE    op    SIGNOR    PIATTI. 


PROGRAMMS  for  MONDAY,  OOTOBBR  lltb,  fA7. 


Webtt, 

JulUen. 

jEMwAes'ew* 
PkU$L 


Overture,  **  Der  FreischuU,"  .... 

Quadrille,  on  Airs  from  HeroU's  opera  o{**  ZampL," 
Symphony,  the  Andandno,  from  the  Symphony  in  A, 
Solo,  Violoncello,  SiONOR  PIATTI,  (his  first  appearance) 
Valse,  (first  time)  Miranda,  composed  on  the  occasion  of 

Her  Msjesty  s  visit  to  Cambridge, 
Reeit  and  Aria,  «  Grasie  Clemend  Dei"  &  <«  A  te  Riede,*' 

sung  by  Mim  DOLBY  (who  is  engaged  for  a  limited 

Seriod,  and  will  make  her  third  appearance  on  Mon- 
sy,  at  M.  Jullibn'8  Concerts),  .  .  Mtrcadamie, 

Quadrille,  the  British  Navy,  with  Solos  by  Mr.  Richardson,' 

M.  Barret,  M.  Prospere,  and  Herr  Koenig,      .  .  JmiUem. 

FART  Ik 

Opera,  **  Norma,*'  Gr«id  Seleetion,  with  Solos  for  Flute, 

Clarionet,  and  Duo  for  Two  Cornets,  performed  by 

Mr.  Richardson,  Herr  Sonnenberg.  Mr.  Rowland,  and 

Herr  Kcsniff,      .  •  .  •  • 

Valse,  Olga,  or  Princess  Valse /lU^tfU. 

National  Song,  "  The  Swiss  Girl,"  (third  time)  sung  by 

Miss  Dolby,      ......  Lirnkf. 

Polka,  from  Donisetti's  Opera,  <*  La  FigUa  del  R^nento'* 

(first  time)         .  •  .  •  .  •  JulUm- 

Solo,  Flute,  Mr.  Richardson,  ....  Rich^dsam, 

Polka,  American  Polka JulUtn, 

Concert  commence*  at  Eight  o*clock. 

Places  and  Private  Boxes  may  be  secured  on  applicatioa  to  Mr.  0*Rkili.t,  at 
the  Box  Office  ot  the  Theatre ;  Mr.  Mitchell,  Old  Bond  street  j  Mr.  ALLcaorr, 
New  Bond  street ;  Mr.  Sams,  St.  James's  street ;  Mr.  Ollivibb.  New  BoDd 
Street ;  and  at  M.  Jullibn  &  Co.'s  Musical  Establishment,  214,  Regent  street. 


THE  PATEIfT  HARMONIUM.-OAUTIOlf . 


LUFF  and  SON  having  discovered  that  several  inltfior  Imitatioiip  ai 
their  beautiful  Instrument,  THE   PATENT  HARMONIUM,  have^beea  sold 


OBO. 


i 


Patent  Harmonium.  .^.^    «^^. 

GEO.   LUFF  AND    BON, 
Manufacturers  ol  Patent  Pianofortes,  in  every  variety  of  style  and  i 
ranted  to  keep  well  hi  tane,  and  prepared  tor  extreme  cUmafea.    Pnce  Usttnd 
drawings  torwarded  by  post,  or  enckMed  in  Book  or  Music-seUerv  parcels  to  order. 


THE  MUSICAL  WORLD. 


659 


Wit^tttn 

LIFE  ASStrSAHCE  AITD  AHHVITT  SOCIETY, 
3.  PARLIAMENT  STREET,  LONDON. 

PUfiPQgAliB  are  fBteitaiii«d  by  thii  8od0ty  lor  ererv  vuietY  ef  A89URANCB 

.  or A9llUlTfo>ntii^i||  •n  cne,  h^ or  Hr*§ Uvei.   n»lidM of Awvrance  are 

irf&nted  from  jtfSO  ap  to  j^5,000.    The  Payments  of  Premiums  mar  be  mad« 

AHmuUlp,^Hulf^0mrlj  Qtua^grtu^  or  M^ntkijf,  or  may  be  oonpoiiiided  fbr  hj  one 

single  payment  commonly  callea  the  tbtgh  prmuum,  or  Chey  may  be  made  on 


MIUTART  and  NA^AI«  MSN  (Mt  la  actual  W«r  service),  are  Astored  at  th« 
ordinary  rates. 

KNDOWMENTS  for  CHIU>REN  on  their  attaining  the  age  of  14  or  21.  an« 
PROVISIONS  for  OLD  AGE  (bf  which  a  party  secores  a  snm  payable  t^ 
■•—"••  '-        -      rtohiateay,  ineMacrfi^ 

preaamini  atveral  AOTANTAGBS 

^      f  provftttng  for  tiio  BXN8WAL  Fim  in  their  LKASRS, 
ttB  df  ap  with  ftdEtr  in  this  Society. 

TrafPORAHT  POLICIES  of  Assurancei  are  granted  to  BonaowsBs  in 
BUILDING  SOCIETIES,  on  Rates,  offering  peculiar  advantaireB  to  the  rsmilies 
of  the  Borrowers,  and  Security  against  the  heavy  loss  their  deaths  would  occasion. 
PMapeetuiss  and  Airther  iMinnntion  oan  b«  obtained,  freo  ot  expense,  irom 
the  ActuaryiS,  Parliament-street,  London,  or  from  any  ot  the  Society's  i^  gents 
In  the  Country* 

A.  SGRATCHLET,  ^cfauwy  sail  Sseref ory. 


PIANOFORTBS, 

At  KENNAY  &  GO.'s,  15,  Bbrners  Street,  Oxford  St. 

Every  description  of  I^ccolo,  Cottage,  and  Cabinet  Pianofortes,  of  the  belt 
inateriala  and  the  lowest  prices.    Established  wwaids  of  40  yean. 
il  yaricty  of  Second-hand  InttrqmenU  alwjiii  o»  SOe.    Instmmeata  take«  in 

'       KBl^MAY  *  Co.,  15^  Beniers  Street,  Oxford  Street. 


To  TBB  liAnxia.— A  lad^  had  the  foUowing  tetter  inserted  in  <he  21aM»  news- 
paper on  August  7, 1846.  Reader,  remember  this  letter  was  put  into  the  Daoer  by 
tbe  lady  herself,  as  a  trsttmony  tothe  virtnsaof  Grimstone's  Aromatic  Regenentor: 

pportuni^  of  poblic- 
ror  theemcacyofhia 

using  ttahOQt  four  monOuL^  ^d  more 

luxurlant^n  it  ever  was  before  the  baldness  appeared.  She  wUl  feel  a  pleasure 
m  answoing  any  lady  of  iwqwctabittty  to  the  above  fticU.-S,  Swan-street, 
Borough."  ' 

v-2?*  "S*l  d«Ucate  ladies  may  lue  tbia  delishtAil  prodnet  of  the  most  an»matic 
herbs  and  flowers  with  confidence;  its  refreshing  odour  removes  head*ache  and 
Biakes  It  a  most  necessary  companion  to  the  toilet.    In  cases  of  nervous  head-acbe. 

K2L!fl?  ^i!^^  **?P*  ^\^  °^^.A**«  ^^}  ¥t«T  b»d,  repeat  it  oreiy 
juarter  of  an  hour.  In  most  ^es,  relief  is  certain  fn  (en  mhiutes.  It  product 
■  hair  on  children's  heads  in  a  few  applications.  If  used  on  inltots'  heads,  it 
has  such  a  peculiar  cooling  influence  on  the  brain  as  to  prevent  convulsions. 
aa  well  as  promoting  the  growth  of  hair.— See  pamphlet  of  testimonials  witli 
crery  bottle. 

CASE  OF  RING-WORM   CURED. 
4i^    HL-^    .  ..«    j^      M,Devonshire.iq.,  Bishop^rate-«t.,  19th  July,  1847. 
1.     ^f'A  f^^^^JS.?^^^'  haVSr  lo?*  «»»•  portion  offis  hair  from  ring-Vorm, 
bas  had  it  so  perfectly  and  so  wonderftilly  restored  by  only  a  short  application  ot 

testimony  to  the  efficacy  of  the  remedy,  and  Mr.  Qrimstone  is  at  perfect  liberty  to 
Bake  anv  use  of  this  oommunication  he  pleases.  *^  ' 

To  Mr.  W.  Grimstone.  Herbary,  Hi^igRte,  near  London." 
n  ^^J!^*  ^  "5?  *•  ^^^Sl^^KoSrSS^^  Fisher  and  Toller, 

S?*fit?^'  J.  Smger,  Chemist,  4c.,l«hOxford.sireet;  Messrs.  Barclay  and 
&"fcff7*?l*^'*v*'!? » If''  Johnston,  08,  Comhill  j  Thomas  Keating,  Chemist, 
fkhS* SSSHT* » JKSr^  «*«»n*I «d ft).,  6^  Oxfordstreet}  id  by  alS 
S^'ifri'^'^^J^'ff^^^^^y"**"-  »^^  triangular  boiticT  at  48?^ 
T-!.^il''  *•**•»  ^  forwarded  by  post  at  4s.  6d.,  7s.  ad.,  and  19s..  case  in' 
doded,  for  monM^ideie  e^y.  Sold  only,  Whdeaale,'  at  the'Hwbsry,  bShgate. 
The  7s.  conUins  two  4s.,  the  \lu.  four  timet  t]>e  quantitv  of  the  4s.        "*"»•"»• 


Brown  4s.«d.  per  bettte. 
Plato  «fc4ltto. 


CC 


8s.  per  botUe. 


10s.  per  doz.  laigest  bottle 
7s.,    ,  „     amaa      „ 
ezduaive  oi  carriage  tiom 
London. 


THE  STANDARD   OF   COGNAC," 

■■SS5.j^*^yi  ■"'^PT  *ND  TUB  OENOINB  8BLTZBBS  WATER. 
g^2^tlM!  IMent  Mrtiink  C«ptoK  the  <mly  «u«  i^ 


THX  STANDARD  LYBIO  DRAMA 

Just  published  (October  Ist),  Part  |V.  of  the  above  Work,  containing  Sixtt 
pages  more  of  Monnrt's  cluirming  Opera,  the  "Wttaprtif  of  Ffiero." 
with  an  English  Version,  in  additton  to  the  Original  Libretto,  the  whole  of  tlie 
unaccompanied  Recitatives^  Stage  Direetionsy  kc,   H^us.  a|  the  outlay  of  2s.  Qd. 

Sir  month,  an  annually  increasing  Library  may  be  obtained  of  aU    ~ 
peras,and  the  moat  pcrfoct  edition    ^  —  -  * 


the  moat  pcrfoct  edit       .     , , . 

tluree  to  Ave  Operas  will  be  completed  in  the  course  ef  aacfa  year. 


>t<ined  of  aU  the  best 
yet  pubHahed.    It  is  expected  thst  from 


I    T.   BQOSEY  9Md  Co.,  mm,  Holle*   Street, 
•nd  all  MnsicaeUesi  and  BookacBflfi  in  Town  Md  OeoBfery. 


NBW    MUSIC. 


Jurr  Pnblished,  at  Messn.  C.  HALE  AND  SON'S  Fiaae  fofia,  Harp,  mid 
Mvsic  Warehouse,  Promenade  House,  and  Montp^Uier  Wetti  fatalfrnhain  t 

*<THB  WIIaXiGUGBBV  »OIiKA/' 

DedteaM  (by  yei  mission)  Jb»^$^M^Jow*8| Jl^|;^te^Pa^^        arranged  by 


Heated  (by  psrmiaBion)  to  Miss  Joints,  by  the  PoMiaheM; 
W.B.iaiTetr  Also,  ''THB  FBSTa  MWA^'^-W. 


NEW  BDrnONS  OF  THE  SONGS  OP  THE  HEART. 
No.  1.^*  Th»  Wshtod  Soori."        No.  9.-^'  Tho  Wtetai 
«fo.8.<^<XtooliaMrXrtiU/'  by  Mra.  Anncia  Hcnrtok. 

'<Wh«atkoVleletUoo»od/'-«  Ballad,  compeaedbrMn.fjniietoH€nria 

4  SoItotlMa  of  WoMsM,  by  S.  A.  To«gt. 

Thelkforite  Hymns,  '« Jeruaolein/'  and  ''Boflnro  ^okowaH'o  wwltti 
Throno,"  ammged  in  Score,  by  J.  Ugloii«, 

TO     BS     HAD     or     AK.t     U  V  nt  9  M  E  h%m  M  S. 


LONDON    ASSURANCE   CORPORATION, 

(Established  by  Royal  Charter,  in  the  reign  of  King  Geoige  the  First,  a,  o.  17»^ 
7,  ROYAL  BXCHANOB,  OoiakUl,  «M«  IQt  I 


UFE  DEPARTMENT. 
Two-thirds  of  the  Gross  Profits  sre  given  to  the  Assarsd,  tho  Corporatioii  taking 
the  remaining  third,  out  of  whieh  they  pay  the  expenses  of  csrrying  on  this 
deportment,  thus  giving  the  pubUf  all  the  beneAta  derived  Irom  Mutual  Assurance, 
and  all  the  security  afforded  by  an  old  and  opulent  Corporation.  The  Prodta  are 
added  as  a  Bonus  to  the  Policy,  or  paid  in  cash,  or  appued  to  (he  redaction  of  the 
fbture  Annual  Premiums. 
A  lower  fixed  rate  withook  abataoMiit. 

Annual  Premiums  for  tiie  Aasuianoeol  ^100. 


Ag^ 

Participating. 

to 

£  a.  d. 

SOS 

I    5    I 
4  16    7 
•  IS    s 

i#  s.  d. 
1  IS  11 

»  «11 

6   0  11 

Fraspeetaaea,  oontaining  a  furlety  of  modes  of  eSeeting  lifo  Assurance,  and  all 
iaformatioii,  asny  be  had  by  a  personal,  or  written,  aiiplieatiosi  to  the  Actoary. 

lire  Insurances,  on  every  descriptioa  of  Property,  at  Modergte  Rate^  «Bd 
Marine  Assurances  4t  the  Current  Premiums. 

JOHN  LAURENCE,  Secivtary. 


FELIX  FARLEY'S  BRISTOL  JOURNAL, 

<ESTABU8HBD   IN   1745,) 

Idlorory  Adw«rllo«r| 

For  a  very  extensive,  populous,  and  wealthy  district ;  comprising  BRISTOL  and 

CLinON,  (the  populatimi  of  wiutt  alone  k  estimated  at  neariy  Two  Hwidiod 

TbooBuid,)and_^e  Counties  of  SOMBBSET,  GLOUCESTER,  HEREFORD, 

MONMOUTH,  WILTS,  DEVON,  DORSET,  SOUTH  WALES,  ftc.  kc. 

Printed  and  Published  erwr  8«tvrd«y  UtonUiis,  by  JAMES  MARTIN 

N9   II,  SMALL   STREET,  BRISTOL. 

THE    LARGEST    PAPER    ALLOWED    BY    LAW. 

PRICE    FIVe-PENQE. 

FELIR  FARLETS  BRISTOICJOURNAL  haa  been,  /brmwardiVflC^alwy 
aa  estaUiahed  medium  of  information  on  every  matter  of  public  interest  tfanNtgh 
a  very  large  extent  of  country,  particularly  the  Midland  and  Western  Counncs 
and  SoumWales.  Its  authority  and  influence,  as  a  steady  supporter  ot  tbe 
Constitution  in  Church  and  State,  as  well  as  of  the  various  branches  of  national 
industry  and  enterprise,  having  secured  the  circulation  of  the  DRIOTOL 
JOURNAL  amongst  tbe  Nobilify,  C^eigv,  and  Gentry,  and  Profestiopal,  Agria4- 
tural,  and  Commercial  Classes  m  tbe  above  extensive  district|  aa  weU  as  more 


distant  parts  of  the  kingdom, 

ADYBBTISEMBMTS 
Intended  to  attract  the  attention  of  thote  impQrtaiit  interett«  iii^  (^  MmM 
jwMdfybyiDiertioiihitacolvuis.  ^  "^     r.T^rrr^ 


Digitized  by^^OOy  LtT 


6^0 


THE  MUSICAL  WORLD. 


WES8EI.    AND    00.*8 

COFTaiOHT  (DITIOH  Ot 

JULES  SCHTJLHOFF'S 

Ne.  PIANOFORTE  WORKS.  ..d- 

.*1.  <'Fra«a«/' Allegro  ^r.  dedicated  to  Cbopfn,  in  C   ..    ..  Op.  1.  4   0 

«2.  «!.•  ZcpUr/' Romance        inAb.  Op.  S.  SO 

a.  <'IA  MnJAU/' Melodle                                 inBmiOor,  Op.  3.  a   0 
(Berformed  by  Uw  Gempoaer  at  Mr.  Wallacs*!  Conceit  with  the  greateit  toccesB) 

4*  <«Bltt«le/' M«rdafbn«bre in  O  minor,  Op.  3.  SO 

«S.  « Aadaato  et  Btiid«  de  Co&etrt/'    ..         in  A  flat  Op.  S.  8   6 

C  "TopUtB-Polki/' in  A  flat  Op.  4.  1    6 

!  91  ^'Ckwtobftd.PoIka,**                     ..     in  F  abarp  minor.  Op.  i.  a   0 

Ob  «  Lm  X«id«Uo/»  Manrkaa                               lat  wt,  Op.  5.  SO 

V.             Idem.                  Idem.                                 Sndeet,  Op.  5.  SO 

10,  «<'not«rUy>' ValaebriUiante                   ..         in  A  flat,  Op.  6.  4   0 

Idem.       aa  Piano-Duet          Op.  6.  5   0 

h,    FrtnSar  Sdieno,           in  A  minor,  Op.  7.  9    0 

IS.    Second    ditto       in  D  flat,  Op.  7.  4   0 

*18;  «OoiaJU«ttM»*>          ^.       ..    1st  impromptu  in  G  flat,  Op.  8.  16 

14. ''OhUMMnabolM^"        ..    Snd      ditto      in  B  flat.  Op.  8.  S   6 

IS.  (•Burenrolla,*'                   ..    ard      ditto            in  A,  Op.  8.  SO 

fO.  *<FOloiiU,"  Maxurka                               No.  8,  in  A  flat.  Op.  9.  S    6 

17.  "  Polonia/' HasurlLa                          No.  4,  in  A  minor,  Op.  9.  S   0 

**••  ^BShiS?'  *?*  ^.V*  !!*"!?■"  *•)  *"  *  ^  ^'^^   *  ® 

•M.  Nocturne  oil  RoouHtioe,                              in  A  flat.     Op.  ll.  S   0 

90. '<!••  Towrnoi,"  Grande  Etude    ..               in  C  minor,    Op.  13.  S   6 

31.  DoomeattUlas,  Bbokl^                          (                   Op.  18.  4   6 

^.  Ditto     .-ditto,     BooksC  ^»»*^*o     )                      Op.  IS.  4    6 

S.  Ditto          ditto.     Books)  M«>«»eOur7.  ^                     ^   „  ^    ^ 

34*  4me.  Impromptg, "  !•»  a«r€«iis«/'                     In  A  flat.  Op.  14.  16 

36. 4me.  Impromptu,  <'IiaB«blllarda/>                  inC.         Op.  14.  3   0 

96«»Acitaio/'        in  A  minor,  Op.  19.  4    0 

37.'  *'  OwmttMf  d«  J«att«  B«nH,"  d€  JMnl,  \ 

Cmorgeau  de  Concert                                f  iuD 4   6 

«  Not.  1, 3. 5,  18,  and  19  were  pUyed  by  M.  Sctaulboir,  at  bU  Concert  on  tbo 
SBtb  May,  iiith  the  greateit  anocess. 

JULES   SCHULHOFPi   CONCERT. 

"  M .  lules  Schulhoff  gave  a  concert  on  the  28th  instant  in  the  Hanover 
Square  Rooms,  before  t  vast  concourse  of  amateurs  and  professors.  The 
first  piece  essayed  by  M.  Schulhoff  was  the  JUegro  from  n  Sonata  dedi- 
cated to  Chopin.  The  »ty1e  of  thia  composition  is  ambitious.  The  ideas 
are  good,  although  the  development  is  somewhat  discursive,  and  the  ela- 
boration redunduit.  The  next  piece  was  of  a  wholly  different  kind.  A 
"  Caprice  sur  des  airs  Nationaux  Boh^miens.**  The  passages  are  very 
elegant,  and  there  is  a  nice  feeling  for  harmony  and  modulation,  which, 
though  sparingly  developed,  manifests  itself  most  agreeably.  A  "Noc- 
turne in  A  flat,"  (op.  xi.)  followed  by  an  "  Etude  de  Concert,"  (op.  iii.) 
are  deserving  of  siili  higher  commendation.  The  Nodume  is  expres- 
sive and  graceful,  and  in  its  colouring  occasionally  reminds  us  of 
Chopin,  although  it  has  less  vagueness  of  outline  and  less  wildncss  of 
modulation  than  the  majority  of  the  effuaions  of  the  famous  Polish 
pianist.  The  **  £tude  de  Concert,"  a  vigorous  theme,  developed  with 
continttous  power,  is  a  composition  of  extreme  difficulty.  M.  Schulhoff, 
however,  executed  it  with  consummate  facility  and  grace,  and  the 
encore'  he  forced  from  the  whole  room  did  not  by  any  means  sur- 
prise us.  The  last  exhibition  of  M.  SchulhoiTs  powers  was  devoted 
to  a  melody,  without  words,  called  "Le  Zephyr."  It  is  a  gem 
of  its  kind,  tuneful,  harmonious,  and  graceful,  and  will  in  all  pro- 
bability fiud  its  way  to  the  pianoforte  of  every  amateur  and  pro- 
fessor in  the  united  kingdom.  On  the  whole,  M.  Schulhoff  may  be 
said  to  have  achieved  a  triumph  at  his  concert,  both  as  a  pianist  and  as  a 
composer,  and  to  have  established  his  name  in  this  country  as  one  of  the 
.ruling  spirito  of  his  paiticular  department  in  art.  The  concert  was 
varied  by  other  instrumental  performances.  The  talented  brothers. 
Hfimesberger,  played  the  Adagio  tmd  Rondo  from  Spohr's  *'  Second  Con- 
certante,"  op.  88  (for  two  violins),  with  admirable  precision  and  the 
mpst  refined  taste.  M.  Oberthur  alao  gained  distinction  by  a  clever  per- 
formance on  the  harp,  of  his  **  Souvenir  de  Londres,"  which  be  has 
appropriately  dedicated  to  Parish  Alvari.  The  Misses  Wiiliams  were 
encored  in  Keller's  pretty  duo,  '*  Spring  is  long  since  o'er,"  «(hich  they 
sang  very  nicely.  Miss  Bassano,  in  a  lied  by  Proch,  "  Ah!  mother  dear," 
was  graceful  and  unpretending.  Kucken's  pretty  lied,  '*Thy  name  I 
whisper,"  and  Weber's  "  Fair  being  I  lovely  as  the  Heavens,"  were  both 
chastely  rendered  by  Mr.  Bodda,  and  his  voice  was  favourably  dispUyed 
in  t  simple  Hed  by  Krebs,  *'  Loving,  I  think  of  thee."  Macfarren's  fine 
air,  ''T'inUndo  ingraU,"  one  of  the  most  beautiful  of  his  vocal  compo- 
sitions,  was  sung  with  infinite  passion  and  the  truest  expression  by 
Madame  G.  A.  Madarren."— Jfimcai  HTorld,  No.  23. 
WMM  *  Op.  aft»,  BHPOat  StrMt,  eoTMr  of  BMortr  StrMt. 


NEW    MUSICAL    WORKS 


PUBLISBED  BT 


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Givmg  Rules,  Exercises,  and  Examples  adapted  to  every  species  of  Voice, 

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Commencing  with  the 

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A  RECORD  OF  THE  THEATRES,  CONCERT  ROOM,  MUSIC,  LITERATURE,  FINE  ARTS, 

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No.  42.— Vol.  XXir. 


SATURDAY,  OCTOBER  16,  1847. 


{ 


STAMPED,  FOURPJSiCCE. 


LETTERS   FRONI   PARIS. 

(So,  4.J 
TO   DESMOND   RYAN,   ESQ. 

My  dear  Ryan, — Tuesday/,  October  12— The  star  of  your 
favorite  Alboni  has  shone  with  even  brighter  lustre  here,  in 
•*  the  City  of  the  Arts,"  than  in  London,  the  "  City  of  Com- 
merce.*' At  eight  o'clock  on  Saturday  night,  the  Opera  was 
filled  from  top  to  bottom,  with  an  audience  composed  of  tlie 
elite  of  Parisian  rank,  fashion,  literature,  and  art.  To  describe 
the  excitement  tliat  prevailed  is  altogether  out  of  my  power. 
Expectation  was  on  tiptoe,  and  a  breathless  silence  governed 
the  whole  of  the  vast  multitude,  as  the  heroine  of  the  evening 
stepped  quickly  before  the  foot-lights,  with  that  mingled  look 
of  composure  and  modesty  which  constitutes  so  great  a  charm 
in  her  deportment.  She  was  received  with  a  shout  of  applause 
that  shook  the  roof  of  the  building  for  about  half-a-dozen 
seconds,  and  then  died  away  into  silence  profounder  than 
before.  Every  man,  woman,  and  child  among  the  audience 
was,  iu  the  words  of  Keats, 

"  As  quiet  as  a  stone." 
People  feared  to  breathe,  so  intense  was  the  anxiety  to  hear 
that  voice  which  had  instantaneously  sung  itself  into  fame 
at  the  Royal  Italian  Opera.  You  may  imagine  that  I  was  not 
less  anxious  than  the  rest ;  and  I  can  assure  you  I  trembled 
for  the  result.  Not  only  was  it  the  personal  interest  I  felt  in 
the  amiable  debutante  that  roused  me  into  an  unusual  state  of 
excitement,  but  I  felt  that  the  honour  of  English  criticism,  the 
judgment  of  the  English  public,  which  had  been  first  to  pro- 
claim Alboni  great,  was  here  at  stake.  We  should  either  be 
laughed  at,  as  '*  gulls,"  or  respected,  as  connoisseurs.  On 
Alboni  depended  our  reputation  as  a  musical  nation.  This  is 
no  exaggeration  of  what  I  felt  at  the  moment,  although  it 
might  be  termed  an  exaggeration  of  the  sober  truth;  for  music 
does  not  altogether  depend  upon  singers  for  its  manifestation  ; 
nor  is  Italian  opera  the  loftiest  order  of  dramatic  music.  The 
question  was  soon  decided,  however.  Scarcely  had  Alboni 
opened  her  lips,  than  the  whole  crowd  was  in  an  uproar.  A 
few  notes  uttered,  with  seeming  unconcern,  by  tlie  young 
singer,  conquered  the  hearts  and  convinced  the  judgments  of 
the  French  public;  guaranteed  the  soundness  of  English  taste; 
and  established  her  own  right  to  be  placed  among  the  great 
artistes  of  the  world.  It  was  the  quickest  triumph  I  ever 
witnessed,  the  easiest  won,  the  most  thoroughly  maintained, 
and  one  of  the  most  dazzling  and  incontestable. 

I  shall  not  trouble  you  with  a  dry  heap  of  details  about 
what  you  have  so  often  described  yourself  much  more  elo- 
quently than  lies' in  my  poor  means.  Suffice  it,  Alboni  sang 
a  cavatina  from  Semiramide ;  a  duet  from  the  same  (with 
Altzard);  an  air  from  L'ltaliana  in  Algieri ;  and  the  duet. 


'*  Dunque  io  son,"  from  II  Barbiere  (with  BarhoiUet),  in  her 
best  manner ;  was  encored,  or  recalled,  after  every  piece ;  and 
after  each  successive  performance,  made  faster  her  hold  on 
public  opinion. 

On  Monday  the  press,  in  language  of  glowing  eul(^y, 
echoed  the  voice  of  the  public,  and  ^efeuilletons  of  some  of 
the  celebrated  critics  went  to  such  lengths  of  adulation,  that 
had  not  the  public  been  there  to  judge,  the  public  would  have 
put  them  down  for  ebullitions  of  **wood  men."  In  tlie 
evening,  the  same  crowd,  the  same  enthusiasm,  the  same 
triumph  attended  the  second  performance  of  the  new  comer. 
The  programme  was  enriched  by  the  bacchanalian,  "  Brindisi," 
from  Lucrezia  Borgia^  which  created  a.  tumult  literally  out  of 
pale  of  description.  In  other  respects  it  was  the  same.  To- 
day the  press  again  teems  with  feuillefons  in  honour  of  the 
great  contralto,  who  has  been  persuaded  to  sing  on  one  more 
occasion,  which  is  fixed  for  to-morrow  night.  Although  there 
is  no  change  in  the  programme,  every  place  is  already  taken, 
and  the  crowd  will  be  immense.  I  have  purchased  the  Journal 
des  DebatSy  Constitutionel,  Presse,  and  Commerce,  and  shall 
transmit  you  some  extracts  from  the  articles  of  BerlioEf 
Fiorcntino,  Theophile  Gautier,  and  Scudo,  which  will  no  doubt 
prove  interestir^ito  the  admirers  of  Alboni  among  your  readers. 
"-  -»  -!.3^^^  ^jj^  admirers  of  Alboni  from  the  number, 

rs  would  you  have  left  ?  MM.  Duponchel 
lucky  men  ;  Fortune  lavishes  her  favors 
their  coffers  to  overflowing.  It  remains 
er  the  successes  of  Cerito  and  our  clever 
country womW Miss  Birch,  and  the  engagement  of  Alboni,  to 
.appear  on  the  Opera  boards,  as  an  actress  as  well  as  a  singer, 
in  the  montli  of  January  next,  will  put  the  seal  upon  their 
already  unexampled  good  luck. 

Wednesday  October  13. — It  is  now  four  o'clock,  and  the 
post  leaves  at  five ;  I  must  therefore  content  myself,  and  you 
must  be  contented,  with  a  few  hurried  lines,  as  appendix  to 
my  dispatch  of  yesterday. 

To-night  is  the  third  and  last  appearance  of  Alboni.  I 
saw  het  this  morning  at  her  hotel,  oil  the  Boulevard  des 
Italiens.  She  was  reading  the  FeuiUetons  of  Berlioz  and 
Fiorentino,  with  a  sort  of  childish  delight.  She  seems  per- 
fectly unconscious  of  being,  which  she  absolutely  is,  at  the 
present  moment,  the  theme  of  conversation  for  all  Paris.  She 
asked  me,  in  the  most  unaffected  tone  of  sincerity,  whether 
she  had  sung  "  assez  bien,*'  on  Monday  night,  my  answer, 
*'  tres  bien  pour  une  petite  fille,"  seemed  to  amuse  her  ex- 
ceedingly. Alboni  is  assuredly,  for  a  great  artiste,  the  moSt 
unpretending  and  simple  creature  in  the  world.  She  has  not 
the  slightest  notion  of  her  position  in  her  art,  and  in  the  eyes 
of  the  public  and  the  musical  world.  She  leaves  Paris  at 
the  end  of  the  week,  for  P^j^^jWh^^gy^^^^PfWJf^  ^ 


By  the  way, 
and  how  mi ' 
and  Roqui 
upon  the 
to  be  see 


662 


THE  MUSICAL  WORLD. 


appear  at  the  Thgatre  IfiiU$n,  l^%  f$^  there  is  f|  Tli§atre 
ItalieUf  fn  T^eatf§  Ffatifait^  afiq  fp  tt|0|rt  everything  |)Mt  a 
9heaireJUeman4!  so  natioiid  aid  tlui  Hungarians  1)  AtHoni 
has  no  written  engagement ;  but  having  given  her  word  — her 
accuBtomed  mode  of  proceeding — she  undertakes  all  risks, 
and  thinks  nothing  of  an  ezpence  of  9ome  five  or  six  thousand 
francs,  which  she  must  inevitably  disburse  in  travelling  there 
and  back  and  remaining  for  a  month,  m  an  affair  which 
concerns  her  parole.  In  a  month  she  is  expected  back  to 
Paris,  when,  it  is  positively  stated,  she  will  appear  upon  the 
Opera  stage,  in  Vltaliana  in  Algieri,  Robert  Bruce,  Otello, 
La  Favorite^  ^c.  S^c,  Let  us  hope,  for  the  sake  of  the 
Parisians,  that  this  expectation,  which  I  have  from  first-rate 
authority,  may  be  fulfilled. 

The  success  of  Alboni  has,  it  is  said,  driven  M.  Vatel 
furious.  I  hear  that,  by  the  advice  of  Lablache,  he  did  not 
engage  her  for  the  Italiens,  although  he  might  have  had  her 
upon  reasonable  terms.  You  cannot  imagine,  my  dear  Ryan, 
anything  more  pitoyable  than  the  Italian  Opera  here.  You 
know  my  adoration  for  Don  Giovanni  (which  has  not  been 
diminished  since  1  have  been  lately  reading  Mr.  Holmes'  very 
entertaining  memoir  of  Mozart) — you  know  that  I  regard  it  as 
the  c^e/'(2'ci?tt9re  of  the  human  mind  ;  nevertheless,  I  can  assure 
you,  it  was  played  in  such  a  manner  at  the  Italiens,  here,  that 
it  gave  me  positive  pain  to  listen  to  it.  The  orchestra  is  very 
little  better  than  what  we  have  been  used  to  at  Drury  Lane 
Theatre,  and  every  year  M.  Vaiel  improves  it  by  dismissing 
three  or  four  of  his  violins ;  so  that  it  is  &s  much  as  M. 
Tilmant-^a  very  excellent  conductor,  who  for  many  years 
was  the  vice  of  llabeneck  at  the  conservatoire — can  do  to 
make  the  accompaniments  go,  without  coiTiing  to  a  stard  still. 

The  chorus  is  equally  mediocre,  and  the  mise  en  scene  would 
disgrace  a  bam.  Although  Grisi  was  as  fine  as  ever— although 
Mario  sanjr  "  H  mio  tesoro''  like  an  angel— although  Persiani 
adorned  Mozart's  melodies  with  an  infinity  of  meretricious 
ornaments  —  although  Oorbari  was  very  modest  and  very 
charming  —  and  although  Lablache  diversified  the  interest 
attached  to  the  music  of  Mozart  by  an  infinity  of  uncongenial 
buffooneries* — nothing  would  do.  The  opera  went  off  as 
coldly  as  though  it  had  been  a  cold  and  indifferent  work, 
instead  of  the  most  glowing  and  passionate  of  inspirations. 
The  Commandant,  M.  Rache,  was  detestable ;  and  I  sadly 
missed  Tagliafico  (who  played  Masetto),  in  the  last  scene. 
Coletti,  for  the  sake  of  his  well-deserved  reputation  as  a  careful 
and  excellent  barytone,  should  never  attempt  to  play  Don 
Giovanni,  which  is  altogether  out  of  his  element.  He  is  as 
heavy  as  lead,  and  as  stiff  as  a  poker — while  his/un  is  sepul- 
chral. Ronconi,  who  forms  part  of  the  company,  who  likes  to 
play  Don  Giovanni,  and  can  play  it,  in  the  bargain,  ought  to 
have  been  cast  for  this,  the  most  important  part  in  the  opera — 
except  Leporello,  when  he  is  devouring  the  maccaroni,  and 
otherwise  spoiling  the  effect  of  the  last  finale. 

Madame  Castellan's  debut  in  Lucia  was  highly  successful. 
I  never  heard  her  sing  so  charmingly,  and  the  Parisians  are 
quite  in  love  with  her.  I  was  much  pleased  at  this  result,  for 
there  are  few  artistes  at  once  more  deserving  and  unassuming 
than  Madame  Castellan,  Mario's  Edgar  was  capital ;  his  last 
scene  was  quite  equal  to  anything  I  ever  heard  effected  by 
Rubini  in  the  same  part.  Ronconi  has  only  played  twice  yet 
—both  times  in  Lucia ;  talking  of  which,  by  the  way,  news 
has  been  received  of  the  safe  arrival  of  poor  Donizetti,  at 

•  I  have  sent  you  an  admirable  article  of  Fiorentino,  in  the  Constitutionelf 
in  which  the  writer  has  the  courage  to  speak  the  truth  about  the  error  of  the 
greatest  of  6t{^ot. 


Pergamo,  bis  i^ative  yUff9,  if 9  was  expected  |o  pass  tt)f|>||^ 
^ilan,  on  his  foufp,  i^d  a  lerepadc  was  prfpaff d  &r  th^  ^p^- 
sioii,  to  lie  executed  tinder  the  window  of  Ae  apaftmsui  il  was 

thought  he  would  occupy  in  the  Hotel  de  ;  but,  as 

it  happened,  he  did  not  touch  at  Milan  at  all ;  or  if  he  did,  it 
was  merely  en  passage. 

One  of  the  chiefest  delights  of  Paris,  to  any  one  mosically 
inclined,  is  the  Opera  Comique.  Here  you  can  have  a  real 
musical  treat : — a  good  orchestra,  good  chorus,  good  principals, 
and  good  music.  I  have  heard  La  Fiancke,  one  of  Auber's 
6ariy  works,  revived ;  U Eclair,  a  very  dull  comtc  opera  by 
Hal^vy ;  tiae  Mousquetaires  de  la  Reine,  by  fsa  the  ablest 
work  of  the  same  composer ;  La  Dame  Blanche^  the  most 
popular  achievement  of  Boieldieu;  and  other  operas.  La 
Fiancee  is  certainly  one  of  Auber's  very  best  works.  The 
second  act  is  a  masterpiece.  It  is  exceedingly  well  done, 
on  the  whole.  Madame  Darcier,  who  plays  the  fiancee, 
is  a  charming  actress,  and  a  very  excellent  singer,  albeit 
occasionally  given  to  exaggeration,  both  in  her  acting  and 
singing;  and  she  also  lacks  power  in  the  concerted  music. 
Mocker  is  a  capital  actor,  but  his  voice,  a  tenor,  is  weak,  and 
he  cannot  execute  clearly.  Bussine,  the  new  bass,  I  do  not 
like  at  all ;  his  voice  is  unpleasant  in  quality,  his  sipgii^ 
unfinished,  his  deportment  ungainly,  and  his  acting  that  of  a 
novice ;  who  does  not»  however,  want  for  confidence.  Audran, 
another  tenor,  is  an  actor  of  great  feeling,  and  he  sometimes 
sings  with  great  energy  and  abandon ;  but  he  wants  finish  and 
certainty  of  intonation.  The  orchestra  is  excellent.  The 
wind  instruments  were  so  perfect  that  I  could  not  but  think, 
with  regret,  of  some  of  the  deficiencies  of  our  London  orchestras 
in  this  particular.  The  chorus  sang  well,  and  the  general 
ensemble  was  admirable.  In  the  other  three  operas  I  had  the 
opportunity  of  hearing  Roger,  who  is  justly  vaunted  as  the 
glory  of  the  Opera  Comique,  and  who  has  quite  enough  in 
him  to  be  the  glory  of  the  Academie  Roy  ale  and  the  Italiensm 
Roger  is  not  only  a  great  singer,  but  he  is  an  actor  of 
first-rate  talent,  excelling  equally  in  serious  and  comic 
characters.  His  performance  of  the  hero  in  V Eclair  is  one 
of  the  most  pathetic  and  beautiful  things  imaginable;  it 
affected  me  almost  to  tears.  Scarcely  less  admirable  is  he  in 
La  Dame  Blanche,  You  should  hear  him  sing  the  4ne  old 
melody,  *'  Robin  Adair,"  which  Boieldieu  has  arranged  with 
such  consummate  taste;  you  would  be  enchanted.  Roger 
quits  the  Opera  Comique  in  the  month  of  May;  how  to 
replace  him  will  puzzle  M.  Basset,  the  director,  for  there  is 
nothing  that  can  approach  him  at  the  present  moment.  After 
a  short  tour  in  Italy,  Roger  will  pay  London  a  second  visit, 
when  I  trust  you  will  have  more  frequent  occasion  of  judging 
of  his  admirable  and  varied  talents  than  you  had  last  year. 
By  the  way,  Mr.  Mitchell,  the  spirited  lessee  of  the  Theatre 
in  St.  James's,  has  been  here  some  days,  making  arrangements 
for  the  forthcoming  season.  He  entertains  som6  idea  of  an 
Opera  Comique  to  begin  the  season,  and  has  already,  I  believe, 
made  several  engagements.  It  would  be  a  coupe  de  maiire 
(nothing  new  to  Mr.  Mitchell)  if  he  could  manage  to  persuade 
M.  Basset  to  grant  Roger  a  cong^  of  two  or  three  months ; 
but  I  fear  this  is  impossible,  since  the  excellent  tenor  is 
already  studying  new  parts  in  the  forthcoming  operas  of 
Reber  (from  which,  judging  from  his  instrumental  music,  I 
expect  great  things)  and  Auber.  With  his  part  in  the  latter 
Roger  is  enchanted. 

Balfe  is  hard  at  work  on  two  operas;  one  for  Jullien,  which 
is  nearly  finished,  and  will,  I  think,  somewhat  astonish  you ;. 
and  one  for  the  Opera  Comique^  for  which  M.  St.  George  has 
supplied  the  libretto.    He  has  also  been  ^fle]sdAli^k£»r 


THE  MUSICAL  WORLD. 


663 


the  Aeademie  Royale ;  but  with  all  his  rapidity  it  is  impossible 
Balfe  can  compose  three  operas  in  four  months  (the  duration 
of  his  sojourn  here) ;  only  Mozart  could  effect  such  miracles. 
You  are  aware,  I  presume,  that  Balfe  has  renewed  his  engage- 
ment with  Mr.  Lumley  for  Her  Majesty's  Theatre. 

Cerito's  dehut^  owing-  tu  the  success  of  Alboni,  is  postponed 
till  Monday.  The  rehearsal  of  the  new  ballet  took  place 
yesterday  ;  the  music  of  Pugni  seemed  to  please  everybody, 
and  although  Cento  did  not  dance  her  part,  she  indicated 
enough  to  raise  the  highest  expectations.  Miss  Birch's  debut 
is  not  yet  definitely  fixed,  but  cannot  fail  to  take  place  soon* 

On  Friday  Theophile  Gautier's  delicious  baUet  of  Giselle^ 
with  the  charming  music  of  Adolphe  Adam,  was  performed  at 
the  Opera,  after  Lueie.  Carlotta  Grisi,  in  Giselle,  was  divine. 
I  never  saw  her  dance  with  more  grace  and  legeret^^  act  with 
more  truth  and  feeling.  Giselle  is  Carlotta's  own  creation, 
and  will  always  remain  one  of  her  favorite  parts.  But  bear  in 
inind  that  Giselle  at  the  jlcademie  is  a  very  different  thing 
from  the  fragment  you  have  been  accustomed  to  see  in 
London.  It  is  worth  coming  to  Paris  to  see  it :  it  is  a  baUet 
in  perfection.  But  with  all  its  beauty,  Giselle  without 
Carlotta  would  be  a  triete  affair — for  Giselle  is  Carlotta,  and 
Carlotta  is  Giselle. 

I  have  been  to  many  theatres,  and  have  much  more  to  tell 
you,  but  must,  as  '*  my  hour  is  come,"  defer  it,  with  a  notice 
of  Alboni's  third  concert  (to-night)  until  my  next.  Adieu, 
meanwhile — Portez  vous  bien.  D. 


MUSIC. 

[Frfm  the  Bath  and  CheltmUum  QaseHe.) 

Music  transcends  all  graphic  and  verbal  poetry.  Rightfully, 
it  IS  universal  in  its  powers  and  influences  ;  and  it  is  for  this 
reason  that  various  authors  have  discovered  certain  analogies 
between  music  and  painting,  or  between  music  and  poetry. 
It  is,  in  reality,  analogous  to  all  things.  The  beaudhil  and 
the  hideous,  the  tranquil  and  the  terrible,  the  harmonious  and 
the  discordant,  all  find  musical  expression.  It  surpasses  all 
other  modes  of  utterance ;  it  will  be  the  language  of  our 
spiritual  futurity. 

We  have  an  enthusiasm  for  music.  Not  that  we  are,  like 
the  all-accomplished  Dangle,  **  a  decided  critic  in  music  as 
well  as  in  literature ;''  not  that  we  pretend  to  the  authoritative 
position  of  connoisseurship,  pronouncing  musical  decisions  ex 
cathedrd.  There  is  nothing  in  the  world  so  ridiculous  as  to 
see  an  amateur,  possessed  of  mere  rudimental  knowledge, 
whose  memory  is  stored  with  a  quantity  of  useless  technical 
jargon,  picked  up  at  concerts  and  operas,  becoming  a  leader  of 
opinion,  simply  by  the  influence  of  his  solemnity  and  dog- 
matism. Such  men,  be  assured,  are  as  empty  as  they  are 
vain ;  if  there  be  any  music  in  their  souls,  it  is  the  mindless 
jingle  of  puerility. 

A  great  musician  is  the  greatest  of  poets.  All  true  poets 
have  within  them  the  musical  spirit,  though  mere  manual  and 
Tocal  skill  may  be  wanting. 

"  Heard  nielodies  are  sweet,  but  those  unheard 
Jretueeter,** 

Death,  which  strips  us  of  all  worldly  power  and  possession, 
will  also  divest  our  minds  of  their  temporal  acquirements;  the 
skill,  the  science,  the  learning  of  humanity,  are  mortal  as 
humanity  itself.  But  genius  was  bom  with  its  inspired 
possessor,  and  will  be  eternal  as  its  glorious  giver.  Genius, 
which  could  ever  interpret  the  music  of  earth,  will  hereafter 
intelligently  quaff  the  liquid  language  of  Heayen.    Poeta 


nascituu  The  man  who  communes  with  those  musical  utter- 
ances that  are  inaudible  to  common  ears,  knows  far  more  of 
our  lofty  theme  than  the  most  dexterous  of  modem  triflers  on 
the  piano. 

The  prevalence  of  musical  empiricism  in  these  days  is  the 
consequence  and  the  cause  of  the  absence  of  all  love  for  the 
'*  concord  of  its  sweet  sounds."  Earth's  music  has  fled. 
Noise  is  better  beloved ;  the  uproar  of  a  monster  band  delighta 
the  populace  amazingly.  It  was  not  so,  even  in  this  matter* 
of-fact  country  of  England,  two  centuries  ago.  Charles 
Knight,  who  is  one  of  the  few  lovers  of  antique  speculation 
and  inquiry  who  are  not  mere  pedantic  husks,  says  that  then 
— **  The  people  were  the  heirs  of  poetry  as  well  as  of  music. 
They  had  their  own  delicious  madrigals  to  sing,  in  which 
music  was  '  married  to  immortal  verse,' — and  they  could  sing 
them." 

Does  not  this  disgrace  us  I  Our  "  minstrelsy  is  a  matter  of 
sixpences  !"  Who  shall  presume  to  number  those  who,  born 
with  musical  imaginations,  are  paralysed  altogether  because 
their  sphere  of  life  is  musicless  ?  Both  Mozart's  and  Milton's 
have  been  mute  and  inglorious ;  and  thus  coming  generations 
lose  by  the  fault  of  the  now  existent  race  of  men. 

But  let  us  consider  the  analogies  of  music  to  other  arts  and 
influences.  First,  as  fit  preparative,  we  would  seek  some 
perfect  solitude,  listening  for  those  **  unheard  melodies ;"  and 
feeling  all  the  ecstasies  of  inspiration  as  our  spirit  drinks  in 
wave  on  wave  of  musical — but  noiseless — delight.  Whence 
do  distil  these  winged  glories  ?  Is  it  the  music  of  the  spheres? 
Are  there  voices  in  those  filmy  clouds?  Yes,  to  the  enlightened, 
world-fbrgeUing  heart,  these  beauties  of  the  universe  are  all 
resonant  with  the  song  of  Divine  love. 

'*  That  strain  again ;— it  had  a  dying  falli 
Oh  I  it  came  o'er  my  ear  like  the  sweet  south, 
That  breathes  upon  a  bank  of  violeU, 
Stealing,  and  giving  odonr." 

Can  anything  more  perfectly  and  pregnantly  express,  than  do 
these  words  of  Shakspere,  the  analogy  between  nature  and 
music  ?  The  loving  Orsino  heard,  in  the  utterance  of  those 
delicious  lutes,  the  sighing  of  the  southern  breeze  over  violet 
banks.  To  him,  music  was  then  the  food  of  love.  He  was 
far  in  the  perfume-breathing  recesses  of  some  fairy  Elysium, 
**  discoursing  most  eloquent  music"  to  the  worshipped  Olivia. 

But  Byron  has  also  shewn  us  the  analogy  between  music 
and  the  intelligent  beauty  of  the  human  countenance.  In  one 
line,  which  some  of  the  sapient  critics  quarrelled  with,  being 
unable  to  understand  it,  he  has  described  the  greatest  possible 
height  of  female  beauty. 

"  The  mind,  the  music  breathing  firom  her  face." 
Have  you  not,  O  observant  reader,  most  frequently  noted  faces 
of  surpasfeing  regularity  and  beauty,  yet  very  insipid  notwith- 
standing all,  on  account  of  their  stillness,  their  tame  placidity  ? 
Have  you  not,  on  the  other  hand,  been  charmed  with  a  strange 
surprise,  as  some  not  uncommon  countenance  flashed  into 
sudden  beauty  by  the  advent  of  a  single  smile  ?  If  not,  we 
give  you  no  credit  for  the  proper  exercise  of  your  perceptive 
faculties.  .    . 

Very  beautiful  is  the  analogy  between  paintmg  and  the 
**  divine  art"  Looking  on  a  landscape  of  Claude's,  your 
spirit's  ear  will  be  saluted  with  a  tranquil  and  mystic  melody, 

such  as 

"  The  daughters  three 
Sang  around  the  golden  tree." 


We  have  gazed  on  the  Mado|(pj^g^^rji^^^ Wjf^^ 


until 


664 


THE  MUSICAL  WORLD. 


fancy  lias  given  us  to  hear  the  whispered  songs  of  the  evet* 
accompanying  angels,  and  even  the  remote  hosannahs  of  the 
jubilant  choirs  of  heaven. 

Years  ago  when  there  was  life  among  the  magazine- writers, 
we  remember  a  beautiful  conversation  in  Blackwood,  on 
Keepsakes — on  cherished  memorials  of  deceased  friendship  or 
love.  Christopher  North  declares  his  predilection  for  a  lock 
of  hair — •'  a  soft,  smooth,  burlii  hed,  golden  and  glorious 
fragment  of  the  apparelling,  that  once  hung  in  clouds  and 
sunshine  over  an  angeVs  brow  !*'  They  talk  of  portraits— 
which  should  be  exact  and  inspired  resemblances, — and  thus 
does  thd  £ttrick  shepherd  speak  thereon  : — *'  There's  aye 
something  wrang,  either  about  the  mouth,  or  the  een,  or  the 
nose — or  what's  warst  o'  a*,  you  canna  fin'  fawte  wi'  ony  o'  the 
features  for  no  being  like,  and  yet  the  painter,  frae  no  kennin 
the  delightfu'  character  o'  her  or  him  that  was  sittin'  till  him, 
leaves  out  o'  the  face  the  entire  speerit — or,  aiblins,  that  the 
portrait  may  na*  be  deficient  in  expression,  he  pits  in  a  sharp, 
clever  look,  like  that  o'  a  blue  stocking,  into  soft,  dewy,  divine 
een,  swimming  with  sowle !  or  spoils  the  mouth  a'thegither  by 
puckerin*  up  at  the  corners ;  sa  that  a*  the  innocent  smiles, 
mantlin'  there  like  kisses,  tak'  flight  frae  sic  prim  lips,  cherry- 
ripe  though  they  be !"  "  And  for  this,"  says  he,  finally, 
'•which  he  ca'as  a  portrait,  and  proposes  sendin'  to  the  l«)x- 
hibition,  he  has  the  conscience  to  charge  you — withouten  the 
frame — the  reasonable  soom  o*  a  hundred  pounds  sterling  !'* 

Most  truly,  it  is  so.  You  have  a  fine  picture,  but  it  is  not 
your  departed  friend.  It  is  valueless  as  a  representation  and 
unpleasing  as  a  w.emento.  But  better  than  aught  that  can 
wake  reminiscences  of  one  whom  death  has  taken,— better 
than  a  ringlet,  or  a  portrait,  or  a  ring,  or  a  choice  book  of 
poems, — is  a  single  strain  of  music ;  an  old  song,  perhaps, 
very  simple  and  beautiful,  which  you  have  a  thousand  times 
sung  together.  It  is  as  the  voice  of  the  dead,  speaking  familiar 
phrases.  It  brings  the  presence  of  the  loved  one,  perfect  and 
vivid,  before  the  mental  eye.  It  verily  rolls  back  the  stream 
of  life,  and  you  are  side  by  side  with  that  dearest  friend,  of 
whom  otherwise  there  was  but  a  chill  remembrance.  It  is  no 
gross,  tangible,  commonplace,  material  relic, — a  thing  to  be 
kept  in  the  waistcoat-pocket,  or  hung  against  the  wall, — but 
a  spiritual  and  immortal  keepsake,  an  inmate  of  the  heart,  a 
fragment  of  that  absent  mind,  which  remains  with  you  ever. 
Has  it  not  often,  whether  played  by  some  skilled  hand,  or 
borne  spontaneously  upon  a  breeze  that  scarce  ruffles  the 
serene  sky,  moved  you  to  joyous  tears  ?  Does  it  not  bring  a 
I^thean  draught  to  annihilate  the  weary  interval,  and  to  restore 
those  happy  times  ere  death  has  done  his  work  of  dread  ? 

Music  is  the  only  mental  solace.  It  alone  **  ministers  to  a 
mind  diseased."  It  heals  the  insane,  it  cheers  the  melancholy. 
After  wearying  the  soul  with  much  study,  how  gratefully  does 
it  soothe  and  refresh,  and  obliterate  from  the  brain  the  iron 
traces  of  deep  thought.  At  such  times,  or  after  inter- 
course with  the  turbulent  crowd,  when  wearied,  and  yet  in 
some  measure  infected,  with  their  worldliness,  we  would 
exclaim — 

....•.•.*'  Let  my  due  feet  never  fiiJ, 

To  walk  the  studious  cloister's  pale, 

And  love  the  high  embowed  roof,    . 

With  antique  pillars,  massy  proof. 

And  storied  windows,  richly  dight, 

Casting  a  dim,  religious  light. 

there  let  the  pealing  organ  blow 

To  the  full. voiced  quire  below 

In  service  high,  and  anthems  clear. 

As  may  with  sweetness,  through  mine  ear. 

Dissolve  me  into  ecstacies. 

And  bring  all  heaven  before  mine  eyes  I**  Ct 


^  €xtaiiH  on  i^t  *^  ^f&niiiw  of  ^<Kot|^r/^ 

IN   ITS  WORLD-HISTORICAL  SIGNIFICANCE, 
BETSLOPSD  ACCOBDING   TO   ITS   MORAL  XSD  ARTISTICAIi  TALUS, 

Tr<iMUiUd  fi'om  the  GemuM  of  Dr.   Seintich  Theodor  SdUeher^ 
Professor  at  the  Royal  Gymnasimn  at  Bromberg. 

CHAPTER  lU^eontiMued  ftwm  pa§€  648). 
THE  ORVKLOPMBNT  OF  THB  aiNGLB   CHARACTSBS  IN  THB  ''aFFINITIU." 

The  appearance  of  the  Assistant  (teacher)  gives  us  the  picture 
of  a  man  who,  with  his  whole  soul  and  a  clear  mind,  fills  a  hi^'hly 
respectable  cidling,  and  in  this  sphere  of  activity,  which  completely 
enchains  him,  is  removed  from  the  influence  of  the  natural  force 
of  feeling.  Whom  would  it  better  suit  to  awaken  the  notion  of 
a  mind  and  character  elevated  above  the  power  of  mere  feeUog« 
than  one  charged  with  education,  who  mast  have  accomplished  ia 
himself  that  which  he  would  attain  in  others?  Does  not  all 
education  tend  to  a  subjection  of  that  natural  forco  which  revolts 
against  the  moral  and  the  universal,  and  to  such  a  puriflcation  of 
the  feelings  into  rational  knowledge,  that  the  former  do  not  lose 
their  rights  ? 

In  the  region  of  edoca*ion  our  assistant  is,  in  every  respect,  at 
homo.  Not  only  liy  his  calm  deportment  and  his  clearness  does  he 
elevato  us  above  every  passionate  feeling,  every  wavering  position, 
so  that  in  regarding  him  we  remain  free  from  every  anxiety  as  to 
an  attack  iroin  natural  force  which  might  throw  him  out  of  his 
equilibrium,  but  he  shows  himself  throughout  as  a  sensible  man  of 
refined  understanding  and  superior  education.  Having,  Inr  his 
apprehension  of  Ottilia's  character,  already  given  us  a  proof  how 
well  he  can  individualize,  bow  far  ho  is  removed  from  a  mere 
abstract  mode  of  education,  which  docs  not  regard  individual 
peculiarity,  he  also  confirms  us  in  this  impression  by  his  personal 
appearance.  'For  as  often  as  be  expresses  himself  on  the  subject 
of  human  positions,  enters  into  questions  of  education  and  cultivar- 
tion,  he  not  only  knows  how  to  speak  well  and  impressively,  but 
he  shews  a  fine' sense  for  the  differences  of  human  nature  and  its 
positions,  to  which  sense  he  can  give  a  form  with  as  much  grace  as 
earnest* 

But  with  all  this  we  cannot  be  deceived  as  to  a  prosaic  characr 
t eristic  in  our  assistant,  which  makes  h:m  incapable  of  claiming  a 
whole  and  full  interest  so  that  he  may  be  recognized  as  a  really 
plastic  form,— nay,  which,  with  all  his  aptness,  moral  earnest,  and 
tact,  betrays  a  certain  degree  of  stiffness  and  insipidity.  This  is 
the  want  of  all  energy  of  feeling  and  imsgination.  No  nature 
paying  homage  to  moral  ends,  however  apt  it  may  bo,  can  avoid 
shewing  a  certain  insipidity  when  we  cannot  discover  in  it. a 
treasure  of  feeling  and  intuition,  or,  at  any  rate,  in  single  traits  the 
possibility  of  a  great  heart-power.  We  shall  not  refuse  such  a 
nature  our  respect,  but  it  cannot  ezcito  us  to  a  resignation  of  our 
whole  being,  or  even  to  an  inspiration.  This  impression  is  made 
upon  us  by  the  Assistant.  It  is  already  characteristic  that  he  is 
entirely  deficient  in  an  ideal  sense  for  art  and  for  the  creation  of 
the  forming  imagination,— as  appears  from  his  expressions  about 
the  church  and  chapel.  While  the  elevation  of  such  a  building 
by  the  hand  of  artist  is  to  him  a  mixture  of  tho  holy  with  the 
sensual,  and  the  distinction  of  certain  places  that  they  may 
specially  serve  to  awaken  devotion,  is  thoroughly  repugnant  to 
him,  since  '••  even  the  most  ordinary  surrounding  objects  should 
not  disturb  in  us  the  feeling  of  the  Divine ;"  he  here  professes  a 
point  of  view  which  is  completely  abstract,  and  which  excludes  dl 
sense  and  inspiration  for  art.t     For  him,  therefore,  the  infinite  is 


*  We  here  call  attention  to  bis  converution  with  Charlotte,  in  which  the 
Assistant,  when  the  lady  has  brourht  the  garden  boys  before  him,  after  a  short 
exaniinatioa  hirhly  prused  by  Charlotte,  exhibits  his  matnre  views  on  the 
method  of  question  and  development,  and  afterwards  makes  very  sensible  and 
original  remarks  on  the  diiferent  points  of  view  in  educating  boys  and  «:iria."— 
Dr.  ESfgeherU  nott. 

t  **  For  my  part  this  mixture  of  the  holy  with  the  aensual  is  by  no  means 
pleasing  to  me ;— it  does  not  please  me  that  certain  particular  places  are  set  apart 
consecrated  and  decorated  in  order  to  haibor  and  sustain  a  feeling  of  piety. 
No  surrounding  objects,  not  even  the  commonest,  should  disturb  in  us  that 
feeling  of  the  Divine  which  accompanies  us  everywhere,  and  even  consecrste 
every  spot  to  a  temple.  I  should  Hit  e  to  see  divine  service  celebrated  in  the  haU 
where  one  is  accustomed  to  eat,  to  assemble  sodalh  .^^«'   •-•- 

playing  and  dsndng."-  CUsd  6y  Dr»  RSUeker, 


?f^^i?^gyT5n'V5^ 


THE  MUSICAL  WORLD. 


665 


odIv  norel  J  present  in  Ihe  sphere  of  the  moral  mind — in  action-* 
and  tnts  Is  tne  only  region  in  which  the  Divine  appears  to  him^  in  a 
form  worthy  of  itself4  *<  That  which  is  highest  and  most  eminent 
in  man  is  formless,  and  we  should  boware  of  exhibiting  it  other« 
wise  than  in  a  noble  act." 

We  need  not«  therefore,  at  all  hesitate  to  designate  the  region  of 
the  fine  arts  as  one  which  is,  in  a  certain  degree,  dosed  against 
him,  which  at  least  is  unable  to  touch  his  inmost  soul,  and  to  reveal 
to  him  the  Divine  in  a  sensible  form.  But  this  want  of  ideality  is 
not  without  influence  on  the  nature  of  the  roan.  Wo  do  not 
think  we  are  mistaken  if  we  discern  in  it  a  source  of  a  certain 
Philistinirm,  which  always  involuntarily  forces  itself  upon  us 
while  contemplating  the  Assistant.* 

As  ho  is  deficient  in  warmth  for  art,  and  in  general  ia  without 
any  romantic  element  his  nature  especially  precludes  the  possibility 
of  a  full  impassioned  resignation  to  a  beloved  woman ;  nay,  we 
must  own,  tnat  the  mystery  of  love,  like  art,  appears  to  be  closed 
against  him.  Tlio  whole  individuality  imprcesos  us  with  the  con« 
vietion  that  he  baa  not  combatted  the  natural  force  of  feeling  with 
great  exertion,  and  is  now  enjoying  tho  fruit  of  a  great  victory  { 
much  more  has  his  natural  temperament  preserved  him  iirom  pas- 
sionate emotion,  and  from  a  conflict  of  feeling  and  morality,  or  has, 
at  least,  sportively  elevated  him  above  them.  This  prosa'c  side  is 
again  very  definitively  and  elearly  expressed  in  his  relation  to 
Ottilia.  To  his  clear  practised  eyo,  and  his  pedagogical  tact  tKe 
excellencies  and  depths  of  soul  in  this  wonderful  being  have  revealed 
themselves,  and  the  Assistant  feels  involuntarily  ri vetted  by  Ottilia. 
But  ia  the  whole  development  of  his  relation  to  her  the  prosaic  un- 
derstanding of  a  nature  which  always  acts  according  to  reasons,  and 
circumspectly  aHcr  certain  aimsi  is  much  more  apparent  than  the 
warmth  of  a  deep  overpowering  feeling,  or  an  imiMssioned  resig* 
nation.  Nav,  his  whole  intention  of  unitinff  himself  with  Ottilia  ia 
a  product  of  calm  reflection,  not  of  a  feeling,  which  immediatelv 
draws  him  to  this  t)eing  and  makes  an  union  with  it  the  vital  wbh 
which  occupies  his  whole  existence.  Thus  the  beginning,  as  well 
as  the  maturity  of  this  resolution  is  deducted  from  prosaic  conside- 
rations and  grounds  which  exclude  a  free  unconditioned  resig- 
nation .f 

It  is  not  that  his  moral  nature  is  in  the  least  contaminated  by 
this,  or  that  any  suspicion  of  a  selfish  proceeding  arises  in  us,  but 
we  perceive  that  even  the  sole  being,  on  whom  he  bestows  bis 
aflections,  that  even  such  a  deeply  feeling  nature,  as  Ottilia,  is 
not  able  to  bring  him  a  moment  from  his  equilibrium,  nor  to  change 
the  cool  sensible  reflections,  which  represent  to  him  her  possession 
as  so  desirable  into  a  pure  expression  of  impassioned  feeling.  After 
this  exposition  we  take  leave  of  the  Assistant  to  turn  to  the  noble 
form  or  the  Architect,  who  in  the  first  place  baa  this  in  common 
with  the  first,  that  in  him  also  we  perceive  a  nature  which  is  sound 
in  itself,  and  elevated  above  the  natural  force  of  feeling,  but  in 
which,  at  the  same  time,  every  shadow  of  a  profaic  nature  and  of  a 
'  Phiiistinedom"  has  given  place  to  the  most  cultivated  ideality. 

*  Solicer,  too,  without  going  ftxrther  into  the  ground  of  the  phenomenon,  has  a 
■Imilar  notion,  when  be  Mys,  '*  Tlie  Atsietant  bat  a  touch  of  pedai  try.  This* 
relation  to  Ottuia  is  caught  from  onr  most jpecoliar  every  day  life — Dr,mi4fkerU 

n^e. It  thonld  be  obaen  ed,  that  "  Philistine"  {PkUMer)  is  a  word  originally 

a|»plied  by  students  to  the  towns.ten,  and  generally  designates  an  anpoetical 
person,  with  perhaps  retpeet^bte  virtoes.-^rraMfalar. 

t  The  Governess  had  made  him  the  proposal  *<  to  continue  the  establishment 
with  her,  work  in  it  as  if  it  were  bis  own,  and  after  her  death  appear  as  heir  and 
aole  possessor.  The  chief  matter  seemed  to  be,  that  he  must  And  a  anitaUe  wife. 
Secretly  he  had  Ottilia  before  his  eyes  and  in  his  heart ;  bat  many  doubta  arote, 
which  were  again  counterbalanced  by  favorable  event*.**  further,  below,  it  is 
said :  "  If  he  wiahed  to  approach  his  end,  a  certain  inner  timidity  always  kept 
him  back."->Z^.  mUcherU  note. 

\*  To  prevent  misunderstanding,  it  may  be  stated  that  the  copyright  of  this 
translation  l>elongs  solely  to  the  translator. 

(To  he  amiinued.) 

DONIZETTI. 

Donizetti,  in  one  respect,  roust  be  considered  the  moat 
extraordinary  man  of  his  age.  "Without  decided  of  genius  he 
has  become  the  most  popular  dramatic  writer  of  the  day. 
Mozart  is  neglected — Rossini  forgotten — Bellini  beginning  to 
pall  upon  the  taste  ;  but  the  Tgrand  maesirOi  as  some  of  the 


small  jonmals  of  the  Continent  style  him,  has  reached  the 
topmost  point  of  public  favor,  from  which,  so  far  from 
descending — the  natural  and  inevitable  concomitant  of 
geaitt8<-^he  se6ma  ta  rise  hourly  higher,  heaping  Pelion  upon 
the  Mount  Ossa  of  his  musical  reputation.  Donizetti  has 
two  reputations — the  one  as  a  great  writer,  the  other  as  one 
of  extraordinary  facility.  Leaving  the  former  for  awhile,  let 
us  examine  how  far  this  writer's  facility  extends ;  and  what 
effect  it  would  naturally  produce  on  his  reputation.  It  has 
been  said  of  Donizetti,  that  he  composed  operas  while  journey- 
ing in  his  carriage  from  one  place  to  anotlier.  We  are  not 
disinclined  to  give  credit  to  this  statement^  at  the  same  time  it 
does  not  elevate  him  one  jot  in  our  opinion.  We  may  allow 
•that  same  readiness  and  aptness  for  writing  to  be  styled 
facility f  without  ceding  to  it  •  the  award  of  eulogy.  To  write 
*  The  Corsair'  within  a  fortnight,  or  to  compose  *  Otcllo'  or 
'II  Barbiere'  in  eight  or  ten  days,  is  an  incontrovertible  evi- 
dence of  astounding  genius;  not  because  they  were  quickly 
done,  but  as  they  were  done  so  weU  in  so  short  a  time.  To 
write  a  thousand  verses  slans  pede  in  uno  is  a  greater  instance 
of  corporeal  struggle  than  mental  power.  Facility  per  se  is 
not  genius  ;  nor  ia  improvisation  perfection.  If  it  were  so, 
then  the  late  Tom  Hudson  would  be  a  greater  man  than  Tom 
Moore ;  and  Sloman  bear  the  bell  from  Wordsworth  or  Southey . 
But,  when  this  celerity  in  composition  is  evidenced  in  works 
worthy  of  endurance,  it  is,  if  not  genius  itself,  a  collateral 
proof  of  genius— its  corroboration.  The  greatest  musical 
effort  of  the  human  mind — *The  Messiah' — was.  compara- 
tively, written  in  the  shortest  space  of  time.  We  have  said 
enough  to  show  that  this  faculty  of  fecility  by  itself  may  be 
very  astonishing  without  being  at  all  an  emanation  from,  or 
testimony  of,  the  more  elevated  powers  of  the  mind ;  but  if 
compositions  of  the  highest  merit  proceed  from  this  quality, 
it  must  add  another  confirmation  to  mental  capacity.  It  is 
like  several  bodies,  which  by  themselves  arc  inutile  and 
inoperative,  but  acting  in  combination  arc  powerful  and  useful 
ingredients. 

Let  us  now  consider  what  are  Donizetti's  claims  to  the 
highest  name  in  the  field  of  musical  composition.  If  we  view 
genius  or  talent  by  popularity,  this  composer  must  doubt- 
less hold  a  superior  place  to  Mozart,  Beethoven,  Weber,  or 
Rossini;  and,  moreover,  to  all  modern  writers.  There  is 
hardly  a  theatre  in  Europe  but  boasts  of  his  productions  as 
the  chief  feature  in  its  r^fper/oiV^— hardly  a  singer  of  name 
who  would  not  prefer  displaying  himself  in  Donizetti's  music 
to  that  of  any  other  composer  who  ever  wrote.  Until  within  a 
few  years,  when  the  hand  of  disease  had  striken  his  powers, 
every  journal  had  to  record  the  enthusiastic  reception  of  anew 
opera  or  the  enraptured  return  of  one  already  established.  From 
Naples  to  Venice,  from  Vienna  to  Rome,  from  London  to 
Paris,  the  chief  successes  of  the  lyric  stages  are  attributable  to 
Anna  Bolena^  Maria  di  Rohan,  Don  Pasquah,  Lucia  di 
Lammermoor,  L'Elinr  d^Amore^  or  some  other  of  the  fifty 
or  sixty  operas  of  this  most  miraculous  composer.  Is  a  new 
tenor,  or  soprano,  or  barytone,  to  make  his  or  her  dehui—\tt 
him  or  her  choose  his  part — whose  opera  does  he  or  she  select  ? 
Donizetti's !  Is  a  new  fantasia  or  set  of  quadrille  to  be  written, 
whose  music  supplies  the  themes  to  Thalberg,  Liszt,  Dohler, 
Moschelles,  or  any  other  notable  pianiste  ?  Donizetti's !  I  Is  a 
young  demoiselle  in  painted  saloon  hot  from  the  teacher's 
hand — Crevelli,  Tom  Cooke,  or  other  professor— to  exhibit 
in  public  her  virgin  essay  at  vocalizatior,  whose  pathetic 
cavatina  docs  she  select  ?     Doni/etti's ! !  ! 

It  is  always,  Donizetti— everywhere,  Donizetti — in  all 
mouths,  Donlzetii.    We  have  eald  this  oompoaer  docs  not 


m 


THE  MUSICAL  WOBLD. 


possess  decided  genias — we  repeat  it,  not  certainly  genius. 
How  then  comes  it,  is  the  very  natural  question^  that  he  has 
obtained  a  musical  popularity  that  literally  pervades  the 
world  ?  We  shall  endeavour  to  account  for  it.  First  let  us 
suppose,  always  bearing  in  mind  the  decision  of  the  prize 
comedy  at  the  Haymarket  Theatre,  that  Congreve  had  pre- 
sented to  any  London  manager  "  The  Way  of  the  World," 
while  at  the  same  time  was  handed  in  a  comedy  such  as 
"  Who's  your  Friend  ?"  or  "  Grandfather  Whitehead/'  do  you 
doubt  for  a  moment  which  the  manager,  by  preference,  would 
select  for  performance  ?  He  might  say,  or  he  might  not  say, 
certainly,  "  *The  Way  of  the  World'  is  the  production  of  a 
genius;  but  the  public  now-a-days  does  not  require  the  pro- 
ductions of  genius ;  they  want  that  which  they  can  all  under- 
stand without  any  trouble.  Give  them  plain,  commonplace 
things  a  little  varied;  they  desire  no  more.  Let  their  senses 
be  tickled  with  a  feather,  not  searched  with  a  probe— roi/a 
tout/*  And  this  is  the  secret — tact  not  genius  is  the  quali6ca- 
tion  that  certainly  ensures  the  road  to  success.  Donizetti  has 
great  dramatic  tact,  or  the  knowledge  and  appliance  of  tickling 
the  senses  of  his  audience  with  that  which,  upon  consideration 
and  examining,  evidences  neither  profundity  of  thought,  nor 
great  musical  knowledge.  He  has  also  infinite  musical  art ; 
he  measures  with  accuracy  the  general  taste,  and  pitches  lus 
compositions  to  no  higher  flight  than  what  may  be  within 
common  range.  We  may  be  here  attributing  to  method  and. 
design  that  which  proceeds  from  a  mind  aptly  consonant  to  the 
mental  capacities  of  the  great  mass  of  his  hearers,  but  the  con- 
sideration leads  to  the  same  result.  The  composer  has  likewise 
a  very  superior  tact  in,  and  knowledge  of,  vocalization.  He  is 
the  very  tailor  of  singers,  and  can  cut  out  an  aria  or  cavatina  to 
perfection  to  fit  the  crookedest  and  most  puzzling  capabilities, 
or  exhibit  excellences  and  endowments  with  the  finest  art. 
In  this  respect  he  is  unparalleled,  for  which  reason  he  is  the 
idol  of  singers.  As  a  scientific  musician  we  should  pronounce 
Donizetti  clever ;  as  a  dramatic  musician  highly  gifted.  If 
we  look  over  his  most  favourite  operas,  and  consider  the 
reputation  they  enjoy,  we  will  be  astonished  at  their  pau- 
city, or  nearly  total  want  of  melody.  No  composer  within 
our  knowledge,  who  has  gained  a  fair  reputation,  is  so 
deficient  as  a  melodist.  Operas  after  operas  have  we  heard 
of  his,  yet  took  no  sweetness  into  our  ears.  We  heard 
Encores  and  grand  efiects  and  dramatic  toura,  but  little  or 
nothing  to  touch  the  heart.  Sometimes  he  commences  with 
great  promise  in  an  aria,  as,  for  instance,  in  '  Vivi  tu,'  than 
which  nothing  at  first  can  be  more  elegant,  but  soon  the 
tenuity  of  his  imagination  is  apparent,  and  the  air  is  frittered 
into  insipidity.  But  even  these  beginnings  are  rare,  and  his 
chief  writing  consists  in  phrases  mostly  common,  but  varied 
with  sufficient  tact  and  artifice  to  render  them  acceptable  to  the 
unstudied  listener.  How  different  from  poor  Bellini,  of  whom 
Donizetti  is  the  very  antithesis.  The  author  of  Puritani 
overflowed  with  tender  melody  ;  the  author  of  Zvcfa  overflows 
with  matter,  but  not  melody  ;  the  author  of  Sonnambula — but 
we  intend,  in  a  future  number,  devoting  an  article  to  Bellini^ 
and  as  *^  comparisons  are  odorous,"  so  shall  be  silent  here. 
Upon  reviewing  what  we  have  urged  concerning  the  com- 
poser under  consideration,  notwithstanding  what  we  said  of 
his  capabilities  generally,  we  confess  ourselves  astonished  at 
his  enormous  success.  We  may  allow  him  something  on  the 
score  of  his  choice  of  libretti^  in  the  selection  of  which  he 
again  displays  his  usual  tact,  but  the  pathetic  and  absorbing 
story  of  the  Lucia  di  Lammermoor^  the  inimitable  fiin  of  Dan 
Pasquak,  or  the  high-toned  feeling  and  interest  arising  from 
Anna  Bolena^  could  not  of  themselves  lift  up  an  opera  to  Uie 


reputation  these  have  enjoyed.  We  acknowledge,  we  find 
ourselves  puzzled  here.  We  have  heard  but  few  operas  of 
Donizetti  which  we  could  endure  a  second  time  without  some 
infliction.  We  pride  ourselves  upon  our  taste,  have  some 
musical  knowledge,  and  lack  not  the  susceptibility  to  sweet 
strains  :  we  can  sit  absorbed  with  Fidelio  and  Don  Giovanni ; 
entranced  with  Barhierh,  Guillaume  TeU,  or  Freyschutz,  excited 
with  the  Turco  in  Italia,  Cenerentola,  or  Fra  Diavoh ;  feel 
delighted  with  The  DeviVs  Opera,  or  pleased  with  The  Moun^ 
tain  Sylph,  but  Donizetti's  music  neither  absorbs,  entrances, 
excites,  pleases,  nor  delights  us.  Of  a  verity  we  must  needs 
be  most  dull,  most  stupid,  thus  to  difler  from  so  great  a 
portion  of  the  musical  world  !  Well,  we  will  nathless  repose 
on  our  stupidity,  and  still  uphold  our  opinions  against  the 
mighty  mass.  Time  is  the  great  approver  of  all  things  good, 
and  time  will  test  the  author  of  Maria  di  Rohan. 

It  may,  with  a  show  of  reason,  be  said  that  Verdi  is  the 
popular  composer  of  the  day.  We  cannot  think  it.  We 
consider  the  Verdi-mania  to  be  on  a  par  with  the  Lind- mania, 
which  a  few  seasons  will  dissipate,  leaving  not  a  rack  of 
reputation  behind  to  comfort  the  neglected  composer*  Who 
would  calmly  think  of  comparing  Donizetti  with  Verdi? 
Donizetti  is  a  musician.  Our  deprecation  of  him  only  refers . 
to  his  genius,  to  the  possession  of  the  loftiest  order  of  musical 
capacity,  whicli  we  certainly  deny  to  him  ;  and  to  that  over- 
grown reputation,  which  we  consider  should  only  follow  the 
greatest  genius. 


SONNET. 

No.  LV. 

How  many  are  the  aspects  love  can  wear, 

Now  basking  ia  a  dim,  unreal  state, 

Pieas'd  airy  forms  around  bim  to  create, 
And  sbunning  all  things  that  like  earth  appear  : 
Now  bound  to  earth  with  mighty  chains,  which  tear 

And  rend  him,  when  he  would  emancipate 

His  soul  from  the  stern  bondage  of  a  fate 
That  makes  him  sport  of  ev'ry  hope  and  fear. 
Then  there  are  joys,  when  the  fond  heart  is  lost 

Within  the  compass  of  a  dear  one's  eyes. 

Deeming  that  those  small  orbs  the  whole  world  bound ; 
Then  jealousies,  when  the  tent  heart  ia  tost 

Upon  a  sea,  whose  waves  are  agonies  $— - 

And  for  all  this  the  one  word  "  love  "  is  found.  N.  D. 


RUBINI. 

A   BIOORAPHICAL   BKBTCH. 

Thb  most  eminent  tenor  of  our  age,  was  horn  on  the  7th 
of  April,  1795,  in  Romano,  a  vilage  in  the  province  of  Ber- 
gamasco.  His  father  was  a  professor  of  music,  and  the  young 
Ruhini  was  initiated  at  so  early  an  age  in  the  national  art, 
that  we  find  him  as  a  child  of  eight  years,  performing  publicly 
on  the  violin,  and  singing  as  a  church  chorister.  At  twelve 
he  made  his  histrionic  debAt  in  a  female  r6le.  The  exceeding 
sweetness  of  his  voice  soon  gained  him  a  certain  reputation  \ 
and  on  one  occasion,  after  having  sung  with  enthusiastic 
applause  an  air  introduced  into  a  comic  opera,  the  manager 
munificently  presented  him  with  four  shillings  I  The  progress 
of  this  triumph  was  somewhat  arrested  hy  the  directeur  of  the 
Milanese  Theatre  refusing  his  voice  in  their  chorus  on  account 
of  its  weakness.  Thus  compelled  to  join  a  strolling  company, 
he  starved  through  Piedmont,  hardly  gaining  enough  to 
purchase  food.  These  misfortunes  drove  him  hack  to  Milan , 
where  he  thought  himself  most  happy  in  obtaining  an  engage- 
ment to  sing  at  Pavia,  at  a  salary  of  £2  per  month,  during  the 
autumn.    His  brilliant  success  inj-^jU^jp^i^jnay  be  conceit|^ 


THE  MUSICAL  WORLD 


667 


wben  we  find  him  in  an  engagement  at  Brescia,  during  the 
Camival  of  1815,  for  £40.  for  three  months.  This  sum  was 
doubled  the  following  spring,  when  he  engaged  to  sing  at  the 
theatre  of  San-Mosi.  At  last,  Barbaja,  the  famous  impres- 
sario,  engaged  him  for  the  Theatre  dei  Fiorentini,  at  Naples, 
at  the  rate  of  80  ducats  (£14)  per  month.  After  a  year, 
Barbaja  wished  to  get  rid  of  Knbini.  in  spite  of  his  increasing 
popularity,  only  consenting  to  retain  his  services  on  condition 
of  reducing  his  salary  to  70  ducats  per  month.  The  singer 
received  higher  offers,  but  he  preferred  remaining  in  Naples, 
where  be  was  taking  lessons  of  the  celebrated  Nozzari. 
Nevertheless,  he  informed  Barbaja,  althongli  he  agreed  to  his 
proposals,  he  was  perfectly  aware  of  the  advantage  he  took  of 
his  situation.  When  he  returned  to  Naples,  after  having 
produced  in  Rome  a  very  deep  impression,  his  salary  was 
raised  to  a  proper  amount.  In  1825,  he  appeared  for  the  first 
time  in  Paris,  in  the  character  of  RamirOf  in  the  opera  '^La, 
Cenerentola,''  in  which  he  ensured  his  complete  success,  by 
that  sweetness  and  flexibility  of  execution  so  peculiarly  his 
own.  The  title  of  **  King  of  Tenors"  was  unanimously 
accorded  to  him  by  the  press  and  the  dilettanti,  on  his  appear- 
ance in  La  Donna  del  Lago,  La  Gazza  Ladra,  and  Otello. 
But,  Barbaja,  who  had  consented  to  lend  to  the  managers  of 
the  TMatfe  Royal  Italien  in  Paris,  his  primo  tenore,  demanded 
restitution  at  the  end  of  six  months.  From  Naples,  where  he 
returned  in  1826,  the  artist  was  sent  to  Milan,  and  afterwards 
to  Vienna.  During  this  period,  Bellini,  with  //  Pirata  and 
La  Sonnambula,  and  Donizetti  with  Anna  Bolena,  had  mea- 
sured the  power  and  character  of  his  voice  with  more  success 
than  Rossini.  Until  1831,  Rubin!  had  been  paid  direct  by 
Barbaja,  who  had  been  compelled  to  raise  his  salary  to  £2,400. 
On  the  recovery  of  his  liberty,  he  made  125,000  francs 
(£5,000)  in  one  year,  in  Paris  and  London,  where  he  played 
alternately  every  six  months.  His  reputation  stood  unrivalled, 
and  his  riches  far  surpassed  those  acquired  by  any  of  the 
singers  at  that  time,  favoured  by  fortune.  There  was  no 
Jenny  Lind  of  the  day  to  complete  with  his  success.  In 
some  time  his  annual  income  amounted  to  more  than  £10,000, 
and  the  property  he  gained  may  be  valued  at  £100,000. 
He  married,  in  1819,  Madlle.  Chomel,  a  singer,  whom  he  met 
at  Naples,  under  the  name  of  La  Comelli,  She  was  bom  in 
Paris,  in  May,  1794  ;  she  accompanied  her  husband  to  liondon 
in  1831,  where  she  sang  at  Her  Majesty's  Theatre  in  //  Pirata, 
for  the  last  time.  When  Rubini  bade  adieu  to  England  ;  he 
he  departed  with  the  most  solid  tebtimocials  of  admiration. 
He  went  afterwards  to  the  south  of  France,  and  thence  to  his 
native  Bergamo,  which  he  subsequently  left,  on  an  invitation 
from  the  Emperor  of  Russia.  There  he  contrived  to  organize 
for  the  Czar,  at  St.  Petersburg,  an  efficient  operatic  company, 
to  the  enthusiastic  delight  of  the  Russian  noblemen,  who 
continued  to  greet  with  hospitality,  in  their  chilly  clinoe,  the 
sweet  warbler  of  the  more  genial  south.  After  two  seasons 
he  quitted  Russia  and  the  stage,  for  ever. 


REVIEWS  OF   NIUSIC. 

^^  Family  Pianoforte  MagoMtne,"  including  cUutical,  methodical,  and 

drawing-room  pieces,  calculated  for  the  mprovement  of  pianitt  ttudenti, 

Part  2,    By  Charlis  Chaulibu,  8,  Alfred-phce,  Bedford-square. 

This  work  is  specially  written  for  the  instruction  of  English 

schools.    The  harmonic  dial  in  the  first  page  will  be  found  an 

li^eolous  and  easy  method  of  ezplaiDing  the  major  and  minor 

modes,  with  their  enharmonic  changes.     The  number  before  us 

contains  an  exercise  in  C  minor,  followed  by  a  preludio,  and  two 

improvisations,  and  a  sonata.     The  sonata  is  written  in  a  simple 

style,  and  b  well  adapted  to  the  pupil  somewhat  advanced  in  tuition. 


Mr.  Chaulieu  deserves  credit  for  the  ingenuity  he  has  displayed  in 
his  novel  attempt  at  instructions  on  the  pianoforte.  In  a  muncal 
point  of  view,  the  work  Is  commendable. 

*•  O  NatUm,  [Christian  Nation,**  a  Thanksgiving  Hymn,  for  the  Ahundant 
Haroest  of  the  year  1847,  written  by  M.  F.  Tappkh,  Esq.    Adapted  to 
a  German  air  by  the  Rev.  H.  W.  Maosndi. — R.  Cocks  and  Co. 
The  feeling  which  dictates  this  composition  reflects  much  credit 
on  the  combined  efforts  of  Mr.  Tiipper  and  the  reverend  gentleman 
above-named.     The  hymn   is   arranged   for  four    voices,^  treble, 
counter-tenor,  tenor,  and  bas^,  with  aocompaniment  for  piano,  or 
oi*gan.     The  arrangement  must  not  be  visited  with  too  searching  a 
scrutiny.     Mr.  Magendi  is  by  no  means  devoid  of  musical  acquire- 
ments, and  has  provided  altogether  a  very  pleasing  musical  homily. 
The  words  arc  praiseworthy, 

••  Loyal  Divertimento,"  on  the  Airs  of  "  tfoble  Race  was  Shenkin,"  «'  God 
Save  the  Queen."  and  "  Let  every  British  Heart  Refoice."  Composedin 
honour  of  the  Birth  Day  of  His  Royal  Highness  the  Prince  of  Wales, 
by  W.  H.  Holmes. — Wessbl  and  Co. 

Mr.  W.  H.  Holmes's  name  is  guarantee  for  the  ezoelleoce  of 
any  pianoforte  work  from  his  pen.  He  is  one  of  the  most  admira- 
ble  of  our  native  performers  on  the  instrument,  and  as  a  musician 
he  holds  no  second  rank  in  public  estimation.  The  work  under 
review  is  written  without  anv  endeavor  ailer  lofty  composition, 
being  intended  for  the  use  of  learners,  and  fulfilliDg  that  intention 
by  its  elegant  simplicity  far  better  than  if  he  had  expended  all  the 
resources  of  his  talent  by  exhibitions  of  elaborate  counterpoint 
and  difficulties  of  execution.  We  can  strongly  recommend  the 
pivertimento  to  the  practitioner. 

'*  Standard  Lyric  Drama,"    tart  1 V.— T.  Boosbt  and  Co. 

As  we  foresaw  in  oar  first  notice,  the  No»ze  di  Figaro  will  extend 
to  six  parts.  To  furnish  the  whole  of  the  raosic,  it  was  found  ini- 
posmble  to  restrict  it  to  a  less  space.  The  six  parts  will  form  a 
handsome  and  convenient  volume  when  bound,  and  though  the 
entire  work  will  cost  more  than  the  publishers  at  first  anticipated, 
no  lover  of  the  great  master's  chefdPceuvre  will  grumble  to  pay  a 
price  for  the  opera  less  than  what  would  be  demanded  for  some 
half-dozen  of  the  morccatta:  severally  at  the  usual  charges.  A  word 
must  suffice  to  chronicle  our  continued  commendation  of  the  pub- 
lication.   The  projectors  are  fulfilling  their  promises  to  the  letter. 

"  Osborne  House  Quadrilles^'  Performed  before  Her  Majesty  and  the 
Royal  Court  at  Osborne  Houss,  by  the  Band  of  the  lAth  Highlanders* 
Composed  and  arranged  for  tu)0  Performers  on  the  Pianoforte,  by  Hans 
Hartumg. — Wbsskl  and  Co. 

A  very  pleasiug>nd  well- written  set^of  Dances.  The  subjects 
of  the  Quadrilles  are  sufficiently  varied,  while  the  general  character 
of  the  series  is  happily  preserved.  Independent  of  their  suitableness 
for  dsncing,  Mr.  Hartuiiir's  Quadrilles  will  be  found  no  indifferent 
exercise  for  two  young  beginners  on  the  Pianoforte. 

"  The  Royal  Polka,"  for  the  Pianoforte,  Per/ortned  on  the  Anniversary  of 
the  Birth  Dty  of  Her  Royal  Highness  the  Duchess  of  Kent,  at  Osbom 
House,  by  the  Band  of  the  14lh  Highlanders,  Composed  by  Hans 
Hastung.^- Wbsskl  9t  Co. 

The  composer  is,  we  believe.  Band  Master  of  the  74th  High- 
landers. The  Polka  has  more  merit  than  Polkas  in  general.  Ihe 
tune  is  pleasiu?  and  effective,  and  the  arrangement  for  the  Piano 
handled  with  skill.  The  admirers  of  Polka  dancing  will  find  the 
above  composition  capitally  adapted  for  choregraphie  displays* 

ORIGINAL    CORRESPONDENCE. 

To  the  Ediior  of  "  The  Musical  World:' 

Dear  Mr.  Editor,— Having  received  an  account  of  an  Amateur 
Concert,  given  by  Signor  Brizzi  at  Plymouth,  I  should  feel  much  obliged 
if  you  will  insert  It  in  your  Musical  World,  as  it  may  not  only  be  in- 
teresting, from  its  novelty  and  the  distinguished  vocalisU  who  supported 
it,  but  also  give  pleasure  to  the  many  pupils  and  admirers  of  this  amiable 
and  popular  artiste.— Yours  ftc. 

ORPHsrs. 

Signor  Briczi's  SoirSe  Musicale  d* Amateurs  took  place  on  Thursday 
the  7tb,  at  the  Assembly  Rooms  ^t  EUiotL's  R(^al  UoUl  «^  yeiiever 


668 


THE  MUSICAL  WORLD. 


saw  the  beautiful  saloon  look  more  splendidly  than  on  this  occasion.  It 
was  brilliantly  lighted,  crowded  with  the  beauty  and  rank  of  the  town 
and  neighbourhood.  The  ladies,  who  took  part  in  the  concert,  were 
Signor  Brizzi's  pupils.  The  admission  to  the  room  was  by  tickets  only, 
presented  to  the  nobility  and  gentry  by  Signor  Britzi,  through  the  ladies 
who  had  kindiy  undertaken  the  oflSce  of  Ladies'  Patroness;  they  were — 
Countess  of  Mount  Edgecombe,  Countess  of  Rothes,  Countess  of  Morley, 
Lady  Elizabeth  Bulteel,  Hon.  Mrs.  H.  Murray,  Lady  Louis,  Lady  Black- 
wood, Lady  Hillyar,  Lady  Leeke,  Lady  Poole,  Mrs.  Calraady,  Mrs.Soltan, 
Mrs.  Walker,  Mrs.  Seale,  Mrs.  Twisden,  Mrs.  Tolchcr,  Mrs.  Grammell, 
Mrs.  Trevor,  Mrs.  Smythe,  Mrs.  Col.  Hamilton  Smith,  Mrs.  C.  Knapp, 
Mrs.  Bisshopp,  Mrs.  Roe,  Mrs.  Paed,  Mrs.  B.  King,  Miss  Williams, 
Mrs,  Strode,  Mrs.  Hibbert,  and  Mrs.  IsbelL  The  concert  began  shortly 
after  eight  o'clock. 

PRIMA  PARTI. 

Goto. "VaPens'ero." Z'"^^' .„ 

Duetto «  Qoando  di  Sangve.*'. . ; ; Donizeili. 

Cavaiina...."  Robert  toi  quej'aime." Mtym'bmfr* 

Quintett...."DoDaa  del  Lago." Rotslfd. 

Aria. "  Anchio  discbinso." Verdi. 

Owpo "  Cantiamo  ridiamo." , RoiHni, 

Duetto. «*  Mi  balsa  in  petto.»» : GabuxH, 

Aria. "Ecco  il  Pegno." Donizetti* 

l»tatasla....«*Piancforte:*» 

SBC17NDA  PARTE. 


"  I  LomlMirdl." Vtrdi, 

"  Maria  PadUlo." Donixtiti, 

"Emanl." Verdi, 


Coro... 
Duetto. 
Daetto. 

."Anal 

Dnetto. "  O  di  quel  outa.»» Verdi. 

Cbro «L'ATiain<iiviUe.»» RouUi, 

Moxart, 


Aria "yoicbesaj 

Duetto.. 


,"  La  SonnambuU."  .  .  . 
,  *'  God  save  the  Qneen." 


.  Beilini. 


Finale. 

The  Lady  Vocalists,  who  so  kindly  took  pert  were.  Lady  Henrietta 
Leslie,  daughter  of  the  Countess  of  Rothes,  Miss  Blackwood,  Miss 
Walker,  Roboro'  House  ;  Misses  Soltan,  Little  Kfford ;  Mi?ses  Folcher, 
Ridgway ;  Miss  Roe,  Gunton  Hall  i  Misses  Smythe,  Plympton ;  Misses 
Hillyar,  Bulteel,  Shenley,  Troysdon,  Seale,  Gammell,  Trevor,  Smith, 
Praed,  King,  Dunsterville,  Cane ;  Mrs.  C.  Knapp,  Mrs.  Hibbert,  and 
Mrs*  Bisshopp.  The  Gentlemen  were,  Mr.  Messingberd,  Lieut*  Drew, 
(14th  regiment),  Mr.  Calmady,  and  Signor  Brivzi.  Mr.  F.  Williams 
accompanied  the  vocalists  on  the  piano  and  also  gave  a  fantatia  and  an 
imdatUe,  which  he  played  capitally.  The  entire  performance  went  off  in 
the  most  admirable  style.  The  choruses  were  sung  with  exceedingly 
great  taste,  and  the  other  pieces  were  equally  entitled  to  our  warmest 
approbation,  the  whole  forming  a  rich  musical  treat.  The  applause 
throughout  the  evening  was  exceedingly  fervent.  A  higher  compliment 
conld  not  be  paid  to  Signor  Brizzi  than  to  witness  the  approbation 
obtained  by  those  whom  he  had  had  the  honour  of  instructing,  and,  at 
the  close  of  the  performance,  that  master  of  song,  Brizzi,  was  presented 
with  a  splendid  diamond  ring  by  his  pupils  as  a  token  cf  their  respect 
towards  him  and  as  a  memento  of  the  pleasant  evening.  After  the >fna/0 
the  room  was  cleared  for  a  dance  and  the  happy  party  enjo)ed  themselves 
for  several  hours.  The  re-union  of  the  evening  called  together  a  brilliant 
assemblage,  about  four  hundred  being  present,  amongst  whom  were  all 
the  SUte  andfoihUm  of  the  counlff. 


To  the  Editor  of  The  Mueical  World. 
Sim, — ^Accept  my  thanks  for  your  politeness  and  promptness  in  in- 
serting my  letter  signed  "  A  Lover  of  Sonp,"  in  last  week's  World, 
Perhaps  some  of  your  readers  would  oblige  by  giving  me,  through 
the  medium  of  The  Musical  World,  the  names  of  some  songs  that  would 
suit  me,  or  of  some  that  would  bear  transposition  into  a  lower  key, 
without  losing  their  character  or  beauty. 

I  am,  sir,  your  obliged  and  obedient  servant, 
hondon^  October  \2,  1847*  A  Lover  of  Somo. 

To  the  Editor  of  the  Musical  World. 
Sib,— Feeling,  as  I  do,  great  interest  and  delight  in  the  works  of 
Bellini,  may  I  Uke  the  liberty  of  asking  if  you  will  be  kind  enough  to  send 
mean  an  answer  to  the  within  stated  questions,  I  shall  esteem  it  as  a 
piece  of  great  kindness  —  I  am.  Sir,  your  most  obedient  Servant, 

James  Inghau, 
Cct.  1th,  1847.  Lay  Vicar  of  Exeter  Cathedral. 

Querttotw,— Bellini— Where,  and  when  was  he  bom  ? Where,  and 

when  did  he  die? 

[Bellini  was  bom  at  Pisa,  we  believe,  about  the  year  1806.    He  died 
at  FtfU  in  1835.] 


PROVINCIAL. 

GuiLDPOSD  Choral  SociBTV.^-On  the  12th  instant  a  morning 
concert  took  place  at  the  Public  Hall,  at  which  the  major  part  of 
Haydn's  Creation,  with  selections  from  his  Seasons  and  Masses,  formed 
a  choice  programme.  Mr.  Poole,  Mr,  Shoubridge,  and  Mr.  Leffler  were 
principals ;  and  the  local  choralists  gave  the  chorusses,  with  assistance 
from  Exeter  Hall,  efiFectively.  At  this  meeting  the  conductor,  Mr. 
Lemare,  introduced,  at  the  request  of  his  patrons,  bis  Seasonable  Thanks- 
giving Harvest  Home  Hymn,  the  words  of  which,  by  MartinTupper,  Esq. 
of  Albury,  were  primitively  committed  by  that  gentleman  to  his  musical 
treatment.  The  arrangement  was  very  effective  and  highly  applauded, 
the  author  being  present.  Miss  Poole's  various  solos ;  Mr.  Shoubridge 
"In  native  worth j"  and  Mr.  Leflaer*s  well  known  portions,  given  with 
his  wonted  volume  and  depth  of  voice,  were  treaU  well  appreciated. 
Mr.  F.  H.  Lemare  presided  at  the  organ,  and  a  most  agreeaUe  morning 
was  enjoyed  by  every  one  present. 

Manchester — A  concert  was  given  in  the  Athenseum  Concert 
Room,  on  Wednesday  night,  by  the  Misses  Holroyd,  from  the  Royal 
Academy  of  Music,  under  the  patronage  of  the  mayor  of  Manchester, 
and  Mr.  James  Heywood,  M.  P.,  but  it  was  thinly  attended.  MSss 
Holroyd,  and  her  sister,  Miss  Ellen  Holroyd,  were  introduced  to  a 
Manchester  audience  last  night  week,  at  the  concert  given  by  the  di- 
rectors of  the  Athenaeum ;  Miss  Holroyd  requires  some  practice  before 
she  attains  to  a  high  standing  as  a  vocalist,  the  same  may  be  said  of  the 
younger  sister.  Mr.  Weiss  haa  a  good  bass  voice,  and  sings  with  con- 
siderable  taste,  but  the  room  was  considerably  too  small  for  his  powers 
of  voice,  and  the  same  may  be  said  of  the  whole  concert ;  the  Free  Trade 
Hall  would  have  been  far  better  adapted.  Mr.  Wrighton  is  a  nice  light 
tenor  singer,  and  he  gave  the  pans  assigned  to  him  with  great  Uste. 
The  whole  went  off  flatly,  and  ooncluded  a  few  minutes  before  ten 
o'clock.  Mr.  Wilkinson  presided  at  the  piano-forte,  and  a  young  man 
played  some  airs  on  the  concertina.— AfoncAes/er  Jownal, 

Liverpool  Philharmonic  Society.— The  fourth  undress  concert 
for  the  season,  held  in  the  lecture-room  of  the  Collegiate  Institution  on 
Monday,  was,  as  usual,  well  attended.  The  pretly  pastoral  •'  Spring." 
from  Haydn's  "  Seasons,"  formed  the  first  pait.  the  solos  being  taken 
by  Miss  Stott,  Mr.  Ryalls,  and  Mr.  Armstrong.  The  voice  of  the  lady 
seemed  to  be  remarkably  cramped,  and  Air.  Armstrong's  singing,  though 
in  good  tune,  and  correct,  was  quite  destitute  of  energy  and  style.  Mr. 
Ryalls's  vocallsm  was  of  the  mott  polished  character,  and  the  deamesa 
and  power  of  his  voice  completely  proved  the  injustice  of  the  whole- 
sale condemnation  recently  indulged  In  by  a  section  of  the  press  on  bis 
performances  at  the  Concert-Hall.  The  vocalist  can  discover,  if  the 
critic  cannot,  an  immense  difference  in  his  capability  of  making  his 
voice  heard  in  a  clear  and  open,  over  a  close  and  confined  atmosphere. 
The  choruses,  which  for  the  most  part  are  of  a  delightful  and  captivating 
character,  concluding  with  one  of  lofty  merit,  were  exceedingly  Wfll 
performed;  but  we  did  not  exactly  approve  the  time  chosen  by  the 
conductor.  The  overture  to  Rossini's  "  Cenerentola,"  commenced  the 
second  part,  and  was  admirably  played.  The  selections  of  vocal  music 
were  from  Spohr,  Mendelssohn,  Gabussi,  T.  Cooke,  Beethoven,  and 
Bishop,  showing  the  cultivated  and  high  taste  of  the  directors.  The 
best  performances  were  Mendelssohn's  beautiful  chorus,  ••When  the 
west  with  evening  glows,"  which  was  most  effectively  given,  and  de- 
servedly encored,  and  Bishop's  glee,  "  Where  art  thou,  beam  of  light?" 
The  latter,  however,  required  a  male  alto  voice  in  preference  to  the 
female  contralto.  Miss  Parsons,  who  took  this  part,  gave  a  solo  and 
sang  with  Miss  Stott  in  a  duet,  '*  U  Calabrees,"  by  Gabussi,  but  her 
intonation  was  very  thick,  and  apparently  so  difficult  as  to  be  quite 
painful  to  the  listener.  The  concert  terminated  a  little  before  ten 
o'clock. — Liverpool  Mail. 

Herefoed.— Mr.  Robert  Carpenter's  Evening  Concert  took  place  on 
Tuesday  last,  and  the  Assembly  Room  cf  the  Green  Dragon  Hotel  was 
filled  with  a  fashionable  and,  above  all,  a  music-loving  audience.  The 
concert  commenced  with  Rossini's  delightful  overture  to  II  Barbiere  di 
Siviglia;  and  though  the  instrumentation  was  not  of  the  most  powerful 
character,  the  work  was  executed  with  great  precision,  taste,  and  judg- 
ment. Bishop's  itlee,  •'  O  by  Rivers,"  opened  the  vocal  performances : 
it  was  given  judiciously  and  in  excellent  harmony  by  the  Misses  Williams, 
Master  Carpenter,  and  Mr.  Robert  Carpenter.  Balfe's  duet,  ••  The  Sailor 
sighs,'/  followed;  the  doet  singing  of  the  Misses  Williams  is  known  and 
appreciated  by  the  attendants  at  the  concerts  of  our  Musical  Festival  last 
year ;  on  the  present  occasioot  they  discouned  most  sweetly  together. 
Miss  A.  Williams  sang,  •'  Casta  Diva,"  if  not  with  the  brUliant  and 
powerful  execution  of  a  Grisi  or  Jenny  Lind,  nevertheles?,  with  purity 
and  sweetness.  A  brother  of  these  clever  vocalists  made  his  first  ap- 
pearance in  a  song  by  Severn,  "  Away,  away,  my  angel  love;"  this  song 
was  not  well  chosen ;  it  is,  as  we  heard  a  judicious  amateur  observe,  "  a 
flimsy  composition."  Mr.  Williams  has  a  tenor  toice  of  kindred  chararter 

Digitized  by  \^OOy  It: 


THE  MUSICAL  WORLD. 


669 


to  the  contralto  of  his  sister.  Miss  Martha  Williams ;  it  is  rich  in  quality  ; 
full  in  volume;  and  soft  and  flexible  in  texture;  it  is  capable  of  vast 
improvement,  and  as  Mr.  'Williams  has  industry  as  well  as  musical  taste, 
we  expect  to  see  him  a  great  acquisition  to  the  concert-rooms  of  the 
metropolis  as  well  as  of  the  provinces.  Mr.  Willy  now  stepped  forward, 
and  to  a  jodicloaa  pianoforte  accompaniment  by  Mr.  Townshend  Smith, 
performed  some  very  clever  variations  on  a  sweet  but  simple  theme. 
Master  Carpenter,  who  although  at  first  a  little  unsteady  and  timid— 
rather  a  commendable  feeling  than  otherwise— sang  Cook's  pretty 
ballad, '* Farewell  to  thenynph  of  my  heart/' with  much  sweetness  of 
expression.  Miss  Martha  Williams  deservedly  obtained  aft  encore  in 
Knight's  ballad  of  "  The  Soldier's  Daughter,"  a  composition  of  feeling, 
though  not  of  great  musical  excellence.  The  first  part  concluded  with 
the  overture  to  Zauberilote,  which,  though  executed  cleverly,  manifested 
the  absence  of  instrumental  power.  The  fairylike  yet  spirited  Masanlello 
overture  opened  the  second  part  of  the  concert,  and  its  performance 
greatly  delighted  the  audience.  The  vocal  performance  of  the  second 
part  commenced  with  Horsley's  trio,  "When  shall  we  three;"  though 
this  is  not  one  of  the  most  popular  compositions  of  this  composer,  it  is 
undoubtedly  one  of  the  happiest  of  his  compositions ;  the  way  in  which 
the  trio  waa  delivered  elicited  heartfelt  apphiuse.  After  Miss  M. 
Williams  had  afforded  much  gratification  in  Mereadante's  "  Se  mi  abban- 
doni,"  Mr.  Willy  again  dilighted  the  audience  with  his  playing.  The 
genuine  applause  must  have  been  very  gratifying  to  Mr.  Willy.  A 
pretty  ballad,  by  G.  Linley,  was  aung  very  sweetly  by  Miss  A.  W*illiams. 
Benedict's  clever  duett,  *'  Midst  waving  trees,"  was  admirably  given  by 
the  Misses  Williams,  I  heir  voices  blending  in  that  manner  for  which 
they  are  famed.  A  fairy-like  song,  '*  1  love  the  merry  moonshine," 
by  Glover,  was  delivered  elegantly  by  Miss  A.  Williams,  and  received  a 
deserved  encore.  A  glee,  "  Come  see  what  pleasures,"  by  Elliott,  ad- 
mirably given,  closed  the  vocal  performances,  and  the  concert  concluded 
with  Weber's  overture  to  Obenm^Hertfard  Thnei. 

GiNTLBMiM's  Glib  Club.— The  second  meeting  of  the  season  took 
place  at  the  Albion  Hotel,  on  Thursdsy  evening,  the  selection  for  which  was 
excellent.  The  principal  vocalists  were  Mrs.  Wood,  Mrs.  Wlnterbottom. 
Miss  Pairy,  Messrs.  Walton,  Cooper,  J.  Isherwopd  and  Father.  The  glee, 
"  Blow  gentle  gales,"  was  beautifully  sung  by  Mrs.  Wood,  Mrs.  Winter- 
bottom,  Walton,  James  Isherwood,  ind  Sheldrick,  and  it  was  rapturously 
encored ;  but  the  principal  feature  of  the  evening  was  the  performance 
of  Giulio  Regondi,  on  the  concertina,  and  guitar.  He  played  on  the 
concertino  De  Beriot's  First  Concerto  in  D,  originally  composed  for  the 
violin,  but  arranged  by  Giulio  Regondi  for  the  concertina,  the  only 
alteration  being  the  occasional  introduction  of  harmonies  and  chords,  to 
display  the  peculiar  capabilities  of  the  Instrument.  We  cannot  speak  in 
terms  too  strong  in  praise  of  this  young  artist's  talent :  his  execution  ia 
perfect,  and  his  taste  and  expression  peculiarly  firm.  In  the  second 
part  he  played  a  solo  on  the  Melophonic  guitar,  with .  two  additional 
baas  strings  to  the  Tonic  and  Dominant,  making  eight  strings,  while  the 
common  Spanish  guitar  has  only  six.  He  played  the  Thalberg's  Fantasia 
on  aira  from  '  Don  Giovanni,'  arranged  by  himself  for  the  guitar,  and 
although  we  consider  the  Concertina  the  more  agreeable  instrument,  he 
delighted  us  by  bis  extraordinary  taate  and  execution  on  the  guitar ; 
indeed,  the  addition  of  the  two  liass  strings  makes  a  great  improvement 
in  the  capabilities  of  the  instrument.  We  regret  that  we  have  not  time 
or  apace  to  notice  more,  parttculiarly  the  excellent  glee  singing.  Mr. 
James  Isherwood  waa  in  excellent  voice.  We  may  add  that  the  meeting 
was  well  attended.  The  host,  Mr.  Johnson,  of  the  Albion  Hotel,  fur- 
nished an  excellent  supper,  and  all  went  off  to  admiration.— 3/a9icAei/er 
Cottrier, 


DRANIATIC   INTELLIGENCE. 

Hatmarkbt.— The  entertainments  of  the  week  have  con- 
ai»ted  of  The  Hunchback  on  Monday;  Tuesday,  London 
Assvrancei  Wedneeday,  The  Lady  of  Lyons;  Thursday, 
The  Love  Chase;  and  last  night  The  Hunchback  re- 
puted. As  we  foretold,  The  Hunchback  met  with  the  most 
triumphant  success*  The  comhination  of  talent  introduced 
could  not  fail  to  draw  crowded  audiences,  and  the  manager 
was  wise  in  repeating  this  popular  play  twice  a  week. 
The  re-production  of  London  Assurance  on  Tuesday  was 
hardly  less  successful  than  The  Hunchback.  The  cast  was 
most  excellent  and  comprised  nearly  all  the  actors  in  their 
original  characters.  With  the  exception  of  Mr.  Webster  in 
Mark  Meddle,  played  formerly  at  Covent  Garden  by  Ilarley, 


and  Mist  Julia  Bennett  in  Madame  Vestris's  original  part  of 
Grace  Harkaway,  the  comedy  includes  the  same  performers 
who  played  in  its  first  production.  Mr.  Kceley  was  re- 
received  with  great  applause  in  his  old  part,  Mr.  Spanker, 
and  elicited  great  laughter.  Mrs.  Nisbett's  Lady  Gay  Spanker 
is  one  of  the  most  brilliant  and  efTective  of  her  performances. 
Mr.  Bourcicault  certainly  fitted  her  to  perfection  in  the  part. 
Mr.  Farren*s  Sir  Harcourt  Cocutly  is  too  well-known  to 
necessitate  any  particular  comments  in  this  place.  Mr. 
Webster  was  capital  as  Mark  Meddle.  Nothing  of  the 
kind  could  be  better.  JBriadars  Cool,  his  original  part, 
was  admirable,  and  Mrs.  Humby,  in  Pert,  her  original  cha- 
racter, was  equally  worthy  of  encomium.  In  short,  the  comedy 
wa«  played  as  well  as  it  could  possibly  be  played  in  the  present 
day ;  nor,  indeed,  as  far  as  we  can  judge,  could  it  well  be 
surpassed  by  any  list  of  actors  who  reigned  together  in  our 
memory.  The  afterpieces  of  the  week  include  nothing  new : 
The  Romantic  Widow,  Twice  Killed,  My  Wife  I  What  Wife  J 
constituting  the  interludes  and  farces.  This  evening,  a  new 
and^original  farce,  entitled  Who*s  my  Husband  ?  will  be  pro- 
duced; the  principal  characters  thereof  to  be  sustained  by 
Keeley,  Tilbury,  Howe,  the  Mesdames  W.  Clifford,  L.  S. 
Buckingham,  and  Humby.  On  Wednesday  next,  a  new  and 
original  play,  in  fire  acts,  called  The  Heart  and  the  Worlds 
will  be  performed,  and  will  include  in  the  cast  the  Messrs. 
Creswick,  A.  Wigan,  Howe,  H.  Vandenhoff,  Miss  Helen  Faucit, 
Miss  Julia  Bennett,  Mrs.  W.  Clifford,  Miss  £.  Messent,  Mrs. 
Stanley,  &c.  &c.  The  loTcrs  of  Miss  Helen  Faucit  are  on  the 
qui  vive  to  see  her  in  a  new  part. 

Drury  Lane. — The  Promenade  Concerts  at  this  theatre, 
during  the  week,  have  attracted  larger  audiences  than, 
generi^lly  speaking,  have  been  known  on  former  occasions.  The 
novelty  and  beauty  of  the  appearance  of  the  house,  and  the 
praises  it  has  universally  obtained  from  the  press,  have,  no 
doubt,  tended  to  increase  the  multitude  of  visitors.  We  are, 
however,  inclined  to  think  that  a  more  laudable  reason  for  the 
accumulation  of  spectators  may  be  traced  to  the  spread  of 
music  among  the  middle  classes,  in  the  dissemhiation  of  which 
M.  Jullien,  most  undoubtedly,  has  participated  largely.  A 
single  fact  of  late  occurrence  at  the  Promenade  Concerts  will 
exemplify  this  diffusion  of  musical  taste  better  than  the  most 
elaborate  arguments  drawn  from  theory,  or  speculation.  On 
Saturday  evening  the  allegretto  scherzo  In  Beethoven's  Sym- 
phony in  F  was  encored  with  a  degree  of  fervor  and  persistence 
that  would  have  done  honor  to  the  Philharmonic  classical 
audience,  and  reflected  Hghly  on  their  judgment.  This  is  no 
mean  indication  of  the  progress  and  march  of  music,  when 
we  remember,  some  five  years  ago,  that  a  symphony  of 
Beethoven's  was  actually  hissed,  and  would  not  be  heard 
throughout  at  the  same  Promenade  Concerts.  The  encore  of 
(Saturday  evening  told  plainly  enough  tliat  the  multitude  is 
nbt  so  dull  a  beast  as  is  generally  supposed,  and  that  if  he  be 
only  properly  indoctrinated,  using  at  one  time  the  coaxing  mcar.s 
and  at  another  the  judiciously-coercive,  as  you  would  with  any 
other  baby,  for  the  mob  is  Community's  and  Communion's 
youngling,  you  may  lead  him  by  insensible  gradations  through 
the  whole  alphabet  of  taste.  -  The  mingling  of  the  trivial  and 
the  sublime  in  music  at  the  Promenade  Concerts  exhibits  M. 
Jullien's  tact  and  his  knowledge  of  humanity.  Had  he  in- 
troduced at  his  first  entertainments  nothing' but  the  highest 
order  of  music,  he  would  not  only  have  scared  away  the  mass 
of  his  audiences,  but  he  would  have  lost  the  opportunity  of 
the  power,  which  he  now  possesses,  of  in  fusing  into  the  minds 
of  his  auditors  a  love  and  veneration  for  the  beautiful  and 
grand  in  music.    We  trust  and  hope,  before  many  more 


eYo 


THE  MUSICAL  WORLD. 


seasons  have  passed  away,  that  M.  Jullien,  following  the 
popular  feeling,  will  find  it  necessary  to  give  a  larger  portion 
of  the  compositions  of  the  great  masters  than  he  does  at 
present.  He  will  then,  indeed,  he  entitled  to  the  appellation 
of  a  musical  regenerator  in  this  country.  The  magnificent 
hand  at  his  disposal  cannot  fail  to  do  justice  to  the  works  of 
the  master-minds  of  past  or  present  times ;  and  as  perfection 
in  the  execution  is  requisite  to  the  full  understanding  of  these 
compositions,  he  has  in  his  hands  the  chief  moving  power  hy 
which  the  hest  works  may  he  disseminated. 

M.  JuUien's  band  consists  of  the  principal  part  of  the 
Royal  Italian  Opera  orchestra,  with  selections  from  that  of 
Her  Majesty's  Theatre,  and  a  section  of  his  own  constituted 
corps,  it  is,  therefore,  hardly  necessary  to  state,  that  his 
hand  is  one  of  the  most  efficient  in  Europe.  We  will  gite 
a  list  of  the  principal  names,  from  which  the  reader  may 
draw  his  own  conclusion  as  to  the  completeness  of  the  body  : 
— ^Messrs.  Sainton,  Richardson,  Tolbecque,  Collinet,  Nadaud, 
Barret,  H.  Blagrove,  Baker,  Lazarus,  Case,  Koenig,  Sonnem- 
berg,  y.  Collins,  Baumann,  N.  Mori,  Flatt,  Watkins,  Harper, 
Hill,  J.  Harper,  Rousselot,  Jarrett,  Hausman,  Ha&cock, 
Cioffi,  Lavenue,  Prospere,  G.  Collins,  Pay  ton,  Loder,  Thomas, 
Howell,  Gofirie,  Alsept,  Casolani,  Rowland,  Anglaise,  Pratten, 
&c.,  &;c.,  &c.  Signor  Piatti,  the  violoncellist,  is  engaged  for 
a  limited  number  of  nights  for  the  concerts. 

We  have  thought  it  necessary  to  furnish  a  catalogue  of  the 
orchestra  in  full,  since  the  same  band  is  provided  for  the  Drui^ 
Lane  Opera.  Those,  therefore,  who  are  anxious  to  obtain  an 
idea,  by  anticipation,  of  the  intended  operations  of  the  new 
academy,  would  do  well  to  attend  the  Promenade  Concerts 
and  listen  to  M.  JuUien's  band  in  an  overture,  or  a  symphony. 
They  cannot  fail  saying  to  themselves,  if  the  singers  and  chorus 
be  equal  to  the  orchestra,  then,  indeed,  shall  we  have  music  in 
perfection. 

The  performances  of  the  week  have  consisted  of  overtures 
by  Weber,  Rossini,  Herold,  Beethoven,&c. ;  movements  from 
symphonies  of  Beethoven  ;  with  the  usual  selections  of 
quadrilles,  polkas,  mazourkas,  gallopades,  and  vocal  moreeaux. 
The  vocal  department  has  been  entrusted  solely  to  Miss  Dolby, 
who  sang  two  songs  on  each  evening.  One  of  these,  a  Swiss 
national  melody,  has  met  with  the  greatest  success,  no  less 
from  the  finished  and  pure  vocalization  of  the  charming  artiste, 
than  from  the  simple  beauty  and  expressiveness  of  the  song 
itself.  This  ballad  is  entitled,  *'The  Swiss  Girl,"  and 
will,  we  have  no  doubt,  become  one  of  the  most  favourite 
vocal  morceaux  of  the  day.  Among  the  solo  performers  of 
the  week,  we  should  select  for  j)articular  praise,  Sainton  on 
the  violin,  Signor  Fictti  on  the  violoncello,  and  Mr.  Baumann 
on  the  bassoon.  The  performance  of  the  last  named  artiste 
in  selections  from  Robert  le  Diable,  was  received  with  immense 
favor.  Koenig,  Richardson,  and  Barret,  have  also,  by  their 
admirable  solo  performance,  tended  to  delight  their  hearers. 
Monsieur  L'Anglois  made  his  debut  on  Tuesday  evening,  and 
performed  a  solo  on  the  contra-hasso  with  the  greatest  effect. 
The  entertainments  on  the  whole  have  been  admirably  varied, 
and  are  entitled  to  much  praise. 

The  appearance  of  the  theatre  demands  a  few  additional 
words  to  what  we  have  given  in  our  last  week's  article.  We 
have  noticed  the  prevailing  lightness  of  the  interior  and  the 
simplicity  of  the  decorations.  On  entering  the  theatre  the 
ceiling  first  solicits  attention-  A  light  trellis-work,  formed  of 
crossed  bars  of  gold,  rises  from  the  shoulder  of  the  dome  to 
a  small  height,  through  which  is  seen  the  sky  of  a  beautiful 
ultra-marine  colour.  Beyond  the  trellis-work  to  the  centre, 
from  which  the  chandelier  is  suspended^  the  deep  blue  of  the 


sky  warms  to  a  rich  golden-orange  tint  saggestif  c  of  a  sun- 
rise, and  has  an  admirable  effect,  the  light  from  the  chandelier 
seeming  to  issue  therefrom.  The  chandelier,  supported  by  six 
golden  cupids  flying,  is  brought  dose  to  the  ceiling,  a  neces^ 
sary  provision,  as  thereby  it  does  not  interfere  with  the  view 
of  the  spectators  from  the  upper  parts  of  the  theatre.  From 
the  body  of  the  chandelier  six  arms  issue,  shaped  like  the 
Union-Jack,  the  compartments  being  signalized  by  gas-pipes, 
with  jets  of  light  at  short  intervals.  This  has  a  very  happy 
and  novel  effect.  Around  the  lower  part  of  the  dome  there 
runs  a  large  pipe,  from  which  proceed  gas  burners,  the  mul- 
titude of  lights  filling  the  house  with  intense  brilliancy.  This 
is  quite  an  original  provision,  but  we  think  not  altogether  in 
good  keeping  with  the  harmony  of  the  general  appearance. 
For  the  Promenade  Concerts,  where  something  might  be  con- 
ceded to  surprise  of  effect,  the  suppliance  of  so  startling  a 
novelty  may  have  its  advantage,  and  will  find  many  advo- 
cates ;  but  we  cannot  help  thinking  that  its  retention  in  the 
opera  season  would  be  injudicious,  as  it  would  certainly  de- 
tract from  the  simplicity  which  is  the  prevailing  characteristic 
of  the  aspect  of  the  theatre.  The  decorations  and  ornaments 
are  in  the  best  possible  taste.  The  eye  is  no  where  ofifended  by 
an  extravagant  display  of  colours,  or  embellishments.  On 
the  fagade  of  the  boxes  a  light  trellis  work  of  gold  is  overlaid 
on  a  faint  bloom-colour,  and  the  pillars  supporting  the  boxes 
are  twined  at  intervals  with  wreaths  of  flowers  in  gilt  papier" 
mach6.  When  we  mention  that  the  curtains  and  borders  are 
in  scarlet  cloth  and  gold,  we  have  supplied  some  £unt  notion 
of  the  appearance  which  Drury  Lane  wears  at  the  preselit 
moment.  The  theatre,  no  doubt,  will  present  a  different  aspect 
when  prepared  for  scenic  representation. 

Princsss*s. — Romeo  and  Juliet  was  repeated  on  Tuesday* 
but  failed  to  attract  a  large  audience.  We  are  not  surprised 
at  this.  With  the  exception  of  Miss  Cushman's  Romeo, 
which  is  indeed  an  admirable  performance,  the  play  was  most 
indifferently  cast,  there  being  hardly  an  actor  who  was  adfr* 
quate  to  represent  the  character  allotted  to  him.  Mr.  Compton's 
Peter  and  Mrs.  Selby's  Nurse  were  both  good,  but  none  of 
the  rest  were  above  mediocrity.  Miss  Cushman's  Romeo  is 
her  most  equal  and  most  admirable  performance.  There  is 
something  in  the  character  of  the  youthful  romantic  lover  that 
suits  the  actress  to  perfection.  All  the  asperities  and  angula- 
rities of  her  acting  appear  to  have  been  doffed  with  her 
feminine  attire,  and  though  the  want  of  grace  is  still  ob- 
servable, it  is  not  so  obtrusive  in  Romeo  as  in  her  female 
characters,  as  neither  dignity  nor  grandeur  is  demanded  ia 
the  personation  of  the  love-sick  Montague.  Miss  Cushman 
has  not  here  to  contend  to  elevate  herself  by  unnatural 
efforts,  but  to  allow  the  predominant  influences  of  the 
lover's  character,  intensity  of  passion  and  the  keenest  suscep- 
tibility, to  pervade  her  mind  and  sway  her  in  the  performance. 
There  can  hardly  be  any  scenic  representation  more  truthful 
and  beautiful  than  this  artiste's  Romeo.  There  is  something 
in  Miss  Cushman's  tone  of  voice  that  is  absolutely  love- 
pleading  :  a  plaintiveness  that  sounds  like  an  echo  to  Melan- 
choly, I<ove*s  sister ,  and  which  fills  the  heart  with  recollections 
of  happy  days  gone  by  to  all.  Her  voice,  in  Romeo,  is  one 
of  the  greatest  charms  of  the  actress  In  the  garden  scene  it 
rings  on  the  ear  of  night  like  Endymion's  hushed  music  In 
his  low  complaints  to  the  moon  :  and  how  beautiful  it  is,  and 
how  full  of  sorrow  half  concealed  by  an  effbrt  to  give  it  a  gay 
tone,  in  that  heart-rending  scene,  when  banished  Romeb  bids 
his  last  adieus  to  his  new-wedded  Juliet,  it  is  impossible  to 
express  in  mere  words.  But  voice  alone  makes  not  up  the 
excellence  of  the  artiste.    Her  acting  throughout  is  eharacte* 


THE  MUSICAL  WORLD 


671 


rised  by  great  power  and  gteat  judgment.  Miss  Cushman'a 
acting  in  the  last  scene  is  scarcely  surpassed  by  any  per- 
formance we  have  witnessed.  It  is  full  of  passion  without 
rant,  feeling  without  exaggeration,  and  the  deepest  pathos 
without  the  slightest  taint  of  mawkish  sentimentality.  It  is, 
in  short,  an  effort  of  the  highest  art  combined  with  the  finest 
appreciation  of  the  beautiful  and  the  true  in  nature.  Alas ! 
that  we  cannot  say  so  much  for  Miss  Susan  Cusbman,  who  is 
a  fine  girl,  a  handsome  girl,  yea,  and  a  clever  girl.  Her  Juliet, 
however,  is  an  error.  She  neither  looks,  conceives,  nor 
embodies  the  character.  She  exhibits  talent,  but  not  the 
talent  required  to  impersonate  the  Juliet  of  Shakspere.  She 
possesses  a  fine  form  and  a  good-looking  face,  but  not  the 
face  nor  the  form  to  captivate  the  lover  of  Rosalind,  and  turn 
him  from  his  ancient  love.  Miss  Susan  Cushman  is  neither 
sufficiently  juvenile-looking  on  the  stage,  the  consequence  of 
a  somewhat  large  person  and  a  certain  seriousness  of  aspect ; 
nor  does  she  seem  intended  by  nature  to  personify  the  softness 
and  yielding  qualities  of  the  female  characters ;  qualities  which 
in  the  earlier  scenes  of  the  play,  Shakspere  in&ses  into  the 
love-awaking  heart  of  Juliet,  till  she  appears  formed  for  no 
earthlier  purpose  than 

"  Loves,  tears,  and  kisses,  sighs,  and  Bmiles." 

It  was  only  in  the  more  impassioned  scenes,  such  as  the  taking 
of  the  poison,  and  the  scene  with  the  nurse,  she  seemed  to 
exhibit  any  sympathy  with,  or  show  any  knowledge  of  the 
character.     These  scenes  were  performed  with  considerable 
skill  and  feeling,  and  displayed  a  tact  and  sensibility  that 
would  entitle  her  to  rank  high  in  the  profession,  were  she  to 
perform  that  which  was  most  adapted  to  her  talents.     Her 
Juliet  was  too  clever  in  general,  and  too  artistic  in  many 
instances  to  be  pronounced  a  failure.     We  may  entitle  the 
performance  creditable.     Miss  Emmeline  Montague  appeared 
in  Miss  Hardcastle  in  She  Stoops  to  Conquer  on  Saturday  ; 
and  on   Tuesday,  after  Romeo  and  Juliet,  as  Katherine  in 
Kaihertne  and  Petruchio,     Both  performances  were  excellent. 
This  lady  will,  we  prognosticate,  grow  into  high  favor  with  the 
audiences  of  the  Princess's  before  many  moons  have  rolled  on. 
King  Henry  the  Vlllth,  was  brought  out  in  a  very  efficient 
manner  on  Wednesday  evening,  as  far  as  regards  scenery, 
costume,  decorations,  &c.     The  principal  features  of  the  per- 
formance were  Macready's  Cardinal  Wolsey,  a  celebrated  part 
of  the  tragedian's,  and  Miss  Cushman's  Queen  Katherine,  her 
first  essay  in  that  character  in  this  country.    The  play  of 
Henry  the  Vlllih,,  poetically  speaking,  is  not  one  of  Shaks- 
pere's  masterpieces  ;  and  dramatically,  is  surpassed  by  most 
of  the  author's  productions   for   the   stage.      We  do    not 
altogether  coincide  with  Doctor  Johnson's  comment  on  King 
Henry  the  Vlllth,^  when  the  great  writer  pronounced  that 
'*  the  genius  of  Shakspere  comes  in  and  goes  with  Katherine," 
and  that   *'  every  other  part  may  be  easily  conceived  and 
easily  written/'     With  all  our  respect  for  Doctor  Johnson's 
great  talents  we  doubt  whether  he  could  have  conceived  and 
written,   by  any  mental  exeicitation,  much  less  easily  and 
without  effort,   the  character  of  Cardinal  Wolsey,  and  the 
language  put  into  his  mouth.     Nor  can  the  attentive  reader 
peruse  the  drama  without  finding  many  passages,  which  none 
but  Shakspere  could  have  written,  and  many  traits  of  cha- 
racters which  none  but  Shakspere  could  have  drawn.   Of  the 
poetry,  even  omitting  all  appertaining  to  Wolsey  and  Queen 
Katherine,  we  find  many  parts  which  belong  to  the  highest 
ordet  of  writing,  and  which  all  the  critics  in  the  world  could 
not  have  indited,  even  if  they  could  ha\e  conceived  them,  and 
which  no  poet,  save  only  one,  could  have  moulded  into  such 


harmonious  form  of  beauty  and  expression.     Let  us  quote,  as 
an  instance,  Norfolk's  character  of  the  Queen  : — 

"  A  loss  of  her. 
That  like  a  jewel  has  hung  twenty  years 
About  his  neck,  yet  never  lost  her  lustre : 
Of  her  that  loves  him  with  that  excellence 
That  angels  love  good  men  with ;  even  of  her 
That,  when  the  greatest  stroke  of  fortune  falls. 
Will  bless  the  King." 
Surely  the   great   moralist   could   hardly   have    understood 
Shakspere  when  he  said  his  genius,  in  this  play,  came  in  and 
went  with  Katherine.     Was  there  no  genius  exhibited  in  the 
character  of  the  wily  Cardinal  ?     Was  there  no  subtlety  of 
intellect  expended  in  delineating  so  much  vice  and  hypocrisy, 
yet  keeping  the  possessor  remote  from  our  contempt ;  ren- 
dering him  at  the  same  time  hateful  and  interesting ;  mean 
and  transcendant  ?  Did  no  genius  dictate  the  speech  on  falling 
greatness,  or  the  address  to  Cromwell  ?     Of  the  characters 
too,  have  we  not  the  lordly  Buckingham,  the  faithful  Crom* 
well,  the  gay  and  witty  Lord  Sands,  with  others,  to  disprove 
this  calumny,  for  it  is  little  else,  of  the  leviathan  Doctor  ? 
The  play  of  Henry  the  VHIih.  is  undoubtedly  better  suited 
to   the  student  in  his  closet  than  to  the  spectator  in  the 
theatre;    and  had  the  critic  confined  his  strictures  to  this 
point,  we  should  have  found  no  cause  to  quarrel  with  him. 

Taking  into  consideration  the  number  of  characters  in  the 
play  and  their  importance,  the  splendour  and  pomp  required 
in  the  coronation  pageantry,  and  the  size  of  the  stage  neces- 
sary to  give  effect  to  the  spectacle^  we  can  hardly  imagine  any 
drama  less  adapted  to  the  means  of  the  Princess's,  than  Henry 
the  Vnith,  Much  care,  and  some  attempts  at  magnificence, 
were  certainly  shown  in  its  production  on  Wednesday  evening 
at  this  theatre,  and  for  this  the  manager  deserves  praise ;  but 
the  cast  of  parts  was  so  indifferent,  and  the  performance,  in 
consequence,  so  far  below  mediocrity,  as  to  render  the  external 
speciousness  little  less  than  worthless.  Of  Macready's  Car- 
dinal Wolsey  alone  can  we  speak  in  any  terms  of  eulogy.  His 
personification  of  the  wily  priest  was,  indeed,  highly  artistic, 
and  conceived  with  great  judgment.  The  character  was,  per- 
haps, rendered  too  senile,  and  might  be  said  to  be  at  variance 
with  history  in  this  regard ;  but,  nevertheless,  looking  at  it 
as  a  dramatic  embodiment,  we  cannot  imagine  any  perform- 
ance more  finished,  or  more  effective.  In  the  third  act,  his 
acting  was  unquestionably  a  masterpiece*  It  is  only  in  this 
act  tifie  poet  appears  to  have  elaborated  his  character,  and 
endowed  it  with  greatness.  Macready  seemed  to  have  reserved 
himself  for  his  closing  scenes,  and  here  he  came  out  with  a 
power  scarcely  to  be  surpassed.  The  speech,  when  the  king 
leaves  him,  frowning  on  him,  followed  by  the  "  lapsing  nobles," 
commencing — 

"  What  should  this  mean  7 

How  have  I  reap'd  it?    What  sudden  anger's  this?" 
was  worthy  the  finest  eftbrts  of  the  tragedian.     Nothing  could 
be  more  truthfuland  striking  than  his  sorrowful  exclamation — 
"  Nay  then,  farewell ! 

I  have  touched  the  highest  point  of  all  my  greatness : 

And  from  that  full  meridian  of  my  glory 

I  haste  now  to  my  setting  :     I  shall  fall 

Like  a  bright  exhalation  in  the  eveninsr. 

And  no  man  see  roe  more." 
The  scene  with  Cromwell  was  splendidly  acted,  and  the 
great  speech  before  his  final  exit  was  delivered  with  the 
greatest  pathos  and  beauty.  Mr.  Macready  was  called  for  at 
tne  end  of  the  third  act,  and  greeted  with  loud  and  unanimous 
applause.  To  Miss  Cushman's  Queen  Katherine  we  may 
apply  the  same  objections  we  did  to  her  Lady  Macbeth :  a 
want  of  dignity,  a  lack  of  grace,  an  absence  of  repose,  and  a 


672 


THE  MUSICAL  WORLD. 


straining  after  effects  were  equally  noticeable  in  both,  per 
formances.  Her  acting  in  tbe  arraignment  scene  J¥<l$l]di¥e$le4] 
of  tbat  solemnity  and  heroic  grandeur  which  thf  .{5oet  has 
flung  round  the  Queen  with  all  the  power  of  his  mighty 
genius ;  and  her  death  was  conceiired  in  a  spirit  identical  with 
that  wliich  pourtrayed  the  expiring  throes  of  Meg  Merrilies. 
Miss  Cushman  has  not  the  intellect  to  discriminate  between 
the  poetical  and  the  pictwial  in  aeting«  Mr.  Cooper's  Henry 
the  Eighth  bordered  very  closely  on  the  butlesque.  We  ne=\iB^&j 
saw  this  actor  appear  to  less  advantage.  If  it  be.  his  opinion 
that  kingly  bearing  is  incompatible  with  bluffncss  of  deport- 
ment, and  that  he  intend  to  make  this  character  one  of  his 
standard  performances,  we  would  strongly  recomrnead  him  to 
pay  a  visit  next  season  to  the  Royal  Italian  Opera,  and  see 
Tamburini's  King  in  Anna  BoUna.  If  he  be  not  loonvinced 
then  of  the  strange  error  into  which  he  has  fallen,  he  must  be 
incorrigible.  Miss  Susan  Cushroan's  Anna  Bolena  was  neither 
elegant  nor  artistic.  She  looked  the  part  indifferent  well,  and 
that's  the  sole  praise  we  can  bestow  upon  her«  Of  the  other 
characters  charity  forbids  us  to  say  one  word.  The  play  was 
announced  for  repetition  on  Friday  and  Monday.  The 
audience  seemed  perfectly  satisfied. 

Sadler's  WELLs.«^Colman'8  comedy  of  the  Jealous  Wife 
was  revived  at  this  theatre  on  Wednesday,  to  a  house  mode* 
rately  well  filled,  Melpomene  being  evidently  a  greater  favorite 
here  than  Thalia.  The  comedy  was,  on  the  whole,  well 
played.  Mr.  H.  Marston  and  Miss  Addison  undertook  tbe 
parts  of  Mr.  and  Mrs.  Oakley.  Although  Miss  Addison's 
comic  acting  is  inferior  to  her  tragic,  yet  it  contains  many 
felicitous  points.  Her  best  scenes  were,  the  one  with  her 
husband,  in  which  she  wheedles  him  into  a  confession  of  his 
supposed  delinquency,  and  that  with  Lady  Freelove,  who  plays 
on  her  jealous  fears.  Here  Miss  Addison's  manner  was  easy 
and  natural ;  but  her  reproaches  of  her  husband  were  too  loud 
and  violent.  Mrs.  Oakley,  although  a  woman  of  strong 
passions,  is  yet  a  lady,  moving  in  the  highest  cirdea.  Miss 
Addison's  voice  is  melodious^  and  she  ought  to  give  it  fair 
play  by  dropping  that  inflation  of  style  and  straining  at  effect, 
by  which  she  spoils  some  of  her  best  points.  Mr.  U,  Marston 
made  a  very  efficient  Mr.  Oakley,  and  Mrs.  Marston  an  ex- 
tremely clever  Lady  Free  love.  Mr.  G.  Bennett,  as  the  Major, 
although  a  little  too  boisterous,  was  highly  amusing. 

Marylbronb. — Hamlet  has  been  produced  at  this  house  in 
capital  style,  as  regards  the  dresses,  scenery,  and  accesscKies, 
but  as  regards  the  actors,  most  indifferently.  Mr.  Graham's 
Hnmlet  was,  indeed,  strikingly  original,  and  most  of  the  other 
characters  coped  with  the  Prince  in  peculiarity  of  excellence. 
From  this  mass  of  indilierence  wc  would  reserve  from  ani«- 
madvcrsion  the  Queen  of  Mrs.  Warner,  the  First  Gravedigger 
of  Mr.  T.  Webb,  and  the  King  of  Mr.  James  Johnstone.  The 
latter  gentleman  seems  to  us  to  be  the  best  actor  in  the 
company, 


MISCELLANEOUS. 
Mr.  William  Michael  Rookr,  the  composer  and  pro- 
fessor of  Ringing,  expired  et  his  residence,  Claremont  Cottage, 
St.  John's^  Fulham,  on  Thursday}  after  a  tedious  and  painful 
illness.  Mr.  Rooke  was  a  native  of  Dublin.  He  kft  Ireland 
in  1821,  and  from  that  period  has  since  resided  in  London* 
Some  years  after  liis  arrival  he  here,  became  Musical  Director  at 
the  English  Opera,  and  subsequently  Chorus-master  and  Musical 
Director  at  Drury  I^ane.  His  avocations  were  various.  He  was 
for  years  previous  to  his  death  one  of  the  principal  second 
violins  at  the  Philharmonic  and  Ancient  Concerts,  &c.  IJe 
was  considered  an  excellent  teacher  of  singing,  and  among 


^is.  pupils  we  may  mention  Balfe,  who,  in  his  youth,  studied 
pLiifhr  hjf.  instruction  for  some  period  in  Dublin ,  Miss  Forde, 
Mr.  W.  Harrison,  «nd  Mr.  Clement  White.  As  a  com- 
poser Wr.  Rooke  was  highly  estimated,  his  opera  of  Amiliet 
having  obtained  a  decided. sucqesss  at  Covent  Garden,  under 
Macready's  management,  and  many  of  his  fugitive  vocal 
morceaux  having  gained  great  popularity.  .  Mr.  Eooke'a  loss 
fs^univprsally  regretted.  In  private  life  he  was  a  most.ex- 
Pili^Ri/  ^fVif^and  and  father,  and  a  kind-hearted  and  staunch 
inpnd.  it  is  to,  be  hoped  he  has  left  his  family  sufficiently 
provided  :  if  not,  their  deprivation  claims  the  sympathy  of 
every  musician  in  this  country. 

Mr.  Lindsay  Slop£r>  Uie  eminent  pianist  andcomposer^ 
was  married  on  Tuesday  last  to.  Miss  Batchelor,  of  Eton. 
May  every  happiness  attend  them,  say  we« 

Miss  PuRDAY,  a  professor  of  music,  perished  by  the  fire, 
which  occurred  on  Monday  evening  on  the  premises,  Water- 
lane,  Blackfriars. 

Madame  Dclcxek  intends  giving  a  pianoforte  matinte  next 
week,  at  the  County  Assembly  Rooms,  Maidstone ;  John 
Parry  will  be  the  vocal  interlude. 

Madame  Albertazzi.-— The  Queen  Dowager  has  generously 
sent  £10  to  Mr.  Frederick  Beale,  of  Regent-street,  for  the 
benefit  of  the  children  of  the  late  Madame  Albertazzi. 

Jenny  Lind  at  Home  in  London. — Jenny  Lind  arrived 
in  London,  by  the  steamer,  at  Black  wall,  on  Satorday,  the 
17  th  of  April,  about  three  in  the  afternoon,  and  came  to  the 
west  end  Uirough  the  streets  on  the  Surrey  side  of  the  river 
to  avoid  the  erowd  of  carriages  always  impeding  Cheapside 
and  the  Strand.  Mr.  Lumley  arrived  in  London  early  the 
same  morning,  after  having  seen  his  prize  safely  off  for 
England.  She  resided  for  some  short  time  with  Mrs.  Grote, 
the  wife  of  the  member,  and  then  domesticated  kersdf  in  a 
cottage  at  Old  Brompton,  next  door  to  the  Rosery(aii'ac« 
cidental  juxtaposition),  the  reetdenee  of  the  talented  authoress 
Mrs.  S.  C  Hall,  Between  Mrs.  Hall  and  Jenny  sprang  np  a 
friendly  interoourae.  When  Jenny  first  took  possession  of 
her  new  abode,  Mrs.  6.  Hall,  as  a  mark  of  attention  to  her 
celebrated  neighbour,  sent  in  her  card ;  and^  with  her  cha- 
racteristic frankness,  good-lmroour,  and  simplicity.  Jenny 
immediately  retamed  the  compliment  by  a  visit*  Otherwise^ 
during  her  residence  in  London,  Jenny  Liod  saw  few  or  none. 
Extremely  quiet  and  retiring — passionately  devoted  to  her 
flowers — and  employing  herself  in  all  -graceful  aad  Iranqail 
exercises,  besides  attending  to  her  theatrical  duties — Jenny 
Lind  avoided  company,  and  declined  the  invitations  of  half 
London.  Earnestness  and  simplicity,  a  total  want  of  self- 
value  or  parade,  and  a  child*like  disposition  to  be  amused, 
and  to  be  '*  let  alone,"  are  inherent  in  her  diaracter.  If  you 
saw  her  off  tbe  stage^  you  would  take  Jenny  Lind  to  be  the 
most  unpretending  person  possible.  In  her  dress  site  is  as 
simple  as  a  shepherdess,  and  she  would  be  overlooked  a 
hundred  times  over.  She  has  remarkably  quick  observation, 
however,  and  a  self-dependence,  and  a  self-possession  adnura- 
bly  contrasting  with  the  bustlci  and  restlessness,  and  affected 
importance  of  some  of  the  members  of  the  large  musical 
family.  In  the  early  part  of  the  season  Jenny  Lind  used  to 
drive  to  tlie  theatre  at  an  early  hour  (in  anticipation  of  per- 
formance)— five  o'clock— >as  much  to  avoid  the  crowd  which 
besieged  the  stage  entrance  in  hope  of  catqVing  ^  sight  of 
her,  as  to  obtain  an  hour*s  quiet  before  dressing  for  the  repre« 
seotation.  Latterly,  however,  she  was  later  in  her  arrivals. 
Occasionally,  in  the  evenings,  after  her  performance,  she 
would  take  a  ch.'iir  in  the  first  entrance  on  the  stage,  and 
watch  the  ballet  with  great  amusement.— Peop/eV  Jouri^if£ 


THE  MUSICAI.  WORLD. 


673 


Thb  Queen  Dowager,  with  her  usual  liberality  ftpd  be- 
nevolence, has  sent  a  donation  of  10/.  to  Mr,  F.  Beale,  201; 
Regent  Street,  for  the  benefit  of  the  children  of  the  late 
favourite  vocalist,  Madame  Albertazzi. 

Jennt  Lind  paid  a  very  gratifying  compliment  to  our 
fellow  citizen,  Mr.  H,  Cooper,  at  the  Exeter  concert  on 
Saturday  last.  It  seems  there  is  no  retiring  room  at  the  sub- 
scription-rooms there,  and  Mdlle.  Jenny  was  very  near  Mr. 
Cooper,  whilst  he  played  a  concerto  on  the  vioKn,' with  which' 
she  was  so  much  delighted,  that  she  hastily  wtote  on  a  'sHp- 
of  paper  the  words,  "  Je  suis  voire  sincere  admiratrice," 
which  she  handed  to  him  with  a  sweet  smile  as  soon  as  he 
had  made  his  acknowledgments  to  the  audience  for  a  burst  of 
well-deserved  applause  which  followed  his  performance. — 
Felix  Farley, 

Mr.  and  Mrs,  MitLAE*s  Soirees  Musicales  commenced 
for  the  season  on  Wednesday  last,  for  which  occasion  an  at- 
tractive programme  of  vocal  and  instrumental  pieces  was  pro- 
vided- The  services  of  Mr.  T.  Wright  (harp)  and  Mr.  H.  C. 
Cooper  (violin),  in  addition  to  those  of  Mr.  and  Mrs.  Millar, 
had  been  secured  for  the  first  soiree,  and  as  both  artistes  are 
in  the  first  rank  of  their  profession,  it  may  he  supposed  that 
full  justice  was  done  to  the  various  compositions  which  they 
executed.  Sir  H.  R.  Bishop  and  Mr.  H.  Phillips  are  en- 
gaged for  this  series,  the  concerts  of  which  will  be  continued 
at  fortnightly  intervals. — Bath  and  Cheltenham  Gazette. 

Enorxous  Sums  paid  to  Forxiqn  Singers. — The  English- 
inan  meekly  submits  to  be  fleeced,  and  eonsents  to  pay 
guineas  instead  of  shillings  into  the  hands  of  the  very  same 
people  he  may  hear  sing  in  Italy  for  one  quarter  the  money. 
The  fever  for  Jenny  Lind  has  raised  prices  to  a  height  that 
we  shall  take  the  liberty  of  calling  scandalous*  It  is  no  good 
argument  to  state  that  English  people  can  afford  it,  and  there- 
fore may  do  it.  Money  is  money :  30/.  is  30i. ;  and  if  one 
man  thinks,  this  an  inconsiderable  price  for  one. single  night's 
entertainment,  we  candidly  confess  we  wish  that  some  day 
he  may  want  it.  Such  money  is  ill  spent ;  it  goes  after  a 
certain  point  only  to  enrich  one  singer,  who  pockets  the  cash, 
does  not  spend  it  in  the  country,  and  sends  it  perhaps  to 
some  hank  in  a  dirty  little  foreign  town.— Fra«er'«  Magazine. 

PuKcif  AT  THE  Play.— (From  Punch.) — Last  week  the 
dramatic  season — of  which  Punch  from  time  to  time  may  take 
note — fairly  began.  We  wish  to  be  pleased  :  we  have  thrown 
open  «•  the  red-leaved  tablet  of  our  heart,"  and  wish  to  he 
complacent  with  all  the  world.  Nay,  to  show  the  extrava- 
gance of  our  benevolence,  we  wish  to  be  at  peace  even  with 
all  managers— past,  present,  and  to  come.  But  we  owe  a 
duty  to  the  world ;  and  whatever  our  laundress  may  say  of 
our  private  debts,  duty  is  a  deht  we  always  pay,  sometimes 
thirty  shfllings  in  the  pound.  London  feels,  as  the  savage 
saith,  the  stone  rolled  from  her  heart.  Ker  playhouses  are 
again  opened ;  and  it  wonld  seem,  to  the  peculiar  discomfiture 
of  *'Our  Fast  Man,'*  that  the  fashion  seems  to  be  somewhat  in 
favour  of  those  old  world  matters,  five-act  dramas.  Be  this 
as  itma>,  London  is  in  the  best  of  temper  with  her  plays  and 
players,  reading  the  morning  bills  with  brightening  eyes,  and 
determining  at  some  theatre — the  Haymarket — the  Princess's 
i— the  Marylebone — or  Sadler's  Wells^to  make  a  night  of  it. 
Moreover,  the  dramatic  impulse  has  communicated  itself — as 
though  travelling  by  the  electric  wire — to  Windsor,  The 
Court  vrill  return  very  much  earlier  to  London  than  was 
proposed,  the  Queen  being  desirous  to  personally  patronize 
the  English  drama.  This  being  the  case,  we  understand  that 
the  Master  of  the  Horse  has  already  purchased  two  sets  of 


lioxses  for  play-nights ;  none  of  the  cattle  at  present .  in  the 
TO^^t'^-^tll^esM-from  old  habit-*being  manageable  one  step 
beyond  the  Italian  Opera,  (it  is  not  generally  known,  but  at 
pre^bt- there  is  not  a  royal  horse  that  does  not  shy  at  an 
Eiiglish  play-^bill.) — Mr.  Webster  has  in  active  preparation 
very  handsome  paraphernalia  for  the  Royal  Box,  in  the  lively 
expectation  of  a  royal  visit :  and  Mr.  Aladdox  will,  on  a  like 
occasion,  put  forth  something  better  than  new.  It  is  scarcely 
jtd'be  expected  that  Her  Majesty  will  be  so  extreme  in  her 
patronage  as  to  visit  Islington,  or  Marylebone,  yet  w  en 
enthusiasm  is  once  awakened,  who  shall  prophecy  a  limit 
to  its  operation  ?— -PaitcA— -he  confesses  it — has,  of  late, 
neglected  theatres.  But — Punch  is  a  courtier.  All  the  world 
knows  that.  Therefore  as  his  Queen  determines  to  smile 
upon  the  English  drama,  Punch — like  certain  other  patrons- 
will  patronise  it  too  ;  that  is,  when  he  can  get  an  order,  or  be 
allowed  to  sell  the  use  of  his  opinions  for  an  entire  season  for 
one  private  box.  (Wine  and  sandwiches  will  make  him  a 
slave  for  life.) — The  Haymarket  has  opened  merrily  enough. 
Very  pleasant  was  it  for  the  actors--^ld  faces  and  new  comers 
—to  feel  that  the  audience  was  shaking  them  by  the  hand,  and 
wishing  them  a  pleasant  season.  Mrs.  Glover  had  been— not 
to  Margate— -no,  but  to  the  Fountain  of  youth,  and  came 
rejuvenescent  from  the  dip.  And  Nisbctt — another  duck  ! — 
brought  back  June  to  us  in  her  sunny  face  and  lark-like  voice. 
At  the  first  gathering,  all — actors  and  audience — seemed  to 
make  holiday.  *'  What  do  you  think,  of  this  ?"  said  a  fami- 
liar voice  to  us.  We  looked^it  was  the  ghost  of  Elliston  in 
the  boxes.  With  the  mild  dignity  of  a  subdued  bashaw,  he 
observed,  '*  I've  jUst  come  up  to  see  Charles  Surface.  It  s 
very  odd,  PtmeA,  but  Nature  has  certainly  worked  out  her  raw 
material ;  there  is  not  a  real  light  comedian  left.  At  the  best 
but  molten  lead'-^not  the  true  quicksilver — ^not  the  real  mer-* 
cnry :"  and  the  ghost  feebly  chuckled,  and  ere  we  could  ask 
him  news  of  his  friend  George  the  Fourth,  faded — faded  away. 
Shakspere— though  sophisticated  Shakspere— is  mighty  at  the 
Princess's.  In  Meckel  A-**  especially  in  the  fifth  act— Macready 
has  delighted  even  ^  Our  Fast  Man."  After  seeing  the  actor, 
the  "  Fast  Man"  (be  confessed  as  much  to  a  friend)  did  not 
visit  a  Casino  for  a  single  week,  and  had  some  notion  of  going 
as  far  as  Islington  to  behold  Macbeth's  head  upon  a  pole. 
The  **  Fast  Man,"  moreover,  thinks  Miss  Cushroan's  Mrs. 
Macbeth  first-rate.  Miss  Montague— the  new  Desdemona— 
is  a  charming  actress,  with  a  dove-like  manner,  and  a  voice  of 
magical  sweetness-*  a  voice  that  would  draw  a  suit  out  of 
Chancery.  '*  Will  it  draw  houses  ?*'  asks  Mr.  Maddox  :  and 
Punch  answers—"  Mr.  Maddox,  it  will.*'— P«»c/i,  however^ 
must  not  quit  Mr.  M.  without  expressing  the  intensest  admi 
ration  of  his  scenery  in  Macbeth — it  is  so  primitive,  so  perfect. 
The  scenery  of  Othello  is  equally  true ;  and  then  so  domestic ! 
though  the  bed  of  Desdemona,  from  its  yellow  tint,  did  excite 
in  our  mind  a  somewhat  unpleasant  recollection  of  "The 
Industrious  Fleas."  —  The  Lyceum  will  throw  open  its 
doors,  and  make,  no  doubt,  a  very  handsome  show.  Yestris 
certainly  carried  confusion  among  the  spiders  of  the  Olympic, 
and  was  the  first  to  turn  a  theatre  into  a  drawing-room. 
Perhaps  the  curtains  and  chair-covers  were  sometimes  a 
little  too  fine,  and  the  pieces  now  and  then  a  little  too  flimsy. 
Nevertheless,  stage  reform,  as  far  as  scenery  and  costume  go, 
originated  in  Wych  Street,  and  we  douh^  not,  we  shall  have 
the  like  rigid  propriety  at  the  Lyceum.  Planch^ — President 
of  the  Antiquarian  Society — has  very  recently  discovered  in 
Brokers'  Row  a  complete  set  of  tea-spoons  of  the  fourteenth 
century,  and  is  engaged  on  a  ^g^fP^j^pXH^h^^^^S  interest"^ 
introduce  them.  ^  ^ 


674 


THE  MUSICAL  WORLD. 


The  Distins  have  given  concertB  during  the  last  fortni^t 
in  Scarboro,  Witby,  Stockton-on-Tees,  Newcastle>  Sun- 
derland, North  and  South  Shields,  Carlisle,  Whitehaven, 
Maryport,  Cockermouth,  Penrith,  and  Carlisle  ;  accompanied 
by  Miss  Moriatt  O'Connor  as  vocalist,  and  Mr.  Willy,  Jun. 
as  pianist. 

Grace  Aguilar,  the  authoress  of  many  popular  works  in 
favor  of  the  Jews,  died  last  month  at  Frankfort,  aged  82. 

Meyerbrbr.  —  A  medal  in  honor  of  this  composer  has 
lately  been  struck  in  Vienna ;  on  one  side  is  a  bust  of  Meyer- 
beer, and  on  the  other  the  following  inscription :  "  To  the 
great  Musical  Composer,  1847."  M.  Riesk,  the  engraver, 
has  just  had  conferred  on  him  the  gold  medal  of  merit. 

Discovert  of  a  Valuable  Italian  MS. — Signer  Carlo 
Guzzoni  Degli  Ancarani,  in  a  letter  to  the  Chevalier  Salvator 
Betti  (published  in  a  Roman  Newspaper)  announces  the  dis- 
covery of  an  unpublished  **  Life**  of  FraGirolamo  Savanaralo, 
dictated  by  Brother  Serafino  Razzi,  of  the  order  of  preachers. 
At  the  end  of  the  MS.  are  some  poems  of  Girolamo,  which 
(especially  a  canzonet  on  the  happiness  of  Florence)  are 
sufficient  to  stamp  him  as  a  poet.  A  Florentine  Journal  pro- 
poses the  erection  of  a  monument  in  honour  of  this  celebrated 
man  on  the  site  of  his  convent.  A  stanza  in  the  Ottava  rtma 
is  selected  from  the  poems  in  question,  as  a  proof  of  the  truth 
of  the  above  critical  dictum.  The  subject  is  a  pious  invocation 
to  the  Deity. 

A  Liverpool  Jenny  Lind. — "  An  amateur  of  50  years 
experience"  writes  as  follows,  calling  the  attention  of  the 
editor  of  the  Liverpool  Albion  to  a  gem  in  music,  a  future 
star  of  the  first  magnitude : — "  I,  an  old  amateur,  an  en- 
thusiastic admirer  of  the  art,  and  familiar  with  the  best  schools 
in  all  lands,  fearlessly  predict  the  certainty  of  Thursday  last 
being  memorable  in  the  musical  annals  of  Liverpool.  I  saw 
an  announcement  of  the  ballad  '  The  Banks  of  Allan  Water,' 
at  the  Liver  Theatre,  in  Church  street,  by  a  young  lady,  her 
first  appearance  on  any  stage.  I  went,  partly  from  curiosity, 
but  in  some  dread,  fearing  a  torrent  of  cadences  and  a  series 
of  music  lessons.  The  symphony  commenced,  and  on  came 
an  elegant  sylph-like  girl,  apparently  about  eleven  years  of 
age,  modest,  unassuming,  and  very  pretty ;  but,  oh  !  the 
melody  she  poured  forth,  the  soul-feeling  purity  of  tone !  I 
was  enraptured  ;  so  were  the  audience ;  we  scarcely  breathed. 
At  the  end,  the  burst  of  applause  was  enthusiastic  and  honest ; 
not  a  soul  in  the  house  but  joined  in  it.  The  house  was 
taken  by  surprise ;  it  was  Jenny  Lind  again  ;  the  same  fresh- 
ness, the  same  nature.  I  remembered  Jenny  Lind's  early 
history ;  this  seemed  a  realization  of  a  dream ;  there  stood 
the  child  before  me ;  and  so  beautiful  too  I  Canova  would 
have  copied  the  head.  I  went  again  last  night.  If  possible, 
it  was  still  better, — the  action  so  varied,  yet  so  graceful.  I 
cannot  give  you  a  better  proof  of  the  power  of  this  young 
syren  than  this  fact— I  saw  the  sailors,  rough  fellows,  crying 
like  children  near  me.** 

British  Musicians. — The  Society  has  announced  its  an* 
nual  series  of  chamber  concerts,  to  take  place  at  the  Harp 
Saloon  in  Bemers  Street,  on  the  following  evenings  :  Monday, 
November  1,  1847  : — Monday,  November  15,  1847  : — Mon- 
day, November  29,  1847  :— Monday,  December  13,  1847 : — 
Monday,  December  27,  1847;  and  January  10,  1848.  In 
addition  to  the  works  of  the  Members,  selections  from  the 
compositions  of  the  most  eminent  authors  will  be  given. 

M.  Jullisn's  Concerts.— His  Royal  Highness  Prince 
George  of  Cambridge,  accompanied  by  Lord  Adolphus  Fitz- 
clarence  and  Sir  George  Wombwell,  honoured  Drury  Lane 
with  his  presence  on  Tuesday  night. 


ADVERTISEMENTS. 


THEATRE    EOTAL, 


DRURY   XiANB. 


M.    JULLIEN'S 

ANNUAL  SERIES  OF  CONCERTS, 

FIRST  NIGHT  of  the  SWISS  ttUADRILLE. 

M.  JULLIEN  has  the  honour  to  announce   that  his  New  DBacuPTiTE 
Quadrille,  entitled  the 

SWISS    QUADRILLE, 

composed  during  his  late  tour  In  Switzerland,  will  be  performed  fbr  the 

First  Time 

On    MONDAY,    OCTOBER  18th,  1847. 

Introduction.— The  Scene  takes  place  in  a  Mountain  District  of  SwiHer- 
land  at  Daybreak.— Perfect  stillness  reigns  around,  broken  onW  by 
the  Chirping  of  the  Birds,  the  early  Song  of  Shepherds,  and  the  distant 
Village  Bell,  calling  the  Peasants  to  their  Morning  DevoUons. 

No.  1.— Suddenly  the  Calm  is  dwpelled  by  the  Cry  of  the  Hunters,  who 
sally  forth  in  pursuit  of  the  Wild  Chamois;  the  Report  of  their 
Rifles  is  heard,  and  the  Cone  Sauvaee  (a  Rustic  Instnunent  of 
the  mountains)  sounds  in  the  heat  of  the  Chase,  when  shortly  the 
cheer  of  the  pursuers  proclaims  the  success  of  the  4^y. 

No.  IL— National  Air,  «  Lb  Chalet."— Dialogue  for  Bassoon,  Trombone 
and  Clarionet,  performed  by  Mons.  Baumanh,  Signor  Ciopfi, 
and  Herr  Kcenig. 

No.  3.—"  Le  Ranb  DBS  Vaches."  Performed  on  the  Alpen-Hom  by  Herr 
K(ENia.  This  National  Melody  has  such  an  extraordinwy  elffeet 
upon  the  Swiss  Peasantry,  that  in  those  countries  where  the  Swiss 
Soldies  were  formerly  employed  to  guard  the  persons  of  royalty, 
its  performance  by  the  Military  Bands  was  actually  foriiidden ; 
indeed,  it  so  afffects  these  voluntary  exiles,  and  so  forcibly 
reminds  them  of  their  fatherland,  that  many  have  been  known 
to  desert  after  listening  to  its  notes.  The  palace  and  person  of  the 
present  Pope,  Kus  IX.  are  still  under  the  care  of  Swiss  Guards. 

No.  4.— National  Air,  "  Au  rive  pu  lac."  Arranged  with  Variauoos  for 
Flute,  FlMcolet,  Clarionet,  and  Oboe,  performed  by  Mr.  Bicba&d- 
BON,  M.  CoLLiNBT,  Mr.  Laiarus,  and  M.  Barrbt. 

No.  6.— A  ViUage  F§te  is  in  course  of  celebration.— The  son  Mte,  and  maM 
conies  on.  The  Spring,  the  period  when  the  dreadrol  ATalanelies 
fall,  has  arrived,  and  the  thunder-like  noise  in  the  distance  inter- 
rupts the  P«te  and  warns  the  villagers  of  the  near  ,«Ppro«^  of 
this  awful  visitation.— The  sound  of  the  fitful  wind  and  the  dnmng 
rain  are  mingled  with  the  wild  cry  of  the  eagle,  and  othor 
affrighted  birds,  sure  tokens  of  the  coming  storm.— The  terror  of 
the  people  increases  with  the  violence  of  the  tempest  t  and  the 
mountain  torrent  bursts  its  banks,  threatening  to  overwhelm  the 
devoted  village.  This  convulsion  of  the  elements  at  laat  detaches 
the  overhanging  Avalanche,  and  with  an  awful  crash  it  bounds 
down  the  mountain  side,  carrying  destruction  in  its  path.— The 
village  bell  rings,  a  shout  resounds  through  the  valley,  and  the 
joyous  chorus  of  the  assembled  villagers  announces  their  escape 
from  the  threatened  danger. 
The  Programme  will  also  include  an  Aria  by  MISS  DOLBY ;  the  Overture 

to  "  Euryanthe  ;"  the  Allegretto  Scherssndo,  from  Beethoven's  Symphony 

in  F  ;  a  Solo  by  M.  Anolois  ;  a  Solo  by  Mr.  Richardson  ;  the  New  Rhine 

Polka,  arc.  &c.  „.,.,.,, 

The  Concert  commences  at  Eight  o'clock. 

PRICES    OF    ADMISSION    AS    USUAL. 


EXTENSIVE    MUSICAL    LIBRARY, 

And  Musical  Instruments, 
Induduig  a  Chamber  Organ,  with  6  stops,  and  German  pedals :  a  BerapUn^  in 
naewood  case ;  Pfano-Forte,  Violins,  ViokHiGeUo,  te. 

PUTTICK  AND    SIMPSON, 

(Successors  to  Mr.  Fletdier)^  Auctioneers  of  Music  and  litecsry  Property, 

•wiimI*  ssiiIi  by  auction 
AT    THEIR     GREAT   ROOM,     191,     PICCADILLY^ 

On  TUESDAY,  Oct,  26th,  1847,  at  on«  o'clock  moat  panctuaUy, 
An  ectensiYe  CoUectionof  Ancient  and  Modem  Music  of  efery  daw,  inclndhig 

COMPOSITIONS  BY  THE  BEST  MASTBBS; 
Numerous  Anthems,  Madrigals,  and  other  "Works,  with  duplicate  ptfts  tor 
Choruses ;  Handbl's  Works,  by  Dr.  Arnold,  a  compete  set.  Also  the  Musical 
IbstmmenU,  Pisno-Fortes,  VtoUns,  Violoncellos,  Tenors,  a  Donble  &ms,  a 
Patent  Rerolmg  Trumpet,  by  KOblbr;  and  othar  ImtmnaenS^  innd  awl 
I  stringed.    Catatogncs  will  be  sent  on  application. 


THE  MUSICAL  WORLD. 


6Tf5 


BY  APPOINTMENT  TO   THE    QUEEN-^ 

Manafactorer  of  Improyed 

Cubinety  Cottage,  Piccolo,  &  Square  PianoforteSy 

79,  BISHOPSGATB    STREET    ^WITHIN, 

Opposite  the  Marine  Society. 


Piccolo  Pianoforte. 

PIANOFORTES,  WARRANTED  of  the  beat  manalhcture,  and  at  the  lowest 
posaible  prices,  for  Instmments  that  can  really  be  Warranted.  O.  PEACH  EY 
retpectftuly  invites  his  fiends  and  the  public  to  inspect  his  extensive  stock  of 
IMPROVED  CABINET,  COTTAGE,  PICCOiX),and  SQUARE  PIANOFORTES, 
New  Scale  6|  Octaves,  C  to  G,  upon  the  most  approved  principles,  for  tone, 
touch,  and  dorability,  snitable  to  any  climate.  Also  a  large  collection  of  second- 
hand, of  every  descnption,  in  good  condition. 

•vpcrlor  Instminents  Lent  on  Hire,  In  Town  or  Oonntrj. 
One  Hundred  Pianofortes  for  general  inspection,  &  Packed  free  of  expense. 
G.  P£ACHET»  73,  Bishopsoatb-strbbt  Within,  opposite  the  Marine  Society. 


N  EW     MUSIC. 

Juarr  Published,  SPORLE's  Ballads,  "  The  Emicrent*s  FareweU/^ 
"  Covntrx  X>lfe."— Price  2s.  each.  Forwarded  postage  free,  on  receipt  of 
94  stamps. 

THE   OYCXiOPiBDIA  OF    MUSIC. 

Price  Sd.  per  Sheet,  the  fall  music  size;  embracing  already  upwards  of  1000 
Sheets,  various,  smongst  which  are  the  "  Cherftlresque  [Quadrilles,'^ 
**Ime  Pelaco  Enchante  QnadriUes."  ^'Ere's  Itamentatlon."  by 
M.  P.  King;  *< Oh,  Steer  mr  Bark  to  Erln'a  Isle,"  *c.|  *c.,  aU  at 
Sd.  each,  or  forwarded  postage  free  5d.  eacb. 

Catalogues  forwarded  postage  free,  on  receipt  of  a  stamp. 

London  :-~B.  WILLIAMS,  Vo.  U,  Paternoster  Bow. 

The  Trade  supplied  with  all  the  popular  Music,  at  Publisher's  prices. 


UST  OF  JENNT  LIND'S  MUSIC, 

PUBLISHED  BY 

CHARLES   JEFFERYS, 
No.    21,    SOHO    SQUARE,     LONDON. 

jRKirr  Ltnd*8Sovo  op  Fathbbland.— A  most  charming  composition,  by  the 
renowned  Felix  Gautier,  with  English  words  by  Charles  Jefferys ;  twenty-first 
edition,  with  a  Portrait  of  the  popular  Cantatrice.~Price  3s. 

Tub  Sono  op  thb  Sonnambulist.— A  lovely  Melody,  with  English  words  by 
C.  Jefferys,  and  a  Portrait  of  Ainina,  in  **  La  Sonnambula." 

ALBOif I's  SoNo,  "  IL  Sbobbto."— COME  LET  US  BE  HAPPY,"  with  fine 
Portrait— Price  3i.  6d. 

THE   80NC8   IN 

"LA   FIGLIA   DEL   KEGGIMENTO,N 

IN    ITALIAN    AND    ENOLJSH, 
THE  IiATTBR  FRBELY  REVOB&BD  hj  OHAS.  JEFPERTS. 

1.  Search  through  the  wide  world,  *'  Cia$cun  lo  dice," 

a.  Ask  me  not  why  my  heart,  "  Quando  il  detHno.** 

8.  From  life's  early  morning  the  camp  was  my  home,  "  Apparvi  dUa  luce»** 

4.  The  Rataplan.    Price  2s.  each ;  in  colors,  as.  6d.  each. 

PIANO-FORTE. 

«.  d. 

Jenny  Lind's  "Qeau  of  Song,"  arraoged  by  Charles  W.  Gtover,  with 

aPortrait  7?. »  0 

Jenny  Und's  Garland  Quadrilles,  arranged  by  Charies  W.  Glover. 8  0 

Airs,  "  Cisscnn  lo  dice,"  easy  arrangement. Qarke  1  6 

"Apparvi  alU  luce,"  ditto Ditto  1  6 

• "Tbe  Rataplan,"         ditto Ditto  1  6 

JBNNY  UBTO'S  MARCH,  from  ^^La  FlsUa/' 

Splendidly  ffloitnted. 


CONCERTS  and  LECTURES,  RRISTOL. 

ROYAL    ALBERT    ROOMS,   COLLEGE    GREEN,    BRISTOL. 

The  above  ELEGANT  ROOMS,  situate  in  the  most  fashionable  spot 
between  Bristol  and  Cliilon,  are  TO  LET  for  Concerts,  Lectures,  E:ini- 
bitions,  &c. 

The  principal  Room,  from  its  great  height,  is  admirably  adapted  for  music, 
and  is,  perhaps,  the  best  Room  in  England  for  the  Exhibition  of  Works  of 
Art,  receiving  its  light  from  the  roof,  which  is  equally  difftised. 

Popular  Lecturers  will  find  this  worth  their  attention,  as  the  tenns  will  be 
to  their  advantage. 

A  Line  addressed  to  the  Proprietors  will  be  attended  to. 


CHAULIEU'S 

FAMILY  PIANO-FORTE    MAGAZINE. 

Including  Classical,  Methodical,  and  Drawing-Room  Pieces. 
Monthly  Parts,  Fire  Sbllllno*    AnnusJ  Subscription,  iCS  fls. 

To  be  had  at  all  the  principal  Husic-sellers  and  Stationers;  and  at  the  Office, 
3,  Alfred  Pkice,  L'edford  Square. 


PIANOFORTES. 

At  KENNAY  &  CO.'s,  15,  Berkers  Street,  Oxford  St. 

Every  description  of  Piccolo,  Cottage,  and  Cabinet  Pianofortes,  of  the  b 
materials  and  tne  lowest  prices.    EsUblished  upward  s  of  4U  years. 

A  variety  of  Second-hand  mstrumenU  always  on  Sale.    InstrumenU  taken  m 
exdumge. 

KBNNAY  *  Co.;  15^  Bemers  Street,  Oxford  Street. 


Brown  4s.  6d.  per  bottle. 
Pale  5s.  ditto. 


8s.  per  bottle. 


€€ 


10s.  per  doz.  largest  bottle 
7s.        „      small       „ 
exclusive  of  carriage  from 
London. 


THE   STANDARD    OF    COGNAC,** 


WHICH    IS   THE   BEST   FOREIGN    BRANDY. 

THE  PATENT  BRANDY  AND  THE  GENUINE  SELTZERS  WATER, 
protected  by  the  Patent  Metallic  Capsule,  the  only  sure  and  self-evident  safeguard 
against  adulteration,  can  be  obtxined  throughout  the  kingdom  at  the  respective 
prices  above  mentioned,  or  at 

7,  Smithfleld  Bars^  and  96,  St.  John's  Street,  London. 


GRIMSTONE'S  AROMATIC  REGENERATOR,  for  Improving  and  Promoting 
THK  GROWTH  OF  HUMAN   HAIR. 

To  THB  Laoibs.— A  lady  had  the  following  letter  inserted  in  the  Times  news- 
paper on  August  7, 1846.  Reader,  remember  this  letter  was  put  into  the  paper  by 
the  lady  herself,  as  a  testimony  to  the  virtues  of  Grimstone's  Aromatic  Regenerator: 

"Mrs.  Weekley,  of  No.  3,  Swan-street,  Borough,  takes  this  opportunity  of  public- 
ly thankinir  Mr.  W.  Grimstone.  of  the  Herbsry,  Highgate,  for  the  eracacy  of  his 
Aromatic  Regenerator,  in  having  completely  restored  the  hair  on  her  head,  after 
using  it  about  four  months,  and  uie  whole  of  her  hair  is  much  stronger  and  more 
luxuriant  than  it  ever  was  before  the  baldness  appeared.  She  will  feel  a  pleasure 
in  answering  any  lady  of  respectability  to  the  above  fscts.— 3,  Swan-street, 
Borough." 

The  most  delicate  ladies  may  use  this  delightfol  product  of  the  most  aromatic 
herbs  and  flowers  with  confidence ;  its  refreshing  odour  removes  head-ache  and 
makes  it  a  most  necessary  companion  to  the  toilet.  In  cases  of  nervous  head-ache, 
pour  ten  or  twelve  drops  on  the  crown  of  the  head ;  if  very  bad,  repeat  it  every 
quarter  of  an  hour.  In  most  cases,  relief  is  certain  in  ten  minutes.  It  produce* 
hair  on  children's  heads  in  a  few  applications.  If  used  on  infants'  heads,  it 
has  such  a  peculior  cooling  influence  on  the  brain  as  to  prevent  convulsions, 
as  well  as  promoting  the  growth  of  hair.— See  pamphlet  of  testimonials  with 
everv  bottle. 

^  CASE  OF  RING-WORM    CURED. 

14,  Devonshire,  sq.,  Bishops^fate-st.,  19th  July,  1847. 

"  Mr.  Frederick  Bradshaw,  having  lost  some  portion  of  his  hair  from  rinjr-worm, 
has  had  it  so  perfectly  and  so  won(!ferf^lly  restored  by  only  a  short  application  of 
Mr.  Grimstone's  *•  Aromatic  Regenerator,"  feels  thus  called  upon  gratefully  and 
publicly  to  acknowledge  it.  Mr.  F.  Bradshaw  has  much  pleasure  m  thus  bearmg 
testimony  to  the  efficacy  of  the  remedy,  and  Mr.  Grimstone  is  at  perfect  liberty  to 
make  any  use  of  this  communication  he  pleases. 

To  Mr.  W.  Grimstone.  Herbary,  Highgate,  near  London." 

Sold  by  Mrs.  J.  and  E.  Atkinson,  34.  Old  Bond-street ;  Messrs.  Fisher  and  Toller. 
Conduit-street;  J.  Sanger,  Chemist,  &c.,  150,  Oxford-street ;  Messrs.  Barclay  and 
Son,  Farringdon-street ;  Mr.  Johnston,  68,  Cornhill  j  Thomas  Keating,  Chemist. 
St.  Paul's  Churchyard ;  Messrs.  Hannay  and  Co..  63,  Oxford- street;  and  by  all 
Chemists,  Druggists,  and  Medicine  Vendors.  Sold  in  triangular  bottles,  at  4s., 
7s.,  and  lis.  each;  and  forwarded  by  post  at  4s.6d.,  7s.8d.,  and  las.,  case  in- 
cluded, for  money  orders  only.  Sold  only.  Wholesale,  at  the  Herb — 
The  78.  contains  two  4s.,  the  lis.  four  timea  the  quantity  of  t"     ~ 


698* 


THE   MUSICAL  WORLD. 


NEW    MUSIC, 

FOR  VOICE    AND    PIANO. 

9.  d, 

"TheLottfUry"     New Oivatiiia,   aE.Honi,  J  0 

<'  Wilt  thmi  be  mioe?'*  Ballad,  written  by  Eliza  Cook,  3  0 

«'JdiovaliJlreh,»'    Sacred  Sonfl^, C.  H.  Pnrday,  «  0 

«« The  Rainbow,"         Ditto,      Ditto,  S  J 

''rUbegajwhaelmay,**   CaTatina,     E.  J.  Loder,  S  0 

"HomelfeeiiadrawlnrniirV    Dnetto,  Ditto,  3  0 

"Slrter  Nymph  of  Ocew,»>           do, Ditto,  «  6 

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MUTU 

AL  A89URANC1 

HalfPremhmi 

1  BRANCH,         1                PBOPRIBTARY    BRANCH.               | 

Whole  Pra. 

Whole  Pre. 

Agew 

tetflve 

mlum  after 

M*- 

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mium  after 

yean. 

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^  «.    4, 

4*    *    d. 

jT   «.    tf. 

^   t.    d, 
1  16   0^ 

» 

10    0 

9    0    0 

90 

0  18    0 

9S 

1  a  3 

9    4    4 

95 

0  19    7 

I  19    9 

SO 

I    4  It 

9    9  10 

80 

119 

9    8    6 

u 

1    8    6 

9  17    0 

85 

1    4  11 

9    9  10 

40 

1  13    8 

3    6    6 

40 

1    9    9 

9  18    4 

4S 

1  19    6 

8  19    0 

46 

1  14  10 

8    9    8 

60 

3    7    9 

4  15    6 

50 

9    9    6 

4    6    0 

65 

a  18  10 

6  17    8 

65 

9  19    9 

6    6    6 

PETER  MORRISON,  Rbsidbnt  Dibbctob. 


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SATURDAY,  OCTOBER  23,  1847. 


(PRICB   THREEPRNOB. 
1  STAMPBD,  FOURPBNGS. 


LETTERS   PROM   PARIS.. 

(JVo.  5.) 

TO   DESMOND    RTAM,   ESQ. 

Tuesday,  October  19 — My  dear  Ryan.  —With  the  ex- 
ception of  Paganini,  no  artist,  within  the  last  quarter  of  a 
oentary,  has  made  so  great  a  sensation  at  the  Academie  Royale 
de  Atu^que,  as  Alboni.  The  first  night's  success  was  not  a 
mere  excitement  of  the  moment,  the  explosion  of  a  long  train 
of  preparatory  puflSng,  cautiously  laid  by  cunning  hands,  but 
a  legitimate  triumph,  the  natural  result  of  a  splendid  exhi- 
bition of  talent,  which,  from  being  unanticipated,  told  with 
tenfold  power;  on  the  second  night  it  was  substantiated,  on 
the  third  confirmed,  and  on  the  fourth  ratified  beyond  further 
questioning.  By  this  you  will  rightly  presume  that  Alboni 
has  appeared  twice  since  I  last  wrote,  instead  of  only  once,  as 
was  expected.  Her  reception  was  so  tremendous  on*  Wednes- 
day evening,  that  MM.  Duponchel,  and  Roqueplan,  after 
much  persuasion*  induced  the  celebrated  singer  to  give  one 
more  "  last  night,"  on  the  Friday  following,  when  the  theatre 
was  crammed  to  the  roof,  many  hundreds,  eager  to  hear  her, 
being  unable,  at  any  price,  to  obtain  admission.  Could  Alboni 
have  been  argued  into  setting  aside  her  Pesth  engagement,  she 
might  safely  have  undertaken  twenty  more  performances  in 
succession  ;  the  house  would  be  filled,  every  night,  to  the 
ceiling,  so  great  is  the  desire  to  hear  her. 

The  programmer  of  the  third  and  fourth  nights  were  pre- 
cisely the  same  as*  on  the  second.  The  attraction  of  the 
pieces  included  therein  was  so  great  that  there  was  no 
necessity  for  any  change.  So  that  1  need  hardly  tell  you,  as 
yet,  the  Parisians  scarcely  know  the  hundredth  part  of  what 
Alboni  can  do.  As  you  walk  along  the  Boulevards,  at  night, 
almost  every  third  person  you  meet  is  humming  the  refrain 
of  the  "  Brindisi,"  which,  pretty  as  it  undoubtedly  is,  was 
never  thought  anything  of  by  the  Parisians,  until  they  heard 
it  from  the  lips  of  Alboni,  whence  it  issued  refreshed  with 
new  life  and  vigour.  Poor  Donizetti ! — how  would  he  have 
been  pleased  to  hear  his  melody  expressed  in  such  honeyed 
accents* 

[**  En  parenihhe : — The  present  was  hardly  the  time  to  issue 
the  criticism  which  appeared  in  the  last  number  of  the  Musical 
World.  Not  onlv,  however,  do  1  object  to  it,  as  tnapropos,  ^  a 
period  when  the  subject  of  it  is  perhaps  ou  iiis  death-bed,  but  1  utterly 
dissent  from  the  opinions  it  supports.  If  the  writer  can  find  no 
melody  in  Donizetti,  he  ought  to  be  endowed  with  the  ears  of 
Midas,  presuming  that  additional  length  of  oraculars  may  be  ac- 
companied by  an  acuter  sense  of  hearing.  The  very  tune  of  which 
I  have  just  spoken,  •*  Brindisi,"  would  alone  prove  Donizetti  to 
possess  the  gift  of  melodv  ;  it  is  as  fresh  as  a  new-born  violet,  and 
as  natural  and  easy  as  it  is  original.  Moreover,  he  hss  written 
many  such,  besides  others  of  a  higher  and  more  pathetic  cha- 
racter.T    . 


I  promised  you  some  extracts  from  the  criticisms  of  the 
feuilletonistesy  apropos  of  Alboni,  Were  I  to  translate  the 
articles  entire  it  would  fill  your  whole  number ;  I  shall,  there- 
fore, content  myself  with  some  specimens  from  the  best  of 
them,  which  will  make  you  acquainted  through  the  medium 
of  their  own  words,  with  the  opinions  of  these  distinguished 
and  popular  writers.  To  begin,  then,  with  the  Journal  des 
Debats,  M.  Hector  Berlioz,  one  of  the  most  justly  celebrated 
of  living  critics,  thus  commences  his  apostrophe : — 
debot  of  uademoisrlle  alboni. 

*'  Here  was  one  of  those  displays  of  unbounded  enthusiasm 
which  have  for  a  long  time  been  unknown  to  the  Opera.  The 
applause,  the  clamorous  admiration,  the  bouquets  thrown  by  les 
(lames  dupubUe,*  the  encores,  the  re-calls,  all  this  tumult  of  a  real 
triiienph,  emanated  from  a  sentiment  equally  real,  of  wUeh  the 
manceuyres  of  friends,  leaders,  manipulators,  and  vendors  9f  sue- 
cess,  in  nothing  dkninished  the  sincerity.'  It  is  such  a' pleasure  t6 
hear  real  singing!  It  is  so'taro;and  voices  at  once  beautiful, 
natural,  expressive,  flexible,  and  in  tunc*  are  so'  ve;^  uncommon! 
The  voice  of  Mdlle.  Alboni  possesses  v^OfjH^  ^(^nent'<j(i|ttli|ii«s  in 
the  highest  degree  of  perfection.  It  is  a  magnlfiaAt  cofUralto^  of 
immense  range  (two  octaves  and  sjk' notes;  fiea^Iy  three  oolfves 
— ^firom  low  B  to  C  in  alt),  the  <{tn9qy  perfect  thro^bout,  even  in 
the  lowest  notes  of  the  inferior  register,  « bich  are  generally  so 
disastrous  to  the  majority  of  uogers  who  frincy  thev  possess  a 
contralto,  and  the  emission  of  which  resembles  nearly  always  a 
rattle,  hideous  notes  in  such  oases,  and  revolting  to  the  ear.  Mdlle. 
Alboni's  vocalisation  is  wonderfully  easy ;  few  sopranos  exhibit 
equal  facility.  The  registers  of  her  voice  are  so  perfectL|^  united, 
that  in  her  scales  you  do  not  feel  sensibleji^the  passageAom  one 
to  the  other ;  the  tone  is  unctuous,  caressing,* velvetty,  melancholy, 
like  that  of  all  contraltos,  though  less  soaibre  than  that  of  Pisaroni, 
and  incomparably  more  pure  and  limpU*  -  As  the  notes  are  pro- 
duced .without  effort,  the  voice  yields  itself  to  every  nuance  of 
inteniitY ;  and  thus,  Mdlle.  Alboni  can  sing  from  the  most  mvste- 
nous'J^tano  to  the  most  brilliant /or/«.  And  this  alone  is  what  I 
call  singing  humanly — that  is  to  say  in  a  fashion  that  declares  the 
presence  of  a  human  heart,  of  a  human  soul,  of  a  human  intelli- 
gence. Singers  unpossessed  of  these  indispensable  qualities,  should, 
in  my  opinion,  be  ranged  under  the  category  of  mechanical 
instruments.** 

M.  Berlioz  then  indulges  in  some  severe  strictures  on  this 
unhappily  large  class  of  vocalists,  which,  as  they  do  not 
immediately  concern  the  point  in  hand,  1  shall  refrain  from 
transcribing  here.  He  concludes  with  an  anecdote  about 
Handel,  to  which,  as  Fielding  says,  I  have  only  one  objec- 
tion— that  it  is  not  true.  This  anecdote  relates  that  the  great 
composer  of  the  il/essiaA,  exasperated  with  the  frigid  insipidity 
of  one  of  these  **filles  de  marbre,'*  laid  hold  of  her,  in  the 
middle  of  a  rehearsal,  and  pushed  her  out  of  the  window  ! 
M.  Berlioz  adds  with  reason  that  Mdlle.  Alboni  will  never 

«  Thit  is  not  by  persons  appaini9d  fcr  tU  fftrpasi,  as  is  too  often  the  cu4C 


700' 


THE  MUSICAL  WORLD. 


I  am  too  much  a  John  Bull,  to  allow  a  compatriot,  a  lady^  and . 
a  fellow-artist,  to  be  cajoled  and  ill-treated,  either  at  home  or'' 
abroad.  I  have  already  a  clue,  which  I  shall  follow  up  stead- 
fastly, and,  in  case  of  any  eventual  foul  play,  you  may  rely 
npon  a  full  exposure  of  all  the  parties  concerned.  Mean- 
whilcf  let  us  hoM  that  Miss  Birch  may  speedily  have  her 
lights,  and  that  I  shall  have  nothing  less  pleasant  to  record 
than  her  triumph  on  the  French  Opera  boards.  I  do  not  be- 
lieve a  word  of  a  report  which  goes  about,  that  M.  ^i 
objects  to  Miss  Birch's  debtttf  on  account  of  his  fair  protegee, 
Mdlle.  ,  who  will  be  the  actual  representative  of  the 
Princess,  when  QuUlaume  Tell  is  produced.  I  do  not  believe 
one  word  of  it — albeit  a  witty  feuilletoniste  did  infoim  me 
that  the  motto  of  the  illustrious  composer  of  fifty  operas  was 
"  Id  on  se  iutoie — essuyez  vous  lea  piedst  8*il  votis  plait  ? — 
stigmatizing  the  great  man  with  the  two-visaged  morality  of 
which  poets  have  occasionally  made  Janus  the  sign.  N'trnporte, 
if  I  find  it  necessary  I  shall  respect  neither  persons  nor 
names—- and  the  Musical  Worlds  as  you  know,  lies  upon  the 
tables  of  all  the  principal  cereles  and  caf^  in  Paris.  More- 
over, Miss  Birch  has  another  friend  in  Paris,  and  a  powerful. 
To  talk  of  something  more  agreeable  and  less  wrapped  in 
moral  mist — I  have  received  a  letter  from  Brussels,  which 
informs  me  of  the  brilliant  reception  of  Carlotta  Grrisi  at  the 
Grand  Opera.  The  queen  of  dancers  has  already  appeared  in 
Le  Diahle  d  Quatre  and  the  Jolie  Fille  de  Gand,  while  Giselle 
and,  above  all,  Esmeralda  are  preparing,  M.  Auguste  Nourrit, 
whose  affairs  have  lately  been  in  nowise  prosperous,  is  now 
in  a  fidr  way  of  retrieving  all  his  ill-luck;  Fortune  smiles  upon 
him,  and  the  twinkling  of  Carlotta's  charming  feet,  has  been 
echoed  by  the  tinkling  of  five-franc  pieces  and  golden  Leopolds, 
which  have  showered  abundantly  into  the  treasury.  As  I 
guessed  the  six  representations  for  which  Carlotta  was  pledged 
have  multiplied  into  twelve,  and,  instead  of  going  to  the 
Hague,  as  was  anticipated,  she  will  pass  her  whole  month's 
leave  of  absence  in  Brussels — a  feet  upon  which  the  good 
Belgians  felicitate  themselves  mightily,  and  wherefrom  the 
rail-road  from  Ghent,  Bruges,  Liege,  Malines,  Louvain, 
Hsclemont,  and  even  Namur  at  one  comer,  and  Ostend  at 
the  other,  derives  infinite  profit>  since  every  convoi  brings 
new  vi8itor9  to  Brussels,  eager  to  see,  zealous  to  applaud, 
and  unanimous  to  admire  the  most  graceful  and  fascinating 
and  perfect  of  all  the  daughters  of  Terpsichore.  The  follow- 
ing is  a  short  extract  from  the  letter  I  mention  ;  for  the  details 
I  can  find  neither  time  nor  space : — 

"  Since  I  wrote  to  you  last  Carlotta  has  made  her  debUt  with  a 
success  not  more  brilhant  than  her  deserts,  but  quite  unprecedented 
at  the  Brussels  Opera.  You,  who  know  the  lethargic  constitution 
of  the  Brussels  public,  will  scarcelvbe  able  to  credit  me  when  I  tell 
you  that  the  good  "  burghers"  beat  the  English,  and  even  the 
Italians,  in  the  warmth  of  their  enthusiasm.  Flowers,  coronals, 
sonnets,  and  other  poetical  efiiuions,  unite  in  abundance, to  f^to 
and  pay  homage  to  Carlotta,  than  whom  no  goddess  of  the  ancients 
was  ever  worshipped  with  greater  pomp  and  ceremony.  Come 
here,  and  I  promise  you  some  good  operas,  some  pleasant  company, 
so^ae  Belgian  dinners,  and  ballets  such  as  can  only  be  where  Car- 
Iqtta  presides  at  the  helm.* 

The  Parisians  may  therefore  console  themselves  in  the 
absence  of  their  favorite,  by  the  certainty  that  their  judgment 
is  respected  and  her  merits  appreciated. 

Have  you  heard  that  Grisi  and  Mario  have  signed  an 
engagement  for  St.  Pelersburgh  ?  It  appears  that  their  en- 
gagement with  M.  Vatel— Aowwc  malheureux  /—expires  next 
month,  and  that  it  will  not  be  resumed.  This  is  a  deadly 
loss  to  Paris,  and  a  wonderful  acquisition  for  the  capital  of , 


the  Bussias.  You  may  easily  imagine  bow  the  magnificent 
';Grisi  will  be  f^ted,  and  how  the  graceful  Mario  will  be  admired ! 
By  the  way,  for  a  wonder,  I  was  very  much  pleased  the  other 
night  at  the  Italiens,  The  opera  was  II  Barbiere.  The 
Figaro  of  Ronconi  was  transcendant ;  he  sang  in  the  most 
masterly  style,  and  his  acting  was  overflowing  with  drollery 
and  humor.  I  never  in  my  life  heard  Mario  sing  with  more 
wonderiul  finish,  more  intense  and  varied  expression ;  while 
Lablache  was  more  than  ever  irresistible  in  Bartolo ;  and 
Persiani,  who  happened  to  be  in  excellent  voice,  vocalised  in 
such  a  manner  as  left  all  competitors  in  her  peculiar  school  at 
an  immeasurable  distance.  In  Basilio.  Polonini  felled,  and 
the  orchestra,  chorus,  and  mise  en  scene — what  a  contrast  to 
the  Royal  Italian  Opera — were  in  the  usual  style  that  charac- 
terises the  performances  in  M.  Vatel's  establishment,  and  gave 
new  aliment  to  the  charges  of  the  Corsaire,  and  the  biting 
irony  of  Fiorentino,  who  treats  the  unlucky  impresario  even 
worse  than  the  old  man  of  the  mountain  treated  Sinbad  the 
Sailor,  unmercifully  riding  him  to  death.  I  fear  that  M. 
Vatel  will,  unlike  Sinbad,  be  able  to  devise  no  scheme 
to  rid  himself  of  his  pitiless  persecutor.  Signor  Costa  has 
been  a  day  or  two  in  Paris;  he  arrived  last  Sunday,  I 
believe,  from  Italy,  en  route  for  London,  where  he  will 
doubtless  be,  ere  this  dispatch  reaches  you.  The  cele- 
brated chef  d*orchestre  was  present  at  the  performance  of  H 
Barbiere,  to  which  I  have  just  alluded;  he  ^ves  a  most 
disastrous  account  of  Italian  music  in  general,  and  with  the 
exception  of  one  acquisition  (and  that,  which  I  am  not  yet 
at  liberty  to  spedalise,  may  be  reckoned  on  as  a  jewel)  has 
been  able  to  find  nothing  worthy  of  his  own  great  establish- 
ment in  London;  it  appears  also  from  his  statement,  tiiat 
every  Italian  singer  of  note  makes  an  express  clause  in  his 
or  her  engagement  with  impresarii^  that  they  are  not  to  be 
asked  to  sing  in  Verdi's  operas^  which  having  of  late  caused 
the  untimely  dissolution  of  two  feeble  tenors,  at  Venice,  has 
frightened  all  the  rest  of  them  out  of  theur  wits. 

Rosati,  the  danseuse,  is  in  Paris,  but  I  do  not  hear  of  any 
likelihood  of  her  appearing  at  the  Opera.  Flora  Fabbri  is 
also  here,  and  will  shortiy  make  her  rentrie ;  meanwhile  the 
action  at  law,  pending  between  her  and  Mr.  Bunn  (who,  I  am 
delighted  to  find  getting  on  so  triumphantly  at  the  Surrey, 
and  whose  advertised  «'  Word  with  Punch*^  is  the  object  of 
general  curiosity  here)  is  rapidly  comrag  to  a  crisis.  Benedict 
has  also  arrived  in  Paris,  en  route  for  London.  His  opera, 
The  Crusaders,  which  was  to  have  been  produced  lately  at 
Stuttgart,  has  been  unavoidably  postponed  by  a  melancholy 
event — the  death  of  Madame  Pischek,  wife  of  the  celebrated 
barytone,  who  is  now  at  Prague  lamenting  his  inetrievable 
loss.  Benedict  will  return,  however,  next  month,  to  Stutt- 
gart, and  The  Crusaders  will  then  be  produced  under  his 
superintendance.  He  gives  a  glowing  account  of  the  re- 
ception of  Jenny  Lind  at  Berlin ;  it  appears  that  the  madness 
of  the  Londoners  is  but  coldness  by  the  side  of  the  rabid 
intoxication  of  the  Prussians.  It  is  true  that  the  German 
papers  recount,  in  significant  terms,  the  entire  failure  of  the 
*'  Swedish  Nightingale"  in  Der  Freischutz ;  but  of  course 
that  stands  for  nothing ;  so  long  as  Jenny  Lind  can  excite 
unheard-of  enthusiasm  in  La  Figlia  and  /  Masnadieri,  ^hat 
does  she  care  about  the  vteilleries  of  Weber,  Mozart,  and 
other  second-rate  composers  ?  Having  concluded  her  present 
engagement  at  Berlin,  the  "  Nightingale"  has  declined  sU 
other  offers,  and  has  retired  to  her  nest  at  Stockholm,  where 
she  will  rest  her  weary  wings  until  Mr.  Lumley  requires  her 
services  next  season,  at  Her  Majesty's  Theatre.  I  hear  she 
has  been  offered  fabulous  sums,  «n  argent  fou^  as  the  FVench 


THE  MUSICAL  WORLD. 


701 


call  it ;  but  nothing  can  make  the  channing  songstress  give 
up  the  advantages  of  her  winter-sleep.  She  is  completely 
tired  of  triumphs,  and  her  voice,  already  worn  and  wearied  by 
over  exertion,  demands  both  care  and  medicine.  I  strongly 
recommend  her  to  take  two  or  three  boxes  of  Stolberg's 
lozenges,  the  panacea  of  panaceas,  which  Paracelsus  only 
dreamed  of,  but  Dr.  Stolberg  realized  substantially,  for  the 
comfort  and  benefit  of  the  whole  race  of  vocalists,  male  and 
female,  biped  and  quadruped,  feathered  and  unfeathered.  At 
Berlin,  Jenny  Lmd  sang  no  less  than  six  nighU  in  succession, 
and  80  difficult  was  it  to  gain  admission  that  even  Benedict, 
who,  by  the  prerogative,  of  calling,  talent,  and  position,  ought 
to  have  free  ingress  to  all  the  theatres  of  tbe  world,  was 
compelled  to  pay  six  thalers  (eighteen  fihillings)  for  a  sorry 
place,  anywhere  or  nowhere.  Now  that  Jenny  Lind  ^as 
quitted  Berlin,  Mr.  Lumley  is  daily  expected  in  Paris,  where, 
doubtless,  his  diplomatic  genius  will  bring  forth  fruit,  ripe  and 
plentiful. 

On  Monday,  the  Feast  of  All  Saints,  Paris  was  like  a  bee- 
hive, or  an  ant-hill,  absolutely  swarming  with  living  beings: 
The  Champs  Elyseia  presented  the  most  animated  and 
brilliant  spectacle  I  ever  beheld  in  my  existence.  Among  the 
motley  crowd  so  careless,  so  joyous,  so  eager  for  pleasure,  a 
pale  thin  figure,  with  a  countenance  wan  and  worn,  a  frail 
and  bending  form,  a  melancholy  smile,  and  a  step  as  silent  as 
a  ghost's  crossed  me  on  the  Boulevard  des  lialiens,  and  fiitted 
into  the  door-way  of  the  Cafe  Richer  unobserved  and  un- 
observing.  My  companion,  who  marked  the  evident  impretwion 
mflde  upon  me  by  this  living  phantom,  inquired — "  Do  you 
know  that  man  ?"  On  my  answering  in  the  negative,  he 
rejoined,  with  an  accent  full  of  sympaUiy  and  feeling, ''  It  is 
Chopin."  And  he  has  been  thus  for  nearly  ten  years — one 
step  more  would  launch  him  into  eternity. 

The  Theatre  Francais  has  at  length*  made  its  first  grand 
coup.  A  new  comedy  was  produced  on  Friday,  under  the 
title  of  Les  Aristocraties,  M.  Etienne  Arago,  a  political 
writer  of  democratic  principles,  is  the  author.  To  write  a 
comedy  in  five  acts,  and  in  verse,  was  pronounced  by  Voltaire 
I'aeumre  du  demon.  The  aim  of  the  Arisfooraitef^  however, 
appears  to  me  sufficiently  flat  for  a  demon.  All  the  world 
allows  that  there  are  other  aristocracies  besides  that  of  birth  ; 
Sox  example,  wealth,  talent,  &c.  Had  M.  Arago  told  us  this  in 
a  distich-epigrammatic,  we  should  have  anpwered,  **  all  right, 
old  fellow,  we  knew  that  long  ago."  But  M.  Arago  is  not  so 
short-winded.  He  is  determined  to  preach  a  sermon  on  his 
darling  theory,  and  takes  Jive  acts  of  rhymed  couplets  to  do  it. 
Allow  his  position ;  let  there  be  aristocracies,  one,  two,  three, 
and  four ;  let  their  names  be  Burth,  Wealth,  "  Military,"  and 
Talent ;  and  let  Talent  be  the  worthiest  of  the  four — what 
then  ?  This  matter  established,  which  is  indisputable  as  a 
truism,  does  not  prove  that  M.  Arago  has  written  a  good 
comedy.  On  the  contrary;  he  has  merely  shown  us  that 
another  aristocracy  may  be  added  to  the  four-in-hand,  which 
he  drives  with  such  evident  satisfaction  through  the  streets 
and  thoroughfares  of  platitude — the  aristocracy  of  dulness* 
M.  Arago  represents  this  ''aristocracy*'  him&elf,  with  the 
magnanimity  of  a  Qnintus  Gurtius.  The  Roman  sacrificed 
himself  to  the  weal  of  his  country  by  leaping  into  a  gulf ; 
M.  Arago  sacrifices  himself  to  the  weal  of  his  profession  by 
writing  a  comedy ;  the  gulf  closed  its  jaws,  and  swallowed  up 
the  life  of  Ciurtius;  the  abyss  of  sentiment  has  equally 
swallowed  up  the  dramatic  reputation  of  M.  Arago ;  there 
was  no  danger  from  the  gulf  after  the  ^^disappearance  of 
.Curtius ;  there  will  be  no  danger  of  any  one  attempting  a 
five-aot  comedy  in  verse^  on  any  such  aabject  as  the  Aristocracies 


after  the  discomfiture  of  M.  Arago — for  that  M.  Arago  is  dis- 
comfited I  must  aver,  in  the  teeth  of  the  clacque^  and  the 
brilliant  essay  of  M.  Jules  Janin,  which  is  worth  100,000 
crowns  to  M.  An^go's  comedy,  and  has  mo^re  wit,  poetry  and 
humour  in  it  than  can  be  found  in  the  whole  of  M.  Arago's 
five  acts  in  verse.  M.  Arago  should  dedicate  twelve  golden 
candlesticks  to  ^e  gifted  feuilletonistey  who  has  built  him  a 
reputation  in^  a  day — and  all  because  M.  Janin  wished  to 
show  that  the  Journal  des  Dehats  was  conscientious  enough, 
and  liberal  enough,  and  independent  enough,  and  Qmxotic 
enough,  to  praise  the  effort  of  a  democrat  in  its  colunms — 
which  did  by  no  means  astonish  anybody — for  now-a-days 
journalism  has  no  party.     Tant  mieux. 

But  of  the  comedy,  and  of  the  actors,  Madlle.  Brohan, 
Madlle.  Judith,  Madlle.  Mantes,  MM.  Provost,  Regnier, 
Mirecourt,  Qeoffroi,  and  the  rest,  and  of  many  other  matters 
too  long  to  mention  now,  I  must  defer  speaking  at  length  till 
my  next.  The  hand  of  the  dock  on  the  Bourse,  within  a 
stone's  throw  of  which  I  am  now  not  writing,  approaches  the 
figure  ^ve— and  the  post  waits  for  no  man  less  than  a  Prime 
Minister,  or  an  Ambassador.  Good  bye,  for  the  present,  and 
believe  me,  ever  yours,  D. 

THE  ITAUANS  ANP  THE  FEUILLETONISTE8. 

From  two  cleyei  feuilletons  by  MM.  Fiorentino  and  Gustave 
H^uet,  we  have  translated  a  few  stray  passages,  which,  as 
they  concern  some  of  the  popular  Italian  artists,  will  doubt- 
less  interest  our  readers.  M.  Fiorentino,  in  a  very  intelligent 
review  of  the  performance  of  Don  Giovanni,  at  the  Italiens, 
offers  the  following  senaible  remarks  relative  to  the  Leporello 


of 


LABLAlCBI. 


"  The  colossal  sise  of  Lablache  is  altogether  opposed  to  the  part  of 
Leporello,  and  renders  the  illusion  impossible.  I  have  heard  many  per- 
sons express  great  astonishment,  and  lament  that  Lablache  had  made  the 
character  of  L<^reIlo  too  prominent— obtruaiye  perhaps— and  altered, 
in  some  respects,  by  too  great  a  shew  of  pleasantry,  and  by  too  jovial 
and  burlesque  a  physiognomy,  the  ensemble  and  seriousness  of  the  work. 
Lablache  is  too  great  an  artiste,  too  finished  a  comedian,  too  spiritual, 
too  sensible  to  be  ignorant  that  Leporello  is  no  buffoon.  Leporello  is 
the  good  sense  personified — ^he  is  the  positive  by  the  side  of  the  ideal — 
the  Sancho  by  the  side  of  Don  Quixote.  As  nuS  as  Figaro,  as  devoted 
as  Caleb,  Leporello  adores  his  master;  he  weeps  for  him — excuses  him 
before  the  world ;  but  in  secret,  en  tSte  h  tSte  with  his  master,  he  does 
not  fail  to  read  him  sound  lectures.  And  it  Is  he  who  amuses  Don  Juan 
in  a  sovereign  manner.  A  little  of  a  liar,  a  little  of  a  gourmand,  a  little 
of  a  libertine,  since  it  is  necessary  that  vices  should  degenerate  in  their 
transit  from  master  to  man,  Leporello  is  never  Involved  Jm  crime.  The 
impiety  of  Don  Juan  makes  him  shudder.  I|  he  obey  his  orders,  it  is 
only  against  his  inclinations, and  in  terror  of  his  master's  sword;  and  If 
he  be  subservient  to  his  criminal  designs,  he  never  fails  to  warn  the 
victims ;  and,  after  some  dreadful  day  of  treacheries,  duels,  and  murders^- 
after  a  night  spent  in  orgies  and  debaucheries,  I  am  sure  that  Leporello, 
retired  into  a  comer,  finds  time  yet  to  pray  to  God  in  secret  for  his  own 
soul,  and  the  soul  of  his  master.    Worthy  Leporello ! 

Lablache  is  not  an  artiste  to  whom  the  nuances  of  character  can  be 
unknown,  or  unappreoiabie.  Nobody  understands  better  this  tremen- 
dous ch^  tFteuvre,  Bat  it  was  necessary,  so  thought  he,  with  all  his 
power,  to  smooth  each  anxious  brow;  it  was  necessary,  whatever  might 
be  the  consequence,  to  drive  away  that  dark  and  brooding  ennui,  which 
stretched  its  gloom,  as  a  bat  its  pinions,  over  the  listless  audience ;  it 
was  necessary  to  amuse  the  provincials,  who  flocked  in  crowds  to  the 
Italiens  on  the  evening  in  question,  and  who,  in  their  ignorance  of  the 
opera  so  loudly  beprsised,  and  of  the  singers  whose  pompous  eulogies 
were  so  far  and  high  emblazoned,  remained,  as  it  were,  glued  to  their 
seats,  with  necks  extended,  with  mouths  all  agape,  and  eyeballs  darting 
from  their  heads.  This  is  the  reason  why  Lablache  gave  himself  so 
much  trouble,  and  indulged  in  so  many  extra  displays  of  activity ;  this 
is  the  reason  why  he  introduced  more  French  words  and  phrases  than 
he  is  accustomed  to  do ;  in  fine,  this  is  the  reason  why  the  artiste  par 
oreeUence,  for  one  instant  descended  to  the  level  of  the  pobllc.    LabUi^ 


loi 


THE   MUSICAL  WORLB. 


U  to  truly  devoted  to  the  interests  of  ike  theatre  to  which  he  belongs,  and 
undertakes  itt  cause  with  so  much  warmth,  that  he  would  even  compro- 
mise  his  high  artistic  name  to  save  his  director." 

In  a  notice  of  the  same  performance,  M.  H^quet  (of  tbe 
**  National")  thus  apostrophises  the  Don  Giovanni  of  Coletti. 

COLBTTI. 

*'  It  is  evident  Nature  never  intended  Signor  Coletti  to  play  the  charac- 
ter of  Don  Giovanni.  I  say  it,  without  circumlocution  or  periphrasis, 
because,  all  things  considered,  it  cannot  take  from  him  the  claims, 
which  he  possesses  by  right,  on  the  esteem  of  the  public.  On  the  con- 
trary, in  the  very  first  scene,  Signor  Coletti  proves  himself  not  to  be  the 
man  who  could  surprise  and  force  a  woman.  He  kiUs  the  commandant, 
and  plainly  shows  the  audience  that  he  was  but  young  in  deed,  and  never 
killed  commandant  before,  since  he  kills  him  as  no  Don  ever  yet  killed 
man.  When  he  attempts  to  seduce  Zeriina,  each  spectator  says  to  him- 
self^ "  My  God  I  what  an  excellent  family  man  Signor  Coletti  must  be !" 
In  the  finale  to  the  first  act,  when  Zeriina  cries  from  within,  in  piteous 
tones,  "  Gente,  aital  aita,  genie  V*  we  feel  somewhat  surprised  that  the 
good  folks  on  the  stage  do  not  answer,  with  one  voice,  *'  Oh,  nonsense  1 
be  quiet — Signor  Coletti  is  incapable  of  so  black  a  crime«-we  don't 
believe  it."  Signor  Coletti,  nevertheless,  is  a  man  of  talent,  who  has 
received  from  nature  a  very  fine  voice,  which  he  manages  artistically  and 
with  taste ;  but  he  is  too  much  of  a  good  man  to  imagine  the  unbridled 
egotism,  the  diabolic  pride,  the  ferocious  and  libidinous  desires  of  that 
sublime  incarnation  of  wickedness,  whom  the  Abb^  Da  Ponto,  after 
Moli^re,  has  created,  and  Mozart  made  sing.  Everybody  knows  that  this 
Italian  Don  Juan,  so  freshly  lyrical,  so  original,  so  new,  after  that  of 
Moliere,  is  the  work  of  a  priest! — of  a  priest,  in  truth  I  who  was  as 
well  suited  to  the  sacerdotal  robes  as  Signor  Coletti  is  to  play  charac- 
ters like  Don  Giovanni.  He  was  a  man  of  wit,  and,  I  might  almost  say, 
of  genius.  In  his  old  age  he  cast  oflf  his  monk's  habit,  and  emigrated 
to  America.  Garcia,  the  great  tenor,  and  who  perhaps  of  all  singers 
best  understood  and  could  best  impersonate  Don  Juan,*  encountered  in 
New  York,  about  the  year  1830,  the  old  coUabarateur  of  Mozart.  It  is 
to  be  hoped  that  Garcia  played  Don  Juan  before  him — indeed  he  owed 
him  so  much.  The  ex-ibbk  was  then  upwards  of  eighty  years  of  age. 
He  had  a  wife  and  several  children,  for  whom  he  gained  an  indifferent 
livelihood  by  teaching  Italian  to  the  fair-haired  daughters  of  the  New 
World.    But  let  us  leave  Da  Ponte  and  return  to  his  interpreters." 

Further  on  we  find  the  following  from  the  same  pen  in 
respect  of 

MADAM!  CA8TILLAN. 

"  As  for  Madame  Castellan  she  has  no  reservation  to  hope  from  me :  I 
shall  tell  the  plain  truth  in  plain  terms.  Madame  Castellan's  voice  is 
somewhat  feeble,  but  sweet,  mellow,  and  sympathetic.  The  lower  notes 
are  good,  and  the  upper  notes  have  a  charming  sonority  when  they  are 
not  forced.  Her  vocalising  is  neat,  correct,  and  graceful,  and  it  is  evi- 
dent that  she  has  studied  her  art  with  deterinination  and  assiduity.  Her 
style  possesses  elegance  and  much  expression.  Add  to  this,  youth  and 
very  agreeable  personal  traits.  Unfortunately  when  she  sings,  she  has 
a  fashion  of  half  closing  her  eyes,  and  opening  her  mouth  a  trovers, 
which  has  by  no  means  a  happy  appearance.  1  have  promised  her  the 
truth  without  reservation,  and  I  keep  my  word.  My  criticism  has  been 
proffered  with  no  other  intent  than  to  point  out  to  the  fair  artiete  faults 
which  may  be  so  easily  amended.  The  success  of  Madame  Castellan  has 
been  brilliant  and  legitimate.  We  congratulate  M.  Vatel  on  this  excel- 
lent acquisition  to  his  troupe.  If  his  subscribers  pardon  him  for  having 
forgotten  Alboni,  it  will  be  through  the  mediation  of  Madame  Castellan." 

And,  still  lower  down,  the  following  about  the  accomplished 

MASIO. 

"  In  the  Lucia  di  Lammermoor  Mario  sustained  the  part  of  Edgar,  i 
do  not  know  what  it  is  that  has  happened  to  Signor  Mario,  what  example 
has  struck  him,  what  noble  emulation  has  piqued  him,  but  he  sung  the 
grand  seena  in  the  last  act  very  differently  indeed  from  what  we  have 
heard  him  on  any  former  occasion.  Anterior  to  ttie  present  perform- 
ance, his  voice  was,  as  it  always  is,  sweet  and  captivating— but  it  was 
devoid  of  expression :  it  merely  flattered  the  ear — ^to-day  it  penetrates 
to  the  inmost  soul.  It  seizes  on  the  listener,  moves  him,  nuikes  him 
thrill  and  weep.  It  is,  in  fact,  a  complete  transformation.  Signor  Mario 
is  now  certainly  the  most  delightAil  tenor  on  the  lyric  stage.  If  he 
would  endeavour  to  combine  with  his  great  vocal  abilities  the  talents  of 
a  comedian  what  would  remain  for  others  ?  After  the  late  transformation 
we  witnessed  in  the  Lucia,  we  cannot  answer  when  the  improvement  in 
Signor  Mario  will  cease." 


•  QiMry— Better  than  AmbrogetU  and  Tamborinl.   [Bd.  M.  W.] 


We  shall  further  consult  the  Parisian  feuiUitoniales  from 
time  to  time,  and  offer  anything  we  may  find  of  sufficient  in- 
terest to  the  consideration  of  our  readers.  Meantime,  we 
take  leave  to  conclude  with  another  extract  from  the  article 
of  M.  Fiorentino,  which  involves  a  triple  and  a  triple-merited 
compliment  to  Grisi,  Mario,  and  the  Royal  Italian  Opera. 

"  The  Theatre  Italien  has  given  Don  Giovanni  four  times.  What  we 
have  just  said  of  Alboni  may  be  also  referred  to  Grfsl  and  Mario.  Mario 
is,  without  contradiction,  the  most  accomplished  tenor  on  the  stage.  If 
the  theatre  possessed  such  singers  as  he,  nothing  could  be  more  perfect. 
He  is  young,  handsome,  in  aU  the  povror  and  freshness  of  his  talent :  his 
voice  is  beautifoli  and  subservient  to  a  rare  intelligence :  born  and  edu- 
cated in  the  highest  circle  of  society,  he  is  endowed  with  its  manner  and 
its  distinction.  Who  can  sing  like  him,  with  the  same  ease  and  success, 
serious  and  buffo  parts?  He  possesses  flexibility  and  largeness,  express- 
ion and  grace,  energy  and  parity.  Dark  and  impassioned  in  Oteilo,  ten- 
der in  Lucia,  touching  in  Lucrezia  Borgia  and  the  Purilani,  he  is  grace- 
ful, brilliant,  comic  in  the  Matrimonio  Segreto,  the  Barhiere,  and  Don 
Pasquale.  There  is  no  work  in  the  repertoire  in  which  Mario  has  no 
character — and  none  which  he  does  not  fill  to  perfection. 

La  Grisi,  with  her  imperial  and  superb  head,  her  queenly  brow,  her 
magnificent  bust,  hewn,  as  it  were,  from  the  most  beautiful  marble  of 
Paros,  has  no  rival  to  fear  in  the  loltiett  rdles  of  lyric  tragedy.  This  she 
proved  lately  in  London,  where  she  sustained,  in  her  single  person,  the 
entire  weight  of  the  repertoire  ;  and  where  each  time  that  other  canta^ 
trici,  even  the  most  celebrated,  attempted  to  personate  her  characters, 
they  have  failed  in  the  most  signal  manner.  Nevertheless,  it  is  time  that 
Grisi  and  Mario,  whose  talents  are  of  the  highest  order,  should  exhibit 
these  talents  in  new  works,  I  am  astonished,  indeed,  that  these  artistes 
can  sing  for  ten  years  the  same  notes  without  gaping  in  the  face  of  th2 
spectators.  Don  Oiovanni  is  an  imperishable  ckef-d^csuvre,  but  the  more 
sublime  the  work  is,  the  more  perfect  should  be  the  execution.  To 
appreciate  truly  this  work  of  the  mighty  master,  one  should  have  he  rd 
at  the  Royal  Italian  Opersi  in  London,  the  magnificent  finale  of  the  first 
act,  with  a  triple  orchestra,  conducted  by  Costa,  with  ite  numerous  cho- 
rus, and  a  dazzling  mise  en  ictfn^— *  performance  worthy  of  Moaait. 
The  minuet  was  danced  by  Fanny  Elssler  and  Adele  Dumilatre.  Singers, 
band,  dancers,  chorus,  all  seemed  penetrated  with  the  most  profound 
reverence-— with  a  sentiment  almost  religious— for  this  divine  music.  It 
is  thus,  hideed,  that  homage  should  be  rendered  to  genius." 

To  every  word  of  which  we  say,  amen !  from  the  very  bot- 
tom of  our  understandings  and  our  hearts. 


SI  KttatlM  on  m  ''  ftfKnitfee'^  of  fto«[ie> 

IN    ITS  WORLD-HISrrORICAL  SIGNinCANCB, 

BXfySLOPXI)  ACCOBjyrsOt  to   its  UOBJX  AUD  ABTUTIOAL  XJJXHf 

Translated  from  the  German  <^  Dr.   ffeinrieh  Theodor  JUfUtAer, 
Professor  at  the  Boyal  Gymnadmn  at  Bromberg. 

iContiuued  ftrom  page  660). 

CHAPTER  111. 

TH»  ARTIFICIAL  COMPOSITION   OF  "  TM  AFFINITIBB.'* 

Howxtka  often  we  turn  to  the  artistical  composition  of  the 
"  Affinities,"  we  shall  never  g^ow  weary  of  admiring  the  extraordi- 
nary simplicity  of  the  external  means  and  of  the  whole  action  of 
our  work,  which  with  the  slightest  motivet,  a  etaffagt^  almost 
uniform,  with  positions  and  events  but  little  complicated,  with  a 
very  small  number  of  figures  produces  the  bigheat  effecU.  Con- 
sidered from  this  point  of  view  there  is  no  work  of  art  in  the  whole 
noveUliterature,  which  to  him  who  only  seeks  for  an  external 
gratification,  for  that  which  we  call  a  material  interest  in  the 
development  of  incidents,  and  the  excitement  thus  produced,  can 
be  more  unsatisfoctory  than  our  "  Affinities."  Because  every 
thing  takes  place  vnihin  the  individualities,  because  the  whole 
development  occurs  in  the  field  of  intemalness,  the  novel  requires 
for  its  comprehension  a  mind  extremely  cultivated  in  every  respect. 
The  composition  of  the  artist  is  here  everything:  the  mere  matter* 
on  the  other  hand,  is  nothing.  What  indeed  is  more  common 
than  a  couple  of  married  people,  who  through  their  feelings  are 
powerfully  attracted  by  two  individualities,  to  whom,  by  virtue  of 
their  position,  they  cannot  belong.     And  yet  all  turns  upon  this 

•  I  do  not  know  the  technical  Bnglish  word  for  «f^tf^^  which  signifies,  in 
pictorial  art,  the  ffiUng  up  a  picture  wfth  flgures.— 2V«Jw;a<or. 


THE  MUSICAL  WORLD. 


•703 


single  point  But  what  wealth  in  its  deTelopment*  what  a  charm 
in  die  exhibition  of  the  state  of  feelings,  whicn  have  grown  to  such 
yisible  clearness,  that  we  can  thoroughly  live  through  every  one  of 
them,  without  any  sacrifice  of  the  ideality.  The  whole  presents 
us  with  the  fullest  reality,  with  an  event  of  every  day  occurrence, 
with  the  simplest  circumstances,  and  yet,  at  the  same  time,  it  is  a 
creation  of  the  highest  art,  penetrated  by  an  all  present  zeal,  which 
has  formed  every  organ  of  its  body  into  an  important  sign  of  its 
invisible  activity. 

As  the  antiaue  Epos  was  the  poetical  expression  of  the  heroical 
condition  of  the  world,  and  the  purest  oigan  for  its  collective 
interests  and  relations,  so  does  the  genuine  novel  in  its  highest  form 
reflect  the  life  elements  of  our  modern  existence,  and  reveal  to  ub 
the  soul  of  the  world's  present  condition.  Corresponding  to  the 
Epos  in  this,  that  both  reveal  an  entire  concrete  view  of  the  world, 
tbe^  differ  essentiallj  in  this,  that  the  antique  £i)06  gives  an  ex- 
hibition  of  a  condition  of  the  world,  which  (exhibition)  is  most 
objective,  and  most  independent,  so  to  speak,  of  the  subjectivity  of 
the  poet,  while  the  novel,  on  the  other  hand,  as  a  subjective  epopee 
always  developes  to  us— the  concrete  relations  as  reflected  in  the 
subject,  nay,  as  in  reality,  so  in  a  woric  of  art,  allows  them  to  arise 
as  products  of  internalness,  and  subjective  intuition.*  In  this 
sense  our  **  Affinities'*  is  the  modern  Epos  of  marriage,  which 
pursues  the  whole  present  condition  of  the  world,  and  the  interests 
of  modern  life  down  to  the  moral  basis  of  marriage,  and  therein 
allows  them  to  be  recognised. 

This  already  implies,  that  our  novel  limits  itself  to  the  district 
of  its  development,  and  excludes  the  comfortable  diffuseness  of  an 
epic  unfolding.  While  everything  within  that  district  gravitates 
towards  marriage,  it  cannot  contract  itself  to  a  field,  which  is  ex. 
tremely  narrow,  and  cannot  carry  us  into  a  broad  stream  of  events 
and  complications,  amid  which  we  lose  sight  of  the  simple  re- 
lation. In  this  respect  the  *'  Affinities"  seems  to  us  the  most 
decided  contrast  to  -*  Wilhelm  Meister,"  which,  in  conformity  with 
its  aim,  has  to  extend,  in  epic  development  the  most  manifold 
circumstances  of  life,  a  wealth  of  the  most  different  individualities, 
while  the  "  Affinities*'  on  the  contrary,  in  conformity  with  its 
subject,  is  directed  towards  limitation.  Contrasted  with  "  Wil- 
helm Mebter"  it  bears  the  same  relation  as  that  of  the  Epos,  which 
embraces  all  the  states  of  the  heroic  age,  to  the  limitea  action  of 
an  antiaue  drama. 

Simple  as  are  the  action  and  the  relations  in  our  work,  equally 
inobtrusive  are  the  surrounding  objecU,t  while  they  belong  to  the 
highest  art,  as  Solger  has  very  properly  acknowledged.  Feeling 
the  weight  and  importance  of  the  former,  this  thinker  saw  in  the 
details  of  the  circumstances  the  visible  garb  of  the  personalities. 
They  are  to  him  the  daily  life,  in  which  the  personality  expresses 
itself,  so  far  as  it  comes  into  external  contact  with  others,  and  dis- 
tinguishes  itself  from  them.  There  always  continues  to  be  a 
homogeneous  expression,  while  the  interior  is  violently  changed. 
This  change  is  fearfully  striking,  if  once  the  glance  falls  upon  the 

Eeculiar  circumstances,  which  always  continue  the  same,  or  progress 
omogeneously. 

Sensible  and  true  as  is  this  notion  of  Solger's,  it  by  no  means 
comprises  the  whole  deep  import  of  the  surrounding  objects  in  the 
•'  Affinities;;"  nay  their  proper  artificial  effect  seems  to  us  to  proceed 
firom  a  totally  different  element.  We  will  endeavour  to  oevelope 
this,  and  thus  to  give  an  insight  into  the  internal  workshop  of  our 
romance.  And,  in  the  first  place,  we  agree  with  Solger  that  the 
surrounding  details  form  the  garment  of  this  personality,  in  which 
the  latter  externally  dbplays  itself.  The  laying  out  of  the  grounds, 
upon  which  the  individuals  of  the  action  bestow  so  much  care,  and 
the  progress  of  which  is  a  constant  back  ground  to  the  whole,  is  a 
poduct  of  that  grade  of  refined  cultivation,  which  everywhere 
impresses  upon  natural  things  the  stamp  of  the  human  mind ;« 
wmch  converts  nature  into  an  ornament  for  ourselves,  and  makes  it 
a  copy  of  our  personality.  While  in  the  laying  out  of  the  gardens 
and  parks.  Nature  is,  as  it  were,  forced  to  adapt  herself  to  our 
views,  and  to  express  our  intentions,  so  does  the  poet,  by  such  sur- 


t.lT^J^^'.'^P  ®^ft*f  V  iabjective  epopee,  in  which  the  anthortUowi 
hinuelf  to  treat  the  world  in  hi>  own  fuhion.    The  only  qaeition  li  whether  he 
has  a  fiwhion ;— the  rest  wiU  come  of  itself.— Z^.  B5tuka-*M  mott. 
*,.t*'UinwlmM;en,'»  that  is  to  eay,  the  scene  and  dicanstanoei,  which  surixrand 
the  prlndpal  Hgnres.— IVonftelor. 


rounding  objects,  place  us  in  a  state  of  existence,  which  has  man 
and  man  alone  for  its  creator,  and  in  harmony  with  the  whole 
comfortable  state  of  an  advanced  cultivation,  to  which  our  indi- 
viduals belong,  everywhere,  as  far  as  his  power  extends— freely 
subject  nature  to  himself,  and  make  it  a  copy  of  his  own  views. 
But  this  existence,  in  which,  down  to  the  minutest  details,  the 
human  impress  is  visible,  in  which  nothing  is  lefl  in  its  immediate 
natural  form,  but  all  has  felt  the  masterv  of  the  human  will — ^into 
this  existence,  we  say,  breaks  the  natural  force  of  feeling,  smooths 
its  own  paths,  and  in  its  power  scoffs  at  the  work,  which  the  hand 
of  roan  aud  human  freedom  have  produced.  In  this  contrast  lies 
the  highest  poetical  effect.  Everything,  we  may  say,  in  our  work 
»ves  us  a  view  of  a  pure  human  creation,  produced  out  of  freedom. 
The  marriage  itself,  the  comfortable  existence  arising  from  a 
tasteful  employment  of  wealth,  the  park  which  is  formed  before  us 
with  the  greatest  care — all,  in  short,  shows  us  both  in  the  moral  and 
in  the  natural  sphere  a  pure  human  dominion,  a  free  creation  of 
the  human  mind.  All  in  our  work  of  art  is  wrought  up  to  this  view, 
that  the  contrast  of  that  unfree  natural  force,  which  leads  into  this 
human  existence,  may  come  forward  with  a  real  shock. 

It  is  in  the  objects  which  surround  the  individuals  that  we  first 
truly  perceive  this  contrast,  and  it  appears  to  us,  like  a  deep  irony, 
that  those  who,  with  so  much  mastery,  rule  over  external  Nature, 
and  to  whose  views  she  must  conform,  are  so  exposed  to  the  storm 
of  an  internal  natural  force.  This  contrast  is  naturally  heightened, 
as  well  as  its  effect,  with  the  increasing  passion,  and  with  the 
variance,  which  becomes  more  and  more  incurable,  while  the 
objects  laid  out^and  formed  by  human  hands  lock  on  quietly,  and 
present,  unchanged,  the  picture  of  a  state  of  things,  in  which  no 

Elace  seems  to  be  accorded  to  mere  natural  force.  From  what  we 
ave  said,  it  results  that  the  sBsthetic  effect  in  the  change  of  sur- 
rounding objects  rests  essentially  upon  contrasts  of  thought,  which 
here  immediately  press  forward,  and  are,  as  it  were,  in  a  naive 
manner  brought  to  view.  Tho  same  contradiction  between  freedom 
and  natural  necessity,  which  was  recognized  by  us  as  the  soul  of 
the  entire  action,  involuntarily  comes  forward  here  also,  since  these 
very  objects,  belonging  to  a  nature  changed  and  formed  by  the 
human  will  into  an  ornament,  and  according  to  our  pleasure,  of 
themselves  direct  our  glances  to  the  contrast  of  an  immediate  nature 
not  included  in  us, 

(TabecmUkiMei.) 

*4*  To  prevent  misunderstanding:,  it  may  be  stated  that  the  copyright  of  this 
translation  belongs  solely  to  the  tranalator. 


8o:nnet. 

No.  LVIII. 

Life  does  not  flow  in  one  continued  course 
So  that  its  parts  all  with  each  other  blend. 
Each  one  beginning  at  another's  end. 

And  each  one  in  its  turn  a  goal  and  source. 

No,  there  are  points  where  the  stream  gathers  force, 
And  suddenly  appears  its  course  to  mend, 
As  though  to  some  new  destiny  'twould  tend— • 

Such  points  with  joy  we  think  on — or  remorse. 

And  thus  it  was  when  first  thine  eyes  met  mine. 

The  changeless  course  of  years  at  once  was  broken. 
And  all  around  the  scene  was  new  and  strange ; 

And  though  the  image  be  not  always  thine 

That  fills  my  soul ;  yet  still  through  thee  wu  spoken 
That  word  of  fate,  which  bade  my  life  be  new.  N.  D. 


DRAMATIC  INTELLIGENCE. 

Hatkarxet.— How  Shakspere  surpasses  all  dramatists^ 
past  and  present,  in  the  fitness  and  oonstruction  of  his  playa 
for  scenic  representation  is  every  day  made  more  manifest. 
How  our  forefathers  could  have  permitted  the  unhallowed 
alterations  of  the  playwrights  is  not  quite  so  evident.  It  is 
positively  inconceivable  that  the  audiences  of  any  period  could 
have  endured  such  desecration  of  their  favourite  poet.  In  no 
single  instance  has  the  re-modelling  of  Shakspeare's  plays  for 
the  stage  been  an  improvement,  and  in  most  cases  the  alte* 
ration  is  a  disgrace  to  the  perpetrators,  a  disgrace  to  those 


Tf04' 


THE  MUSICAL  WORLD. 


who  sat  to  endure  it,  and  a  disgrace  to  the  country  at  large. 
Thanks  to  our  stars,  we  have  fallen  upon  brighter  days.  The 
spirit  of  innovation  that  walks  ahroad  has  yet  respect  and 
reverence  for  the  works  of  genius.  But  restitution,  like 
reformation,  as  it  is  slow  and  gradual,  must  depend  on  time 
for  its  results.  It  has  been  reserved  for  the  present  age,  we 
might  say,  for  the  last  lustrum  of  the  present  age,  to  restore  to 
our  stage  the  works  of  our  great  poet  in  their  purity  and 
integrity.  To  Macready,  certainly,  is  due  the  primal  honour 
of  this  glorious  undertaking.  Many  years  ago,  when  he  was 
at  Covent  Garden,  he  revived  Richard  the  Thirds  almost  as 
Shakspere  wrote  it,  and  rescued  one  entire  scene  from  the 
pilfering  grasp  of  Nicllolas  Rowe.  He  did  not  go  far  enough, 
but  he  made  the  fitst  step  on  the  road  of  restitution.  More 
late,  when  Covent  Garden  was  under  his  own  management,  he 
made  still  further  advances  in  presenting  to  the  public  the 
plays  of  Shakspere,  denuded  of  the  interpolations  of  Garrick, 
Ni^um  Tate,  and  Gibber,  the  glorious  triad  of  meddlers,  who 
have  made  themselves  infamous  in  the  annals  of  the  stage. 
The  revivals  of  The  Tensest,  Heivry  the  Fifths  King  Lear, 
and  other  plays,  will  hand  Maeready's  name  to  posterity, 
written  in  more  bright  and  living  characters,  than  even  his 
transcendant  talents  as  an  actor.  The  spirit  he  set  a-foot  did 
not  linger  round  the  glories  of  Covent  Garden  and  Drury 
Lane.  It  wended  eastward  and  waved  its  banners  over  the 
little  temple  of  Sadler's  Wells.  From  thence  it  has  lately 
flown  over  roof  and  spire,  back  to  the  west,  and  now 
beams  round  the  long  neglected  shrine  of  "  Marylebone," 
with  a  true  and  steady,  if  not  a  brilliant  lustre.  More  recent 
still  we  have  seen  its  light  diffused  with  purer  rays  in  that 
tiny  temple  of  taste,  yclept  the  Haymarket  Theatre.  The 
re-production  of  The  Taming  of  the  Shrew  at  the  Hay- 
market  is  undoubtedly  one  of  the  most  complete  that,  in  tins 
2^  of  restitution,  has  yet  been  given  to  the  stage.  The  text 
of  Shakspere  is  adhered  to  to  the  letter,  and  not  a  line  is 
omitted  which  propriety  d^MM  J¥«i4erve.  But  not  only  is  the 
text  closely  followed,  the  very  stage  directions  are  observed, 
and  the  play  is  witnessed,  exactly  as  Shakspeare  intended  it 
should  be  played,  and  as  it  was  played  in  his  time.  There  is 
no  doubt  had  Shakspeare  lived  in  our  scenic-loving  age,  he 
would  either  have  omitted  the  Induction,  as  cramping  the 
mise  en  scene,  which  dramatic-  exigencies  appear  now  to 
demand,  or  he  would  have  transferred  the  action  of  the 
comedy,  in  the  stage  directions^  to  some  more  appropriate 
locale  than  a  bed-chamber,  in  which  it  is  intended  it  should 
be  exhibited.  The  Taming  of  the  Shrew,  as  now  performed 
at  the  Haymarket,  is  entirely  devoid  of  scenery,  excepting 
two  introduced  in  the  Induction.  The  different  scenes  are 
merely  signified  by  placards  hung  against  the  tapestry,  on 
which  are  written!  tiie  particnlar  locale  of  the  aetors.  Thus, 
in  the  first  scene,  Padua,  a  Public  Pldce^  is  inscribed  on  the 
placard ;  and  in  scene  the  second.  Before  Hortensio*8  house^ 
and  'so  on.  This  is  the  only  provision  made  to  point  out  the 
change  of  place.  Even  between  the  acts,  the  Lord's  bed- 
chamber, with  Christopher  Sly  attended  in  state,  is  still 
pretonted  to  the  apeetator's  view.  Siieh  was  the  fuhion  in 
which  our  ancestors,  at  the  beginning  of  the  seventeenth 
century,  were  wont  to  behold  the  dramas  of  William  Sbaks- 
]>erfr  aeted.  Nor,  in  good  sooth,  strange  as  it  may  seem, 
does  tha  ni&d  seem  to  look  lor  anything  more  in  the  sooMry. 
We  are  inclined  to  think  the  exhibidon  of  scenic  splendour, 
magnificence  of  decoration,  and  completeness  of  detail  rather 
deteriorates  from,  than  adds  to  the  reality,  or  verisimilitude, 
of  stage  representation.  It  is  certain  that  too  close  an  ad- 
herence to  the  x}ietorial  deateoys  the  poetical.    When  we 


witnessed  the  Taming  of  the  Shrew,  we  felt  no  want  of  a 
change  of  scenery.  In  the  first  scene,  upon  the  entrance  of 
Lucentio  and  Tranio,  when  the  placard  indicated  a  Public 
Place  in  Padua,  we  as  readily  imagined  ourselves  in  such  a 
public  place,  as  though  the  most  delightful  scene,  and  most 
truthful,  was  represented  by  the  accomplished  pencil  of  Mr, 
P.  Phillips,  or  Stanfield  himself,  it  must  be  idlowed  that  as 
in  The  Taming  of  the  Shrew ,  we  have  a  play  within  a  play, 
and  as  the  spectator  knows  that  it  is  being  peribrmed  in  a  bed- 
;  room,  he  is  naturally  satisfied  with  such  scenery,  or  its  sub- 
'  stitute,  as  a  country  mansion  and  a  set  of  strolling  players 
I  could  furnish  at  an  hour's  notice:  still  from  the  play  we 
cannot  help  feeling  we  have  learned  a  lesson  in  stage  painting, 
and  that  it  were  far  better,  in  the  performance,  to  attend  to 
other  things  of  greater  need.  But  of  this  more  by  and  bye^ 
The  acting  of  the  Taming  of  the  Shrew,  at  the  Haymarket,  is 
(we  speak  of  it  in  the  present  tense,  as  it  is  being  performed 
two,  or  three  times  a  week)  most  excellent.  We  have  seen 
Mrs.  Nisbett  in  parts  better  suited  to  her.  In  the  two  first 
acts  she  was  rather  snappish  and  fretful,  than  froward  and 
bdd :  but  her  acting  in  the  two  last  acts  was  tmthfiid  and 
beautifuL  Mr.  Webster  made  a  capital  Petruchio,  the  best 
we  have  seen  for  a  long  while.  Nothing  could  be  more 
bluff,  hearty,  and  good-tempered  than  he  appeared  throughout 
the  play.  Keeley's  Grumio  was  deliciously  comic.  We  never 
imagined  he  could  fill  out  Shakspere  before.  Mrs.  Seymour 
was  lady-like  as  Bianca.  Of  the  other  characters  we  must 
distingmsh  Mr.  Brindal's  Tranio  as  particularly  good,  albeit 
we  should  prefer  his  omitting  the  gag  with  the  <doak  when  he 
and  his  mastcT  change  apparel.  The  other  characters  were 
well  supported.  We  thank  Mr.  Webster  with  all  our  hearts 
for  this  inimitable  revival.  Two  or  three  such  productions — 
where  are  they  to  be  had  ?— and  echo  answers,  &c. — would 
do  more  to  advance  the  true  interests  of  his  house  than  forty 
modem  plays,  whose  success  is  only  upheld  by  partisanship. 
We  would  be  just,  not  invidious. 

Jullien's  CoNO«RTS.^Th«  concerts  at  Drury Laene  eontmue 
to  attract  most  crowded  and  fashionable  audiences.  Indeed, 
we  may  say,  we  never  remember  M.  Jullien's  entertainments 
to  be  so  well  attended.  During  the  first  few  nights  the  prome- 
nade was  so  densely  thronged  that  it  was  considered  advisable 
to  erect  barriers  at  either  side  of  the  orchestra.  This  has  been 
found  a  necessary  aoeommodation  aa  it  tends  greatly  to  break 
the  pressure  of  the  msltitude.  Other  alteratians  have  been 
made  with  a  view  to  the  public  convenience.  The  programme 
is  varied  nightly,  on  each  occasion  one  classical  moreean 
being  given.  We  attended  on  Saturday  night  last,  when  the 
house  presented  a  most  brilliant  aspect,  the  boxes  being  com- 
pletely filled  with  the  elite  of  fashionables  at  present  in 
London,  Among  others  we  recognized  His  Royal  H^hness 
the  Duke  of  Cambridge  in  a  private  box,  who  seemed  greatly 
to  relish  the  entire  perfonnance.  His  Royal  Highness  ex- 
pressed aloud  his  admiration  of  the  band,  after  the  allegretto 
movement  from  Beethoven's  symphony  in  F.  He  seemed  no 
less  delighted  with  Piatti's  violoncello  solo,  which  followed. 
We  never  heard,  on  any  instrument,  anything  more  exquisite, 
on  more  perfect,  than  thisyoung  artiste's  performance  on  Satur- 
day night.  He  is  positively  the  Pagaorini  of  hie  instrument. 
Not  only  is  bis  execution  faultless,  and  astonishing  fot  ka 
rapidity;  his  tone  most  beautiful  and  powerful,  but  he  exhibits 
in  his  playing  the  finest  taste,  and  the  most  genuine  feeling. 
The  tones  he  produces  from  the  violoncello  at  different  times 
resemble  the  violin,  the  tenor,  and  even  the  finte.  His  bar- 
monies  are  marvellously  perfect.  We  never  dreamt  of  hearing 
such  mastery  on  the  instrument.    Signor  Piatti  is  certainly 


THE  MUSICAL  WORLD. 


'i05 


one  of  the  first  instrumentalists  we  ever  listened  to.  At  the 
close  of  his  performance  he  ohtained  the  most  tremendous 
eheers  from  all  parts  of  the  house,  the  Royal  Dake,  himself 
no  mean  performer  on  the  yioloncello,  applauding  him  most 
enthusiastically.  Notwithstanding  what  we  urged  in  our 
first  notice  respecting  the  Swiss  Quadrille,  from  its  continued 
and  legitimate  success,  we  are  bound  to  admit  that  it  is  likely 
to  become  the  most  popular  of  all  the  composer's  works.  The 
introduction  and  finide  have  both  been  considerably  abridged, 
and  the  melodies  de  danse  are  not  now  so  much  submerged  as 
formerly  in  the  symphonic  frame-work  of  the  composition. 
The  introduction  of  the  machinery,  to  which  we  objected  as 
^eignr  to  the  purposes  of  music,  is  now  altogether  dispensed 
withi  and  a  great,  improvement  is  manifest.  The  band,  too, 
are  decidedly  more  at  home  in  their  performance  than  on  the 
first  night,  when  the  difficulties  involved  in  M.  JulHen's  work 
were  not  mastered  with  that  consummate  ease  we  expect  from 
this  great  instrumental  corps  on  all  occasions.  The  per- 
formance of  the  Swiss  Quadrille  is  now  quite  perfect.  We 
have  heard  several  tourists,  who  have  travelled  through  the 
Siriss  cantons,  express  the  warmest  approval  of  M.  Jullien's 
new  work,  not  only  as  it  brought  back  old  friends  to  them  in 
the  national  melodies,  but  as  it  so  very  happily  and  truthfully 
conveyed,  as  far  as  music  could  convey,  an  idea  of  a  storm  on 
the  Swiss  mountains.  To  the  great  majority  of  M.  Jullien's 
audience  the  principal  features  of  the  new  qaadrille  must  be  a 
sealed  book,  as  it  cannot  be  supposed  that  one  in  a  hundred 
has  visited  the  country  of  William  Tell,  and  few  therefore  can 
form  a  notion  of  how  closely  the  composer  has  imitated  nature. 
Enough  remains,  however,  to  gratify  even  those  whose  highest 
mountain  flight  has  not  exceeded  one  hundred  feet  above  the 
Zoological  Gardens,  or,  in  other  worde,  the  peak  of  Primrose 
Hill.  The  Swiss  Quadrille  is  advancing  nightly  more  and 
more  into  public  favour,  and,  as  we  have  said  above,  promises 
to  become  the  most  popular  of  the  popular  composer's  works. 
Surrey. — Balfe's  opera  of  the  Enchantress  has  been 
produced  at  this  theatre  in  a  style  of  great  splendour  and 
completeness.  It  has  been,  if  possible,  more  successful  than 
the  Bohevnian  Girl,  It  is  not  necessary  to  criticise  a  work 
that  has  so  frequently  obtained  our  strictures  and  our  appro- 
*  bation.  The  Enchantress,  if  not  one  of  the  composer's  chef 
d^ceuores,  is  certainly  one  of  his  most  dramatic  works ;  and  is, 
perhaps,  better  adapted  than  any  other  for  scenic  representatioii. 
The  manager  of  the  Surrey  has  caught  the  taste  of  his 
audience  in  a  most  miraculous  way.  Crowds  are  sent  back 
nightly  from  the  doors,  and  the  enthusiasm  of  the  auditors 
inside  borders  on  an  Italian  furore.  A  new  melodrama,  called 
The  Traveller's  Room,  written  by  Fitzball,  in  his  own  peculiar 
and  exciting  manner,  has  been  produced  lately,  with  great 
a{^latise.  It  is  played  every  night  with  the  Enchantress^  and 
both  pieces,  from  their  great  success,  will  probably  be  nm  till 
Christmas. 


REVIEWS  OF   MU8I€^ 

de  DouUietU  et  MarHaiHf  contakOffg  the  most  admired 
subfeeh  firvm  ike  works  of  the  abooe  popular  compotert,  arranged  in 
the  form  of  a  "faniasiag"  for  the  pUmoforte,  byTf,  H.  Holmbb.^ 
Addmom  and  Homon. 

A  very  brilliant  and  effective  morceau  without  being  too  difficult. 
The  composer  has  evideutly  iodited  the  fantasia  for  proficients,  or 
at  least,  for  those  who  have  made  good  progress  in  pianoforte  playing. 
The  iatroduction  leads  to  the  aria,  **  Ah !  dolce  goidami,"  from 
Donizetti's  Anna  Bolena,  whieh  is  varied  in  a  very  happy  manner. 
The  next  air  introduced  is  also  from  Anna  Bolena,  **  Come  inno- 
cente,  Giovane,"  treated  with  more  suatity  and  grace  ;  this  leads 


to  another  theme  taken  from  the  same  opera, "  Cielo  a  miei  lunghi," 
which  will  afford'  the  performer  great  scope  to  exhibit  his  executive 
powers,  the  composer  having  written  semidemiquavers  for  both 
hands  in  two  entire  pages.  The  last  morceau  introduced  is  Marliani's 
well  known  air,  '*  Stanca  di  piu,"  which  Mr.  Holmes  has  handled 
in  an  elegant  and  striking  manner.  A  brilliant  finale  in  allegretto 
concludes  a  most  admirable ./Sm/ano. 


'Shhie  on,  thou  bright  beacon  I  *'  Song.  The  poetry  suggested  bf  a 
seal  uHth  the  motto,  "  Si  Je  ie  perdt,  je  suis  perdu  f*  a  mariner  in  a 
boat  at  sea,  and  one  lone  star  in  the  lAy  .*  eoMpoted  bp  Cosmo  AIxxakdir 
HiPBuaNi,  Eiq.-^R.  MtLU. 

ThIs  song  does  not  aim  at  any  particular  musical  excellence. 
The  air  is  simple  and  the  harmonies  obvious.  It  possesses,  how- 
ever, sweetness  and  expression,  which,  to  most  lovers  of  modern 
ballads,  more  than  make  amends  for  novelty  of  conception  or 
mastery  in  arrangement.    The  words  are  well  written. 


"C,  Ooodban't  Vocal  Album ;"  containing  four  songt,  fwd  duets,  akd  trio : 
The  wordt  by  various  Authors;  the  Music  composed  bff  t)nknvti 
GoooBAN,  Mus.  Bac,  Oxon.-^}.  AlveId  Novbllo. 

Mr.  Goodban  has  given  us  in  this  work,  a  verv  pleasing  set  6f 
vocal  pieces.  There  are  seven  morceaux  in  tne  collection,  o 
which,  to  our  thinking,  the  first  and  fifth  are  tlie  best.  No.  1, 
«<The  Blind  Girl's  Hope,"  is  a  tender  and  neatly  written  ballad  in 
E.  flat,  8-4  time.  The  accompaniments  are  appropriate  and  effective. 
No.  6,  "  Faire  Daffodils,"  —  Herrick's  exquisite  and  well-kno^n 
complaint,  is  a  duet  in  F,  3^,  and  is  very  sweetly  written.  It  is, 
nevertheless,  scarce  quaint  enough,  but  this  will  pass  the  knowledge 
of  [most  hearers,  and  will  be  recognised  aa  no  v^ant  hr  tbe  pur- 
chaser. Mr.  Goodban  has  written  the  words  to  three  of  the  s^ven 
compositions.  We  cannot  praise  his  poetry  as  moeh  as  we  can  hia 
music.  It  is  strange  that  a  Bachelor  of  one  of  the  learned  Univer- 
sities should  make  '*  intervene**  an  active  verb.  Sorrow  may 
"  intervene,"  but  it  cannot  be  said  to  **  intervene  its  clouds"  between 
two  objects.  It  is  no  less  strange,  than  one  gifted  with  a  sensitive 
musical  ear  should  rhyme  "scenes"  with  *' beams,"  **  smile"  with 
<*  trial,"  and  *<  roam"  with  '*  shone."  But  too  often  do  musicians 
fancy  there  is  no  crafl  in  writing  verses,  and  so,  poor  easy  men 
they  are  tempted  to  manufacture  their  own  metre,  and  in  almost 
every  instance  they  betray  their  ignorance  of  the  commonett  rules 
of  versification,  as  we  have  frequently  had  occasion  to  show. 
Mr.  Goodban's  Album  is,  notwithstanding,  a  very  merifeorioils 
work. 


1.  "/ft  the  joyous  Spring  f*  Song,  the  words  written  by  EnwAab  J. 
Gill;  the  muiic  competed  by  SiDintT  Nblson. 

2.  ** Italia  shaU  be  free;"  a  Roman  song  of  liberty,  written  b^ 
J.  W.  Lake,  Esq. ;  the  nmsie  eompoted  by  Sidnbt  Nblson.— Addison 
and  HoDsoN. 

The  first  of  these  compositions  is  a  pleasing  ballad ;  though 
something  of  the  popularly  eommon  is  apparent  in  iU  mekxfy. 
It  is  nicely  written  for  tbe  voice,  and  will  suit  the  generality  of 
singers.  No.  2  is  altogether  better  as  a  composition,  and  will  make 
a  capital  song  for  a  barytone  voice.  In  both  instanees  Mr.  Nelson 
haa  been  successful  in  the  arrangements. 


*'Mid  waving  tree^*  Duet,  nmg  bg  Miss  A.  and  M.  WilliaKs  ;  Poe* 
try  by  Gkorob  Lin  let,  Esq.  ;  Music  composed  by  Jules  Bbnidiot.— * 
ADDI60M  and  Hodson. 

A  very  elegant  and  effective  duo,  for  two  female  voices.  Mr* 
Benedla  seldom  pursues  the  common  track  in  his  compositions ; 
and  though  the  subject  of  the  present  duet  is  not  strikinglv  origiaal^ 
he  has  exhibited  much  ingenuity  in  the  introduction  of  novel  phraM^s  | 
and  his  manner  of  writing  for  the  voices  is  entirely  after  his  own 
fashion.  This  duet  must  find  a  host  of  admirers,  albeit  the  words 
have  nothing  whatsoever  to  recommend  them. 

"  The  Standard  Lyric  Drama,' '  Vol.  I.    The  Marriage  of  Figaro.  Part  K. 
J.  BOOSKY  &  Co. 

The  Marriage  of  Figaro  will  bo  completed  with  No.  6  ;  on  the 


706 


THE  MUSICAL  WORLD. 


Ist  of  January  the  first  part  of  Norma  will  be  issued.  Wo  most 
strongly  advise  our  musical  friends  to  avail  themselves  of  this  admi* 
rable  work.  In  a  fow  years,  by  becoming  subscribers,  they  will 
have  a  complete  and  perfect  operatic  library,  at  one-tenth  of  the 
price  for  which  the  same  amount  of  music,  without  a  tythe  of  its 
excellence,  could  now  be  procured. 


**  The  Swift  Girl,"  at  tung  at  M.  Julliin's  Concerit,  Theatre  Royal 
Drury  Lane,  by  Miss  Dolby,  to  whom  it  it  dedicated,  by  G.  Linlbt. — 
JoLLiKN  and  Co. 

We  venture  to  assert  that  ninety-nine  readers  out  of  a  hundred 
will  be  puzzled  to  gather  from  the  frontispiece  whether  Mr.  Linley 
is,  or  is  not  the  author  of  the  *'  Swiss  Girl."  To  many,  the 
"  dedicated  to  Miss  Dolby"  would  sound  very  like  the  composer's 
authority.  Now  we  know  Mr.  Linley  is  not  the  composer,  though 
from  being  writer,  or^translator  of  the  words,  and  from  arranging 
the  melody,  he  may,  as  we  have  known  others  do,  fancy  himself 
the  veritable  composer  thereof ;  wherefore  do  we  think  it  would 
sound  more  like  a  real  artist  to  have  the  truth  indited  on  the  title- 
page,  viz.,  «*  arranped  hy  G.  Ltnley,"*  "  The  Swiss  Girl"  is  a  very 
beautiful  melody,  in  common  time,  with  a  refrain,  in  3.4,  which  has 
a  very  pleasing  and  novel  effect.  The  air  is  perfectly  Swiss,  and 
\n  so  simple  and  catching,  that  after  Miss  Dolby  sings  it  nightly  at 
the  concert,  it  mav  be  heard  hummed  and  whbtled  all  over  the 
theatre.  Miss  Dolbv  is  encored  nightly  in  it.  She  sings  it  with 
great  expression,  and  in  the  refrain  reminds  us,  though  remotely,  of 
Alboni  in  the  air  from  Belly,  The  "  Swiss  Girl"  promises  to  be 
the  most  popular  ballad  of  the  day.  Mr.  Linloy's  words  arc  not 
devoid  of  lyric  merit 

VSwitt  QuadrilU,*'  at  performed  at  theAutkot^t  Concerit  Theatre  Roy  J 
Drury  Lane,  by  hit  celebrated  OrcheUra.  Compoted  by  Julliin. — 
JuLLiiN  and  Co. 

Jullien's  Swiss  Quadrille,  arranged  for  the  piano,  is  very  different 
from  the  same  Quadrille  as  played  by  the  Drury  Lane  band  at  the 
Concerts.  The  introduction  and  finale  aro  necessarily  dispensed 
with,^  and^  the  Quadrille  remains  now  an  unsophisticated  set  of 
dancing  airs,  without  the  iutervention  of  an v  symphonic  embroidery. 
•The  Swiss  Quadrille,  under  the  present  form,  we  are  inclined  to 
think,  constitutes  one  of  the  very  best  sets  we  ever  heard.  The 
subjects  are  striking  and  highl  v  pleasing,  and  are  full  of  vivacity. 
No.  1  is  a  Chamois  hunting  subject,  a  capital  melody,  and  full  of 
character.  The  air  is,  we  believe,  original,  and  composed  by  Jullien. 
A  crescendo  is  here  used  with  good  effect.  No.  2  takes  for  its 
theme  the  beautiful  Swiss  melody,  "  Le  Chalet.''  This  is  one  of 
the  most  pleasing  national  airs  ever  written.  The  subject  follows 
a  li^ht  and  playful  fnorfe€tti  d^iniroduction,  and  is  well  worked  out 
This  number  will  prove  a  great  favorite.  No.  8  involves  the  cele- 
brated '<  Ranz  des  Vaches,"  of  which  it  is  needless  to  say  one 
word.  The  melody  is  the  national  melody  of  Switzerland,  and  in 
foreign  countries  it  is  well  known  produces  the  same  effecU  on  the 
Swiss  exile,  as  <«  Patrick's  day,"  "  Rule  Britannia,"  "  The  Campbells' 
are  coming''  or  **  Ar  hyd  y  nos"  would  on  the  Irish,  English,  Scotch 
or  Welch  emijpant.  No.  4,  another  beautiful  Swiss  melody,  •*  Au 
Rive  du  Lac,  and  very  popular  in  the  Cantons.  This  number  will 
be  almost  in  as  high  favor  as  No.  2.  Two  wery  brilliant  variations 
are  provided,  which  will  tagc  the  tiny  fingers  of  the  fair  performers 
in  no  small  degree.  But  this  may  be  omitted,  and  the  simple  sub- 
ject resumed.  No.  5 — an  original  subject  of  Jullien's — is  indicative 
of  the  village  fet^.  We  admire  this  exceedingly.  The  opening  is 
bold  and  new :  the  theme  exhilirating  and  joyous,  and  worked  out 
with  capital  effect  It  finishes  the  Quadrille  in  the  heartiest  manner 
possible.  Whatever  may  be  the  opinion  of  the  world  at  large,  and 
which  just  now  we  have  no  direct  means  of  accurately  certifying, 
it  is  our  belief  that  the  Swiss  Quadrille  is  the  very  best  composition 
of  that  class  that  ever  issued  firom  M.  Jullien's  pen. 

FOREIGN   INTELLIGENCE. 

Nbw  York,  Octobkr  15. — Musical  matters  begin  to  assume 
a  considerable  importance  in  this  city.  Messrs.  Herz  and 
Sivori  have  giv^n  hero  three  ponce^rts  with  great  e^lat^  and 


they  announce  another  series  of  nine.  There  has  been  a 
riolent  attack  upon  Sivori  in  one  of  the  papers,  which  has 
called  forth  considerable  antagonism  in  all  Uie  others,  the 
natural  result  whereof  has  been  a  good  deal  of  party  feeling, 
9Xk  overflowing  attendance  at  his  last  concert,  and  the  most 
vociferous  applause  on  his  appearance  that  can  well  be 
imagined.  Both  Herz  and  Sivori  are  playing  remarkably  well, 
and  are  great  favourites.  Your  friend,  Madame  Bishop,  gave 
two  concerts,  at  which  M.  Bochsa  played  some  of  his  harp 
fantasias.  With  all  the  wonders  that  modem  Europe  has  pro- 
duced upon  this  instrument,  no  artiste  has  surpassed  him  as  an 
executant,  and  none  has  done  so  much. for  the  development 
of  the  power  of  the  harp,  as  this  popular  veteran.  Two 
different  choral  societies  are  busily  preparing  opposition  per- 
formances of  Mendelssohn's  Elijah^  the  one  under  the  direction 
of  Mr.  Chubb,  the  other  of  Mr.  O.  Loder.  Mr.  and  Mrs.  £. 
Seguin,  with  Mr.  Beeston,  who  has  successively  appeared  in 
London,  under  the  names  of  Belton  and  Arthur,  and  now 
advertises  himself  as  Mr.  Arthuraon,  are  performing  the  M 
stock  of  operas  throughout  the  States.  Mr.  Manvers  and  his 
daughter,  with  Mr.  A.  Giubelei,  are  about  to  make  a  similar 
tour>  but  they  have  appeared  in  this  city  with  small  success* 
A  complete  Italian  Opera  company,  under  the  direction  of 
Signor  Sanquirico,  formerly  of  the  Opera  Buffa  in  London, 
have  arrived  and  are  waiting  the  completion  of  a  new  theatre 
that  is  building  for  them,  by  subscription,  to  commence  their 
proceedings,  What  occupies  more  public  attention  is  a  com- 
pany which  has  been  associated  for  the  performances  of  Italian 
and  English  operas,  and  scenes  from  operas,  which  combines 
an  unusual  assemblage  of  talent,  namely,  Mdme.  A.  Bishop, 
the  English  prima  donna;  Mdme.  G.  A.Macfarren^  the  German 
contralto ;  Signor  De  Begnis,  the  Italian  bugb ;  all  of  whom 
are  well  known  to  you,  added  to  whom  are  Mdme.  Korsinkaki, 
a  young  German  lady  of  much  promise  for  aeconda  donna* 
Mr.  Reeve,  the  brother  of  whom  is  to  appear  at  Drury  Lane, 
for  tenor,  and  Signor  Valtellina,  a  great  favourite  here,  for 
basso  cantante,  the  whole  under  the  direction  of  Mr.  Bochs  a. 
Mr,  G.  A,  Macfarren,  the  composer,  is  amongst  us,  and  is 
announced  to  write  two.  grand  scenes,  the  one  from  Shaks- 
pere's  Macbeth^  for  Madame  A.  Bishop,  the  other  from 
Schiller's  Jungfrau  von  Orleans  for  his  cara  sposa»  Edward 
Loder's  Night  Dancers  is  being:  performed  at  the  Olympic 
Theatre  with  half  the  music  omitted  and  the  other  half  com- 
pletely transmogrified.  Fridolin  is  made  the  principal  cha- 
racter and  is  enacted  by  a  low  comedian.  Albert  is  assigned 
to  Mrs.  Timm,  a  sister  of  Miss  P.  Horton.  The  Princess  is 
omitted ;  the  orchestral  parts  were  arranged  even  for  a  smaller 
band,  than  that  with  which  the  opera  was  originally  produced, 
the  chorusses  all  sung  in  unison— in  fact  Loder  himself  would 
hardly  recognize  his  work.— ^/Vom  our  own  Correspondent.) 

ORIGINAL    CORRESPONDENGE. 

To  the  Editor  of  TU  Musical  World. 

OLOGBSTBS  MUSICAL  FSfTIVAL. 

Sia,— Much  interest  having  been  evinced,  and  roanf  enquiries  nlsed 
with  respect  to  the  financial  issue  of  our  late  Festival,  we  are  now  gkd 
to  publish,  through  your  medium,  the  following  particnltn  rebting 
thereto.  In  the  statement  which,  as  treasurer,  I  have  submitted  to  my 
brother  stewards,  it  appears  that  the  total  amount  of  the  expenses  wis 
£3127  49.  2d.,  firom  which,  deducting  the  sum  of  £8580  \bt.  6d.,  the 
net  amount  received  from  the  sale  of  tidcets  and  books,  there  will 
remain  a  gross  deficit  of  £546  8«.  8d. ;  consequently  each  of  the  twelve 
stewards  will  be  £45  10<.  9d.  minus.  The  result,  although  not  so  satis- 
factory as  could  be  desired,  exhibits,  nevertheless,  a  most  cheering  prospect 
towards  the  continuance  and  future  welfare  of  our  ancient  festival ;  for, 
although  the  principal  vocalists,  were  paid  nearly  £300  more  upon  the 


THE  MUSICAL  WORLD. 


ir07 


Ute  occasion  than  in  the  year  1844,  yet  the  deficiency  is  £200  leu  than 
happened  at  that  period,  after  taking  into  the  scale  the  aid  then  afforded 
by  a  guarantee  fund.  And  the  fkct  that  the  present  receipts  shew  an 
eicess  of  £420  beyond  those  of  the  last  meeting,  we  may,  we  trust, 
infer  that  the  county  families  and  the  deigy  are  now  bent  on  rendering 
tliafc  assistance  which  they  have  been  accustomed  for  upwards  of  a  century 
to  afford,  towards  the  cultivation  of  the  finest  musical  compositions,  and 
the  eiyoyment  of  a  social  intercourse,  whilst  at  the  same  time  we  aid  the 
cause  of  the  widow  and  the  orphan.  It  may  not  be  irreleTant  to  add,  that 
the  late  acting  committee  feel  assured  that  the  expenditure  may  be  still 
considerably  reduced,  the  item  of  the  chorus  especially,  namely,  £776 
(and  really  the  individuals  composing  the  same  could  scarcely  have  done 
more  than  to  cover  their  expenses,  especially  if  their  loss  of  time  is  any- 
wise considered),  may,  it  is  fairly  assumed,  be  met  nearly  by  one  moiety, 
by  the  gratuitous  services,  of  local  talent.  We  have  two  institutions 
established  in  Gloucester,  in  order  to  promote  good  charch  and  choral 
music  within  oursdves,  and  three  years  will  doubtless  sufficiently  perfect 
the  meritorious  exertions  of  those  individuals  who  form  such  institutions, 
so  as  to  render  their  assistance  at  our  next  and  future  meetings  very 
important*  It  now  only  remains  to  notice  that  the  total  amount  of  the 
late  collections  made  for  the  relief  of  the  widows  and  orphans  of  the 
dergy,  is  £723  2s.  3<L,  which  includes  a  donation  since  remitted  by  the 
Bishop  of  Gloucester  and  Bristol  of  £20.  Here  we  also  report  an 
amended  state  of  affairs,  in  reference  to  the  contributions  in  1844 ;  but 
we  have  to  Isment  that  this  large  and  opulent  county  and  diocese  should, 
10  this  important  feature,  be  still  deficient,  when  viewed  in  comparison 
with  our  neighbours  and  coadjutors  at  Worcester  and  Hereford. 

I  remain,  sir,  yours,  very  faithfully,  Thomas  Turmki. 


MUSIC  AT   MANCHESTER. 

{Pinm  our  own  CormpondenU) 

It  baving  been  our  pleasing  task,  self-imposed  by  the  way, 
to  furnish,  from  time  to  time,  some  sbort  notice  of  the  musical 
doings  at  Manchester,  for  the  readers  of  the  Musical  Worlds 
in  attempting  so  much,  however  inadequately  performed,  we 
have  not  been  gratifying  any  idle  ambition  of  beholding  our- 
selves in  print;  indeed,  at  times^  we  have  been  somewhat 
startled  to  see  the  prominence  given  to  our  hasty  scribble, 
placed  as  it  has  been  beside  the  eloquent  and  glowing  effusions 
of  J.  W.  D.  and  D.  R.  We  possess  not  the  musical  know- 
ledge of  the  one,  nor  the  elegant  yet  delightfully  familiar 
style  of  the  other ;  yet  yield  we  to  neither  in  our  passionate 
fondness  for  music,  nor  in  the  sincere  wish  for  its  progressive 
advancement  as  an  art  amongst  us.  The  Musical  World 
being  the  periodical  in  this  country  devoted  to  such  matters, 
we  have  always  been  anxious  to  see  it  contain  a  faithful  record 
of  all  musical  doings,  provincial  as  well  as  metropolitan,  with 
this  single  motive  and  purely  for  the  love  of  the  thing  have 
these  articles  been  inscribed.  We  have  endeavoured  to  steer 
clear  of  favouritism  on  the  one  hand  and  hyperbole  on  the 
other,  giving  simply  our  impressions,  as  an  amateur  of  such 
performances  as  came  under  our  ken — and  so  long  as  con- 
sidered worthy  insertion  shall  continue  to  send  such  brief 
notices  of  Music  at  Manchester.  This  gloomy  commercial 
year  has  been  cheered  by  some  halcyon  days  (or  rather 
evenings)  to  such  sons  of  trade  in  this  hive  of  industry  (a 
city  now  by  the  way)  as  have  a  taste  for  music  and  the  drama. 
The  production  of  Mendelssohn's  Elijah^  for  the  first  time  in 
the  presence  of,  and  conducted  by,  its  illustrious  composer  in 
April  last ;  the  amateur  performance,  by  Charles  Dickens  and 
his  worthy  confreres ^  for  the  benefit  of  Leigh  Hunt,  in  July ; 
the  advent  of  Rachel  amongst  us  (certainly  one  of  the 
greatest  luminaries  of  this  nineteenth  century) ;  and,  lastly,  the 
appearance  of  Jenny  Lind,  are  all  occasions  that  are  worthy 
to  be  marked  with  a  white  stone  in  one's  memory,  and,  ex- 
cepting the  last,  have  all  been  briefly  noticed  by  the  writer  in 
the  Musical  World,  We  assisted^  as  the  French  have  it,  at 
three  cf  the  four  performances  of  the  Swedish  Nightingale, 
and  weie  only  prevented  noticing  them  by  sickness ;  in  place 


of  doing  so,  however,  we  furnished,  from  a  much  abler  peni 
the  best  criticism  we  have  seen  on  Jenny  Lind,  viz.,  the  one 
firom  the  Manchester  Guardian.  Unluckily  the  tide  had  turned 
of  your  favour,  and  the  article  in  question  only  appeared  as 
one  amongst  the  extravagant  provincial  notices,  weekly  in- 
serted, wi&  notes  of  admiration,  Jenny  Lind  !  Jenny  Lind  ! 
Jenny  Lind  I  It  is  not  necessary,  indeed  it  would  be  fruitless 
now  to  seek  for  the  causes  of  this  artiste's  unprecedented 
career  in  £ngland ;  we  do  not  approve  either  the  excessive 
mania,  or  madness  ( furore) ^  or  the  detraction  that  has  perhaps 
been  its  consequence,  and  could  have  wished  less  of  the  latter 
to  have  appeared  in  the  pages  of  the  Musical  World.  Jenny 
Lind  is  gifted  with  talent,  both  as  a  singer  and  an  actress  that 
would  have  raised  her  to  an  exalted  position  amongst  us, 
without  the  aid  of  all  the  extraordinary  and  extravagant 
puffing  that  was  resorted  to,  but  she  certainly,  without  this 
adventitious  aid,  would  never  have  saved  Mr.  Lumley  from 
ruin,  nor  have  commanded  the  ridiculously  exorbitant  prices 
that  were  paid  to  hear  her  in  the  provinces.  We  should  like 
to  see  the  Musical  World  lean  neither  to  Mr.  Lumley  nor 
Mr.  Beale  (nor  Mr.  Bochsa,  vfie  Madame  Anna  Bishop),  and 
hope  the  notices  for  the  coming  (some  months  hence)  season 
of  the  rival  Operas  will  be  as  free  from  bias  as  they  were  this 
year  up  to  June  last.  Come  we  now  to  the  object  (like  a 
lady's  postscript)  of  our  present  writing. 

HaRgbbavss'  Choral  Socibtt. — ^First  Concert.— Seventh 
Season. — Mendelssohn's  Elijah  was  judiciously  selected  as 
the  oratorio  with  which  to  open  the  winter  campaign  of  1847*8 
of  the  above  society.  Miss  Birch  having  been  engaged  at  the 
French  Opera  in  Paris,  and  Miss  Dolby  at  JuUien's 
Concerts,  the  services  of  the  Misses  Williams  were  secured 
in  lieu  of  them,  and  Messrs.  Lockey  and  H.  Phillips,  as 
before,  for  principals.  The  Free  Trade  Hall  was  quite  as 
crowded  on  Thursday  the  28th  ult.,  to  hear  the  second  per- 
formance of  the  sublime  work  as  in  April  last,  when  Men- 
delssohn himself  was  such  an  additional  attraction.  Of  its 
execution  we  can  speak  in  the  highest  terms :  the  chorus  were 
positively  marvellous^  they  evidently  had  rehearsed  the  music 
con  amor e J  and  sung  it  as  though  they  loved  it.  We  cannot 
notice  every  individual  excellence  where  all  was  so  perfect,  but 
the  following  appeared  most  prominent.  The  opening  chorus, 
*'  The  harvest  now  is  over,  the  summer  days  are  gone,"  with 
its  gushing  yet  mournful  strain  of  melody,  was  delightfully 
sung.  Mr.  Lockey  gave  the  fine  air,  '*  If  with  all  your 
heart,"  more  effectively  than  before,  and  the  double  quartet, 
*•  For  he  shall  give  his  angels,"  was  far  more  adequately 
rendered  than  on  the  first  performance.  Miss  M.  Williams 
was  very  good  in  the  episode  of  '*  The  widow,'*  and  delivered 
its  recitatives  with  much  feeling  and  propriety.  But  what 
shall  we  say  of  Mr.  H.  Phillips  and  his  fine  delivery  of  the 
many  and  arduous  recitatives  and  songs  in  the  part  of  the 
Prophet  ?  He  was  as  great  as  ever  and  delighted  everybody. 
It  was  not  until  the  last  song.  *'  For  the  mountains  shall 
depart,"  that  we  could  discover  any  marks  of  the  hand  of 
time  on  his  once  fine  organ :  still  his  elocution,  conception!  and 
taste,  surpasses  that  of  any  living  English  baritone  or  bass 
singer.  The  Misses  Williams,  by  the  way,  might  take  a 
lesson  from  him  as  to  the  delivery  and  distinct  utterance  of 
the  words  allotted  to  them;  Miss  A.  Williams  suffered  from 
contrast  with  her  great  predecessor  in  the  part  she  had  to  sing, 
especially  in  the  holding  note  with  the  oboe,  '*  There  is 
nothing,"— else  she  acquitted  herself  very  creditably,  especially 
in  the  concerted  music,  which,  like  Uie  choruses,  all  went 
marvellously.  How  this  glorious  composition  improves  on 
acquaintance  I      New  beauties  spring  up  never  dreamt  of 


708 


THE  MUSICAL  WORLD. 


before^  at  every  turn.  In  partkmlar  we  were  struck  with  the 
fine  prayer  of  Elijah,  "  When  the  heavens  are  closed  up/' 
and  its  response  from  the  people,  ''  Then,  hear  from  heaven^ 
and  forgive  the  sin,"  and  the  quartet  and  chorus  of  angels, 
*•  Holy,  holy,  is  God  the  Lord."  The  favourite  chorus,  *'  Baal 
'We  cry  to  ihee"  was  given  with  great  spirit.  The  quartet, 
''  Cast  thy  burden  upOn  the  Lord,"  narrowly  escaped  an 
encore.  In  the  second  part,  the  chorus  again  came  out  with 
great  force  in  **  Be  not  afraid,"  and  that  masterpiece^  '^  Behold^ 
God — the  Lord  passed  by :"  nor  should  we  omit  to  notice  the 
jubilant  finale  to  the  first  part,  the  gorgeous  *'  Thanks  be  to 
God,"  but  we  get  extravagant  about  Elijah  and  must  bring 
it  to  a  close.  The  unaccompanied  trio  was  encored,  as  it 
richly  deserved ;  the  Misses  Williams  and  Miss  Kenneth 
warbled  it  delightfully.  Miss  M.  Williams  took  the  time  of 
the  song,  **  O  rest  in  the  Lord,"  somewhat  quicker  than  Miss 
Dolby ;  probably  from  that  cause  it  did  not  produce  the  same 
effect,  or  procure  it  almost  an  inevitable  encore.  Altogether 
Elijah  has  been  again  a  great  treat  to  the  members  of  the 
Hargreaves'  Society,  and  fully  justifies  the  selection  of  this,  the 
greatest  work  of  modem  times,  by  the  committee.  It  is  a 
glorious  composition  and  will  live  to  the  end  of  time.  In 
concluding  our  notice  of  this  most  excellent  concert,  we  are 
sorry  to  mention  the  unavoidable  absence  of  the  much 
esteemed  leader,  Mr.  Seymour^  who  has  had  the  misfortune  to 
fracture  his  left  arm  by  a  Cait.  Mr<  Conrain,  the  principal 
first  violin,  has  had  to  take,  his  place,  assisted  by  Mr.  Aldridge, 
Juli«,  off  liverpool. 

MUSIC    IN    DUBLIN. 

(From  our  own  Correipondent.) 

Baptist  Lillo,  the  infant  vocalist,  pianist,  and  violinist,  of 
whom  the  French  press  spoke  in  such  eulogistic  terms,  on  the 
occasion  of  his  visit  to  Paris  last  summer,  gave  a  concert  on 
Monday  evening,  the  25th  October  ult.,  in  the  Round  Room 
of  the  Rotundo,  in  this  city,  which  was  well  attended.  Mr. 
J.  Werner  Glover  (pianist),  Mr.  Lufirein,  (flautist),  and  Sig. 
Cavallini  (clarionet),  were  the  principal  solo  performers. 
The  National  Anthem,  in  B  flat,  was  performed  by  an  orchestra 
and  chorus  consisting  of  nearly  one  hundred  performers.  A 
novel  and  pleasing  efiect  was  produced  by  the  second  verse 
behdg  sung  by  a  contralto  voice  in  the  subdominant  F^  which 
accorded  well  with  the  religious  character  of  the  words. 
Rossini's  brilliant  cavatina,  Una  voce,  was  beautifully  warbled 
by  Baptist  Lillo,  the  *•  Infant  Nightingale,"  as  the  French 
press  styled  him.  He  performed  the  numerous  roulades  with 
the  greatest  precision  and  correctness  of  intonation,  adhering 
with  praiseworthy  fidelity  to  the  original  score.  Tadolini's 
quartet  is  a  truly  brilliant  composition,  the  only  drawback 
being  that  it  is  not  sufficiently  concertante,  the  pianoforte 
having  by  far  the  most  prominent  place,  but  which  Mr. 
Glover  performed  with  great  power  and  brilliancy.  The  res- 
pective executants,  on  its  conclusion,  were  loudly  and  de- 
servedly applauded.  Verdi's  chorus,  and  Locke's  musie  from 
Macbeth,  went  admirably.  The  '•  Swedish  Melodies"  were 
rapturously  encored  j  and  the  concdrt  passed  off  admirably^  atid 
to  the  apparent  satisfaction  of  all  present. 

The  Theatre  Royal  opened  for  the  winter  season  on 
Saturday  last,  when  there  was  a  crowded  and  brilliant  audi« 
ence  to  witness  the  appearance  of  Allen,  the  favorite  tenor, 
and  the  debut  of  a  young  lady,  his  papil,  in  Bellini's  popular 
opera  of  La  Sonnamhula,  The-  debutante  made  a  "  decided 
hit,**  and  has  been  spoken  of  in  high  terms  by  the  Dublm 
press*      She  has  a  mezio  sopratio  voice  of  nice  quality  and  of 


eonsiderable  compass,  an  expressiv^s  face,  good  flgui«,  and 
action  at  once  natural  and  easy.  With  such  requisites,  I  have 
no  doubt  but  that  she  will  prove  a  valuable  anxUiary  to  the 
English  lyric  drama.  As  Mr.  Allen's  merits  are  already  well 
known  to  your  readers,  I  need  only  mention  that  he  sang  the 
music  allotted  to  Elvino  with  good  taste  and  judgmeiit,  and 
was  encored  in  the  favorite  scena,  "  All  is  lost.*'  The  orches- 
tra is  under  the  able  conductorship  of  Mn  Levy,  and  the 
chorus  is  full  and  efficient. 

The  popular  vocalist,  Henry  Rtissell,  has  just  concluded  an 
engagement  of  three  nights  at  the  Music  Hidl,  with  considera* 
able  success. 

A  batch  of  Ethiopian  Serenaders  appeared  here  a  short  time 
since,  but  failed  to  draw  good  houses,  which  is  not  to  be  won- 
dered at,  considering  we  have  had  niggers  of  all  descriptions, 
usque  ad  nauseam,  so  that  a  surfeit  has  been  the  natural  result. 

The  Tyler  Family  are  now  performing  at  the  Music  Hall 
to  poor  houses. 

Charles  Kean  and  his  cara  sposa  are  to  pay  us  a  visit  as 
soon  as  Allen's  engagement  terminates. 

AN   ANALYSIS   OF   THE   HURRAN   VOIOE. 

OompiM  by  Fbidibick  Wkbstbh,  Professor  [of  Bioeuium  to  the  Roffai 
Academy  of  Music, 

OONTXNUBD  PROM  PAOB  69(W 

Besiues  the  differences  arising  from  singleness  of  sound,  and 
diphthongal  combination,  the  tonics  exhibit  a  variety  in  time,  both 
when  uttered  separately,  and  in  a  syllabic  association.  Two 
general  dirisions  mav  be  made,  ^-we,  a-rt,  a-n,  a-le  eeA,  i-sle, 
o-ur,  oo-ze,  may  be  called  looff  tomes  :  and  e-ir,  e-nd,  t'-n,  short.  It 
is  not  to  be  understood  that  the  latter  mav  not,  by  desi^^ied  effi>it, 
be  made  as  long  as  the  former :  they  nave  iheir  places  in  this 
arrangement,  from  their  usual  time  in  Bnglish  syllables.  In  the 
prolongation  of  t-n  it  changes  nearly,  if  not  entirely,  into  ee-l :  and 
as  it  thus  seems  to  owe  its  character,  in  short  pronunciation,  to  its 
abruptness,  it  might  be  merged  in  ee-\  and  rejected  as  a  distinct 
element.  When  the  long  tonics  are  combined  with  other  elements 
into  syllables,  their  time  u  of  Byery  disUngoishabie  degree,  from  a 
momentary  impulse  to  the  longest  passionate  utterance  of  an  in- 

teijection,  as  icom  o*tt   to  a-we— -from  ou-t  to  h-aw from 

a-t  to  a-h  I ii-te  to  h-«y— p-ca-t  to  esA f-oot  to  oo-ze, 

c-a-rt  to  a-rms ^k-i-te  to  i-sle.    The  time  of  the  short  tonics,  in 

combination,  has  much  less  variety.  But  however  short  any  of  the 
tonics  may  be,  they  do  in  their  minimum  duration  still  pass  throngh 
the  concrete  movement,  as  will  be  shown  hereafter. 

All  the  elements,  except  the  abrupt  atonies  k,p,  t,  have  a  variety 
in  duration.  The  vooality  of  the  subtomes  affords  the  means  of 
their  time,  and  its  prolongation  is  next  in  importance  to  that  of  the 
tonics,  for  the  purposes  of  vivid  and  graceful  expression. 

Should  it  be  asked,  why  the  diphthongs  are  here  designated  as 
elementary,  when  each  may  be  resolved  mto  greater  simplicitv,  it 
may  be  answered,  that  the  dipthongs,  though  compounded  of  the 
svccessive  sounds,  are  inseparable  in  utterance  :  and  regarding 
elements  as  simple  efforts  of  the  voice,  these  diphthongs^  may  be 
ranked  among  them.,  I  cannot  pronounce  the  radical  of  a  diphtkoog 
without  in  some  sort,  giving  also  its  vanish.  The  radical  may 
indeed  be  indefinitely  sustained  on  its  level  line  of  pitch,  and  we 
may  attempt  to  cut  it  off  by  a  sudden  occlusion  of  the  voice ;  but 
it  can  be  terminated  only  by  a  glide  through  the  vanish,  which, 
however  quick,  or  feeble,  or  varied  by  aspiration  or  otherwise  from 
its  exaet  sound,  may  still  be  heard.  In  the  eqaable  concrete  of 
speech,  the  rapid  pronnnciatioa  of  a  diphthong  may  diminish  the 
audibility  of  its  seoiHid  sound,  but  to  an  attentive  ear  it  will  not  be 
altogether  lost.  And  further,  not  only  does  the  radical  of  a  diphthong 
demand  its  own  peculiar  vanish,  but  cannot  itself  be  carried  through 
a  given  interval  without  sliding  into  that  vanish.  For  when  we 
attempt  to  lead  the  voice  through  an  octave  on  the  diphthong  a> we 
or  a-ie,  its  radical  may  be  continued  up  to  the  seventh  of  that 
scale :  still  the  final  dose  on  the  eighth  will  onavoidabiy  turn 


THE  MUSICAL  WORLD. 


709 


respeefctrely  to  tf-rr  or  es-l.  A  simtlftr  change  wiH  take  place  on  all 
imal'ler  interval,  la  an  endeavoor  to  make  raonotbongs  of  the 
diphthongal  radicals. 

If  an  elementary  character  be  denied  to  the  diphthongs,  by  re- 
garding them  as  separable  sounds,  it  will  not  increase  the  number 
of  simple  tonics  beyond  twelve  :  for  the  reader  may  have  already 
remarked  that  the  vanishing  portions  of  the  diphthongs  consist 
exclusively  of  the  monothongs. 

It  follows,  from  what  has  been  said  on  the  indivisible  nature  of 
the  diphthongs,  that  their  radicals  cannot  be  united  with  any  other 
vanishes  than  those  apparently  allotted  in  the  instinctive  ordination 
of  the  voice:  and  notwithstanding  what  has  been  observed,  assumed 
and  transcribed  by  writers,  on  the  subject  of  the  diphthongal  union 
of  the  vowels,  the  instances  here  enumerated  appear  to  be  all  that 
belong  to  English  speech.  Every  attempt  to  make  further  com- 
binations produces  a  voice  which  wauts  tae  smooth  transition  and 
singleness  of  syllabic  impulse,  that  eharacterises  a  diphthong,  and 
which  IB  found  with  its  oefined  perfection,  only  in  the  double  sound 
of  the  above-named  seven  elementary  tonics. 

As  the  dlpthongal  tonics  are  respectively  produced  by  joining  a 
monothong  to  a  radical  of  different  sound,  and  as  all  the  possible 
permutstions  of  their  union  are  not  employed,  it  is  a  curious  subject 
of  inquiry — whether  it  is  within  the  power  of  the  vocal  organs  to 
make  a  greater  number  of  diphthongs  than  are  here  enumerated,  by 
uniting,  severally,  every  monothong  with  each  radical  tonic.  Now 
as  there  are  seven  radicals  and  five  monothongs,  we  might  upon 
this  scheme  have  thirty-five  diphthongs.  But  it  appears  we  have 
only  CHght,  supposing  oi  to  be  included :  a-we  being  severally 
oombinable  with  two  monothongs,  and  each  of  the  others  with  one. 
Other  conjunctions  may  be  nmoe ;  but  they  have  not  a  fluent  tran- 
sition, like  those  which  already  belong  to  the  language  and  have  their 
literal  signs.  Would  these  new  associations  require  a  management 
of  voice  which  is  not  altogether  instinctive,  and  might  therefore 
call  for  a  practice  and  skill  not  yet  reached  by  the  English  tongue  ? 
Have  an^  of  theie  supposed  dipthongs  been  admitted  among  the 
alphabetic  elements  of  other  nations?  And  are  these  unused 
materials  of  speech  to  be  classed  with  those  resources  in  the  animal 
economy,  which  are  to  afford  their  benefits  under  higher  cultivation, 
and  the  widemng  demands  of  human  improvement  ? 

In  elucidating  this  subject  of  the  tonics,  it  is  worthy  of  remark, 
that  we  may  consider  the  diphthong  as  mere  syllables,  compounded 
of  a  tonic  and  subtonic.  For  it  is  certain  that  the  monothongs, 
when  used  as  vanishes  to  the  radical  tonics,  have  in  some  degree 
the  character  of  subtonics :  that  is,  they  lose  the  fulness  of  the 
radical  opening,  which  they  have  when  uttered  by  themselves.  The 
vanish  or  a-le  is  very  nearly  allied  to  j^-e  if  not  identical  with  it ; 
and  the  vanish  of  ou-r  bears  as  near  a  relation  to  t£;-o.  It  will  be 
evident  too,  on  trial,  that  if  a  radical  character  be  given  to  these 
vaiiishesy  they  will  not  unite  with  the  previous  radied  into  one 
impulse  of  the  voice. 

It  was  said,  in  a  former  part  of  this  section,  that  the  subtonics 
may  be  uttered  separately :  their  own  obscure  vocaliiies  bearing, 
Tespectively,  some  resemblance  to  those  of  the  fk^e  monothongs. 
Hence  it  is,  that  some  syllables  may  be  formed  exclusively  of  sub. 
tonics.  In  the  words  bidden,  fickle^  schism,  rythm,  riven,  and 
their  conjomers,  the  last  syllable  is  either  purely  subtonic,  or  a 
combination  of  subtonic  and  atonic.  On  these  final  .syllables  the 
radical  and  vanishing  movement  is  performed  ;  and  though  they 
exhibit  the  concrete  function,  they  betray  their  inferiority  in 
abruptness,  force,  and  musical  sound,  when  compared  with  the  more 
perfect  display  of  these  properties  on  the  tonics.  The  reason  why 
words  of  this  construction  are  necessarily  divided  into  two  syllables 
will  appear  in  the  following  section. 

(To  be  continued,) 

PROVIIICIAL. 

Ma^ami  DuLCatN's  Maidstons  Matinei^— On  Thursday  this  emi- 
nent artiste  gave  a  matmie  for  pianoforte  music  in  the  County  Assembly 
Room,  which  was  attended  by  a  numerous  audience,  which  comprised 
some  of  the  leading  families  in  the  county.  Few  performers  could  venture 
to  entertain  an  audience,  essentially  intellectua],  during  a  whole  after- 
noon ;  but  Madame  Dulcken  well  knew  her  own  powers.  The  fflustrations 
oe  the  diflttiot  stylet  ol  oonpositton  ^'from  grave  to  fgtf,  fimn  Uvety  to  | 


severe,"  were  distinguished  by  a  degree  of  completeness  which  delighte<l 
all  present.  Unlike  some  of  our  modern  pianists,  who  seem  to  imagine 
that  musical  energy  consists  in  *'  imitating  the  actions  of  the  tiger," 
Madame  Dulcken't  playing  is  gracefulness  and  elegance  personified,  with 
such  an  utter  absence  of  apparent  effort  as  to  strike  the  listener  to  her 
exquisite  execution  with  astonishment.  A  greater  musical  treat  has  seldom 
been  heard  in  Maidstone.  The  irresistible  John  Parry  drew  tears  of  vMrth 
from  the  audience,  by  some  of  his  most  humourous  effusions.— Maidftons 
and  South  Eastern  Gazette, 

Wbllington.— Mb.  T.  Hayward's  Comcbbt. — ^Mr.  Hayward  gave  a 
grand  instrumental  and  vocal  Concert  at  the  Town  Hall,  Wellington,  on 
Wednesday  evening  last,  under  a  most  distinguished  and  numerous 
patronage,  which  included  the  elite  of  the  towns  and  neighbourhood, 
among  whom  we  observed  Messrs.  T.  Eyton,  St.  J.  C.  Charlton,  T.  C. 
Eyton,  W.  Turner,  W.  Wyley,  J.  Horton,  C.  NewUng,  J.T.  Phillips  (New 
Lodge),  H.  Phillips  (Brockton),  J.  Phillips,  G.  Marcy,  R.  W.  Maxon,  C. 
Stanier,  T.  Juckes,  F.  Buckle,  M.  Webb,  J.  Williams  (Ketley  Hill),  R. 
Garbitt,  T.  Taylor,  J.  Rider,  C.  Steedman,  W.  Hewlett,  H.  Evett,  R. 
Greatwood.  W.  Nock,  R.  Palin.  B.  Smallwood,  Revds.  B.  Banning,  -^ 
Whitmore,  —  Gawthrop,  H.  Burton,  &c«,  &c.  The  vocal  performers 
engaged  were  Mr.  John  Parry,  Miss  Louisa  Haynes  (her  first  appearance 
in  public),  and  Mr.  Griffiths,  of  Wolverhampton  ;  instrumental---Mr.  H. 
Hayward,  solo  violin ;  Mr.  Marsden,  flute.  The  band  for  the  overtures 
consisted  of  Mr.  F.  Hayward,  first  violin ;  second  ditto,  Mr.T.  Hayward; 
flute,  Mr.  Marsden ;  tenors,  Mr.  F.  Hayward  and  Mr.  Griffiths ;  violon- 
cello, by  an  amateur :  grand  pianoforte,  Mr.  John  Hayward.  We  need 
scarcely  observe,  that  Mr.  John  Parry,  the  inimitable  buffo  singer,  re- 
ceived the  most  unbounded  applause  in  his  popular  songs,  "  The  London 
Season  :"  **  Miss  Harriet  and  her  Governess  :"  Matrimony,"  &c.  Mr.  H. 
Hayward  also  sustained  his  reputation  as  one  of  the  first  violinists  of  the 
place.  Mr.  Marsden  acquitted  himself  in  a  very  respectable  manner  on 
the  flute,  in  the  variations  on  Rousseau's  Dream,  and  in  ol  fantasia  on  airs 
from  Norma,  This  being  Miss  Haynes's  debut,  she  no  doubt  laboured 
under  some  disadvantage  in  consequence,  and  appeared  a  little  nervous 
in  her  first  song,  "  Lamp  of  the  Night :"  she  seemed  to  have  acquired 
more  confidence  in,  and  gave  in  better  style,  "  Go,  forget  me."  Miss 
Haynes  has  been  prepared  for  the  stage,  we  believe,  at  a  great  expense, 
having  been  for  some  time  a  pupil  of  Garcia,  at  Paris :  she  has  great 
compass  of  voice,  and  will,  no  doubt,  with  practice,  rise  in  her  profession. 
The  performance  on  the  whole  passed  off  very  well,  and  the  room  was 
filled  to  an  overflow,— -a  sufficient  proof  of  the  estimation  In  which  Mr. 
T.  Hayward  is  held  by  the  pubUc  of  Wellington  and  the  neighbourhood. 
^^Eddowe^t  Journal, 

Ava.— TxMPLBTOif,  the  favourite  and  "king  of  song,"  honoured 
Ayr  with  a  professional  passing  visit  last  evening.  He  gave  his  popular 
entertainment-— "The  Rose,  Shamrock,  and  Thistle" — in  the  Theatre, 
which  was  crowed  by  a  lashionable  and  brilliant  assemblage.  This 
entertainment  has  immortalised  bim  among  solo  entertainers*  It  is 
not  only  rich  in  songs,  which  few  can  interpret,  whether  plaintive, 
migestic  tender,  or  joyous,  but  strong  in  anecdotes,  which  none  can  tell 
like  him.  He  has  one  great  aim.  He  always  introduces  classical  music 
amongst  his  popular  selections— the  execution  of  which  oannot  be 
surpassed  in  delicacy,  brilliancy,  and  dramatw  effect,  elicituig  both 
wonder  and  delight.  Though  he  now  treads  his  native  soil,  and  in  the 
vicinity  of  the  birth-place  of  Burns,  where  a  few  years  since  he  charmed 
every  listener,  he  is  the  Orpheus  of  the  nineteenth  century,  "  whose 
songs  gush  from  his  heart"-— who  has  a  sentiment  in  every  tone,  and  a 
tone  for  every  sentiment.  It  would  be  difficult  to  describe  the  character 
of  Templeton's  voice.  It  is  more  like  some  curious  instrument  than  a 
human  voice — ^the  sweetness  of  his  upper  notes  lead  to  the  belief  that  it 
is  a  falsetto;  but  this  illusion  vanishes  when  we  hear  him,  without 
moving  a  muscle,  or  taking  breath,  swell  from  the  breathing  of  the  flute 
to  the  blast  of  the  trumpet.  Perhaps  we  can  best  account  for  the  effects 
he  produces  by  saying  they  emanate  from  that,  which  neither  the 
finest  organisation,  nor  the  result  of  the  most  careful  discipline,  could  of 
themselves  accomplish.  Templetun  possesses  a  charm  at  least  equal  to 
this — an  unstudied  grace  of  action,  suavity  of  manner,  and  gentlemanly 
deportment,  without  which  requisites  a  vocalist  may  make  a  very  good 
"musical  box,"  but  cannot  attain  the  high  position  he  enjoys.  We  have 
traced  Templeton  in  his  present  tour  northwards,  and  are  happy  to  say 
that  his  progress  has  been  attended  with  an  uninterrupted  series  of 
success ; — one  more  brilliant  than  the  other.  In  Yorkshire,  Lancashire, 
in  Dumfries-shire,  and  Galloway,  no  concert-room  was  large  enough  to 
accommodate  the  crowds  that  assembled  from  all  quarters  to  hear  this 
gifted  and  accomplished  vocalist ;  nor  can  this  be  a  matter  of  wonder 
when  we  refiect  that  he  stands  on  as  lofty  an  eminence,  and  is  as  un- 
approachable in  his  line,  as  Jenny  Lind  is  in  hers.  He  not  only  remains 
the  pre-eminent  tenor  who  shared  the  triumphs  of  the  still  incomparable 
"  spirit  of  song,"  MalibraQ>  but^  in  his  present  entertainments,  revives 


710 


THE  MUSICAL  WORLD. 


the  palmy  days  of  Braham  and  Indedon  by  hit  increased  power  and 
•plendid  tinging  of  their  once  famoat  songt— at  once  snatching  them 
from  oblivion,  and  renewing  a  ta&te  for  oar  national  melodies  amidst 
thit  newly-created  mania  for  foreign  music.  Mr.  Blewitt  accompanied 
Mr.  Templeton  with  his  usaal  ability;  and,  at  the  end  of  the  entertain- 
ment, favoured  the  audience  with  one  of  his  comic  songs,  which  tent 
them  home  not  only  delighted,  but  merry— .rAd  Ayr  Observer, 

LiYKRPooL. — The  Saturdat  Evbnino  Concerts.— The  celebrated 
vocalist,  Mr.  Wilson,  who  stands  unrivalled  as  an  illustrator  of  Scottish 
song,  gave  one  of  his  entertainments  at  the  Concert-hall,  on  Saturday 
evening  last.  The  attendance  was  numerous  and  respectable.  Mr. Wilson 
was  in  excellent  voice,  and  all  his  efforts  afforded  unbounded  satisfaction 
to  the  audience.  His  recitsl  of  Burns's  popular  and  admirable  poem  of 
Tarn  O'Shanter,  was  a  most  strilcing  and  agreeable  feature  in  the 
evening's  entertainments,  and  was  greeted  with  loud  bursts  of  applause. 
During  the  interval  between  the  first  and  second  parts,  Mr.  John  Smith 
said,  a  most  pleasing  task  devolved  upon  him ;  Mr.  Wilson  had,  as  they 
were  all  aware,  performed  his  duty,  and  they  had  now  a  duty  to  perform. 
He  expressed  his  gratification  at  seeing  so  large  an  attendance,  and  after 
mentioning  the  good  tendency  of  such  entertainments,  he  said,  in  con- 
trast to  the  busy  world  out  of  doors,  the  enjoyment  they  received  there 
by  those  entertainments  was  a  refreshing  sunshine  by  which  they  felt 
relieved  after  the  depressing  business  of  the  day.  Their  friend  Mr. 
Wilson,  who  had  delighted  them  so  much,  had  given  his  services  on  that 
occasion  in  compliment,  and  in  furtherance  of  the  objects  of  that  insti- 
tution, having  come  down  fh>m  London  for  the  express  purpose.  They 
had  with  them  one  of  their  best  and  oldest  fHends,  Mr.  Rathbone,  also 
several  distinguished  strangers  from  the  colony  of  Prince  Edward's 
Island,  including  the  Hon.  J.Pope,  Speaker  of  the  House  of  Assembly, 
and  Mr.  E.  Palmer,  who  had  come  there,  as  well  as  themselves,  to  enjoy 
the  sunshine.  He  concluded  a  very  excellent  speech  by  moving  the 
thanks  of  the  company  to  Mr.  Wilson,  for  his  handsome  services  on  the 
present  occasion,  which  was  immediately  carried  by  acclamation.  The 
Hon.  Mr.  Pope  expressed  the  high  gratification  which  had  been  afforded 
him,  more  particularly  as  he  was  a  stranger  amongst  them.  He  was  glad 
to  see  such  entertainments  provMed  for  the  people,  as  they  were  the 
means  whereby  individuals,  as  well  as  families,  were  enabled  to  enjoy 
amusements  of  a  rational  character,  combined  with  instruction.  Those 
who  attended  would,  he  had  no  doubt,  go  home  better  husbands  and 
better  wives.  He  had  been  much  struck  with  the  moral  tendency  of 
the  songs  introduced,  which  was  alike  creditable  to  the  vocalist,  and 
those  concerned  in  the  management  of  the  concerts.  (Applause.)  Mr. 
Wilson  then  made  his  appearance,  and  was  received  with  three  hearty 
rounds  of  applause,  at  the  close  of  which  Mr.  J.  Smith  announced  to 
him  the  vote  of  thanks  which  had  been  passed  for  his  liberal  conduct 
that  evening,  and  the  gratification  he  had  at  all  times  afforded  by  his  vocal 
efibrts.  Mr.  Wilson  said  that,  in  reference  to  the  gratifying  information 
Mr.  Smith  had  communicated  to  him,  he  begged  to  assure  them  that  it 
afforded  him  the  highest  pleasure  on  all  occasions  to  be  in  that  room. 
He  often  met  assemblies  higher  in  rank,  but  he  never  came  before  those 
who  could  better  appreciate  the  efforts  of  the  poet  or  the  singer  than 
those  he  was  in  the  habit  of  meeting  in  that  hall.  He  always  looked 
forward  to  his  coming  there  as  a  day  of  sunshine,  which  afforded  him  the 
highest  pleasure.  He  thanked  them  sincerely  for  the  mark  of  approbation 
they  had  given  him,  and  concluded  by  assuring  them  of  his  most  earnest 
desire  for  the  welfare  and  success  of  their  institution.  (Loud  applause.) 
We  ought  not  to  omit  mentioning  the  excellent  accompaniments  of  Mr. 
JoHey,  a  young  man  of  great  talent  and  unassuming  manners,  who 
shewed  by  his  performance,  that  he  was  not  only  a  fine  pianoforte  player, 
but  a  splendid  accompanyist,  and  that  he  had  a  just  appreciation  of  the 
poetry  as  well  as  the  music  he  was  accompanying.  Mr.  Wilson  may 
•  congratulate  himself  on  having  such  a  coadjutor. — Liverpool  Mercury, 

DuBLiM.  Theatre  Royal.— The  opening  performance  presented  to  us 
a  debutante,  in  the  person  of  a  pupil  of  Mr.  Allen — a  young  lady  who, 
on  the  threshokl  of  her  professional  career,  proves  that  she  brings  to  her 
arduous  undertaking  many  of  the  most  brilliant  attributes  of  genius— an 
organ  of  considerable  strength  and  exquisite  sweetness,  which  has  been 
most  sedulously  and  successfully  cultivated— a  figure  of  true  feminine 
grace,  and  a  countenance  of  the  most  pleasing  expression.  The  opera 
selected  for  her  debut  was  Bellini's  most  successful  and  popular  compo- 
sition, Th^  Sonnambula,  in  which  she,  of  course,  sustained  the  herouie, 
and  with  the  most  triumphant  success.  Throughout  the  opera  we  were 
delighted  to  witness  in  this  young  lady  the  rare  combination  of  the  melo- 
dist's power,  blended  with  the  accomplishment  and  skill  of  an  excellent 
actress.  We  should  pay  but  an  ill  compliment  to  the  treasured  know- 
ledge of  our  musical  readers,  were  we  to  enter  into  any  enumeration  or 
detail  of  the  delicious  airs  and  concerted  melodies  with  which  Bellini  has 
so  profusely,  so  gorgeously  adorned  this  exquisite  opera;  all  we  shall  say 
on  that  point  is,  that  ample  justice  was  done  to  each  and  all  of  these 


compositions ;  and  so  complete  was  the  success  of  the  hk  debutante,  that 
at  the  falling  of  the  curtain,  she  was  most  enthusiastically  called  for  by 
the  united  acclaims  of  the  crowded  and  fashionable  auditory,  and  ber 
success  recorded  in  many  long  protracted  peals  of  applause.  A  more 
successful  debut  has  rarely,  if  ever,  been  witnessed.  Mr.  Allen,  the 
El  vino  of  the  evening,  what  shall  we — what  need  we  now  sayf  The 
celebrity  his  talents  have  so  justly  acquired  for  him,  renders  criticism  an 
easy  and  a  pleasurable  task,  even  to  the  most  fastidious  professor  of  the 
"  ungentle  craft."  We  have  rarely  heard  his  melodious  and  wetl-attuned 
organ  "  discourse  more  eloquent  music ;"  and,  indeed,  on  this  occasion, 
we  could  not  shut  out  the  notion,  that  natural  anxiety  for  the  success  of 
his  fair  pupil  stimulated  him  to  many  of  his  best  and  most  successful  ex- 
ercises of  a  voice  which  is  in  itself  all  sweetness,  melody,  and  richneaa.^ 
{Prom  a  Coiretpondent,) 

Liverpool.— The  accomplished  Miss  Emily  Grant  made  her  deb4i 
at  the  Concert-hall,  Lord  Nelson-street,  on  Wednesday  evening,  to  a 
numerous  and  highly  respectable  audience,  including  several  dis- 
tinguished professionals,  amateurs,  &c.  The  universal  cheers  wliich 
greeted  her,  on  being  led  on  by  Mr.  Robinson,  prevented  her  proceed- 
ing  for  some  time  with  her  opening  song—"  Love,  dweU  with  me,"— her 
execution  of  which,  as  well  as  her  other  songs,  brought  into  play  all  the 
resources  of  her  fine  soprano  voice,  revelling  into  the  intricacies  of  the 
most  difficult  and  elaborate  passages,  and  surmounting  them  with  a 
neatness  and  delicacy  of  finish,  and  all  with  such  perfect  ease,  as  could 
only  be  effected  by  the  highest  degree  of  art  and  cultivation,  and  which 
the  audience  testified  their  appreciation  of  by  the  frequent  bursts  of 
applause  with  which  they  interrupted  her,  and  more  particularly  in  her 
arch  and  expressive  manner  of  rendering  Balfe's  favourite  song, 
"Woman's  Heart,"  and  for  wliich,  in  the  encore,  she  sulistituted  *'  Love 
rules  the  Palace,"  and  that,  if  possible,  with  increased,  power,  brilliancy, 
and  effect.  Her  old  favourite  song,  "  Sound  the  Pibroch,"  was  received 
and  encored  with  equal  enthusiasm,  and  the  peculiar  effects  produced 
by  the  double  echo  she  introd\|ces,  vras  listened  to,  as  usual,  vrith  breath- 
less attention.  Miss  Grant's  voice  is  one  of  great  power,  compass,  and 
flexibility,  and  has  been  evidently  trained  in  the  true  and  legitimate 
school  of  singing.— Lirei770o/  Chronicle, 

Ibid.  —  The  Philharmonic  Cokcirt.  — On  Monday  evening  the 
fifth  undress  concert  took  place  at  the  Collegiate  Institution,  but 
the  attendance  was  not  so  numerous  as  usual.  The  vocalists  were  Min 
Stott,  Miss  Marie  Stuart,  Mr.  Ryalls,  and  Mr.  Armstrong.  Mr.  Henry 
Hayward,  the  celebrated  violinist,  was  the  only  solo  instrumentalist. 
The  chief  attraction  of  this  concert  was  its  instrumental  performance^ 
and  of  these  a  rich  treat  vras  presented.  They  consisted  of  Beethoven's 
symphony  in  D  major;  the  "  Meerestille,"  by  Dr.  Mendelssohn  ;  Berlioz's 
"  Des  Francs  Juges ;"  the  overture  of  '•  Femand  Cortes,"  by  Spontini ; 
and  Aober's  favourite  overture  to  "  Masaniello." — lAverjtool  Jownal, 

Cheltenham. — ^The  Promenade  Concerts,  which  take  place  twice  a 
week  at  the  Rotunda  are  very  fashionably  attended.  At  the  last.  Miss 
Le  Grice,  a  pupil  of  Mr.  Cianchettini,  whose  performances  on  the  piano- 
forte we  have  noticed  more  than  once,  at  the  Royal  Academy  of  Music 
in  London,  as  well  as  in  Cheltenham,  appeared  to  the  greatest  advantage, 
and  was  indeed  uncommonly  well  received,  in  two  grand  masterpieces  of 
the  art ;  one  of  which  v^as  Beethoven's  immortal  op.  53,  and  the  other, 
John  Cramer's  exquisite  "Andante^*  and  bravura  variations,  op.  61. 
We  found  this  young  lady  much  improved  since  last  year :  indeed  she 
is  rapidly  advancing  towards  perfection.  Her  execution  is  very  brilliant, 
and  her  expression  quite  clatsical;  denoting  a  true  perception  of  the 
beauties  of  the  great  models — ^those  models  that  are  not  subservient  to 
fashion ;  they  vHU  indeed.  Hoe  for  ever  !  1 !  Miss  Le  G.  can  also  show 
off  in  Listz  or  Thalberg;  but  she  has  too  much  taste  and  feeling  to  desert 
the  ancient  for  the  modem.  We,  therefore,  wish  her  well  in  all  sincerity 
of  heart. — Ptom  a  Correspondent, 


MUSIC   IN   AMERICA. 

(Frwn  •'  Tk€  Age.") 

Madame  Bishop's  Concert  took  place  at  the  Tabemade 
on  Thursday  evening,  and  was  attended  by  at  least  fifteen 
hundred  persons,  who  were,  if  we  may  judge  by  the  applause 
they  bestowed  upon  the  performances,  perfectly  satisfied  with 
the  entertainments  provided.  In  addition  to  the  treat,  which 
it  was  known  was  in  store  for  them  from  Madame  Bishop's 
singing,  much  curiosity  also  existed  to  hear  the  performances 
of  M.  Bochsa  on  the  harp,  and  those  who  are  admirers  of  that 
instrument  had  no  reason  to  feel  any  disappointment*    In 


THE  USICAL  WORLD. 


711 


point  of  skill,  M.  Bochsa  excels  all  harpists  we  haye  ever 
lieard^-tbe  exqaisite  taste  he  displays  in  his  selection  of  melo- 
dies, and  the  surprising  Tariations  with  which  he  emhellishes 
them,  are  heyond  all  praise.  The  ballad,  ''  On  the  Banks  of 
Gnadalquiver,"  by  Madame  Bishop,  drew  forth  a  rapturous 
encore,  as  usual,  and  charmed  the  unskilled  lovers  of  music 
more  than  the  elaborate  and  difficult  compositions.  This  was 
also  the  case  with  her  singing  the  Irish  melody,  '*  The  Last 
Rose  of  Summer/*  and  for  the  encore  "The  Harp  that  once 
thro'  Tara's  Halls"  was  given.  These  melodies  she  sang  with 
the  most  touching  and  characteristic  sweetness,  and  fairly 
moved  her  audience  to  enthusiasm  by  the  beautiful  and  most 
effective  simplicity  and  truth  she  gave  to  the  character  of  the 
words  and  music.  ^ 

Messieurs  Uerz  and  Sivori  gave  a  Concert  at  the  Tabernacle 
on  Tuesday  evening,  which  was  very  well  attended,  and  went 
off  with  great  edai.     The  orchestra  was  led  by  Rapetti. 

MISCELLANEOUS. 

British  Musicians.— The  Society  gave  its  first  chamber 
concert  on  Mondi^y  evening.  The. performance  commenced 
with  Beethoven's  sofio/a  in  A,  Op.  69,  for  pianoforte  and 
violoncello,  by  Miss  Binfield  Williams  and  Mr.  Guest.  A 
song  of  J.  L.  Hatton's  followed,  sung  by  Mr.  Julian  Kench ; 
which  was  sncceded  by  Miss  A.  Williams,  in  a  new  song  of 
W.  Rae's.  A  quartet  .(]!ii(S.)  from  Miss  Kate  Loder's  pen,  was 
next  given,  interpreted  by  Messrs.  Mellon,  J.  Banister, 
Weslake,  and  W.  F.  Reed.  Part  I.  concluded  with  Mozart's 
trio,  "  Susanna  a  via  sortite."  The  most  notable  feature  in 
this  portion  of  the  performance  was.  Miss  K.  Loder's  quatuor, 
a  composition  of  rare  merit,  and  such  as  we  never  heard  from 
the  pen  of  a  lady  before.  It  is  evident  Miss  K.  Loder  is 
intimately  conversant  with  Haydn  and  Mozart,  and  upon 
their  works  she  has  founded  the  style  and  feeling  of  her  com- 
positions. It  is  hard  to  pronounce  a  decided  opinion  on  a 
work  of  pretence,  not  pretension,  and  we  shall  do  our  judg- 
ment no  further  violence  until  we  have  heard  the  quartet  a 
second  time.  The  items  in  the  second  part  were  a  trio  in  B 
minor.  Op.  20  (MS.)  by  C.  E.  Horsley  ;  a  song  of  Walter 
Macfarren's  to  Tennyson's  exquisite  little  poem,  **  Flow  down, 
cold  rivulet,  to  the  sea,"  excellently  written ;  Henry  Smart's 
popular  duet,  **  Summer  is  coming,"  and  Beethoven's  quartet 
in  £•  flat,  No.  1,  Op.  74.  We  shall  have  occasion,  in  a  future 
number,  to  devote  a  column  or  two  of  our  journal  to  the 
consideration  of  the  prospects  and  management  of  the  Society 
of  British  Musicians. 

Madams  Pauline  Viardot  Garcia  has  left  Paris  en  rauie 
for  Dresden,  where  she  is  engaged  for  a  series  of  performances. 
From  thence  she  proceeds  to  Hamburrr,  and  afterwards  to 
Berlin.  We  may  now  state  as  a  fact,  tbat  the  great  eaniatrice 
has  definitively  settled  with  Mr.  Bealo,  and  will  join  the  corps 
of  the  Royal  Italian  Opera  next  soason.  She  will  appear  in 
Hie  Huffuenotst  Robert  le  Diable,  Barhiere^  Don  Giovanni, 
Iphigenia,  &c.  Her  coming  to  England  is  already  looked 
forward  to  with  the  greatest  irixterest. 

Hatmarkst. — A  new  comic  drama,  in  two  acts,  to  be  called, 
The  Roused  Lion,  is  in  rehearsal,  and  will  be  produced  on 
Saturday  next. 

Madame  AknA  T'hillon  has  arrived  in  London. 

Lola  MoNTKz.^^Among  the  curiosities  which  most  attract 
strangers  visiting  Munich  at  the  present  moment,  perhaps  the 
most  curious  Vj  the  residence  of  the  Countess  of  Landsfeld^ 
thd  celdbratefA  Lola  Montez*    Among  the  apartments  thrown 


open  to  public  admiration  is  the  countess's  bedchamber,  which 
is  fitted  up  with  royal  magnificence  and  taste.  On  the  table 
in  this  room  is  a  rare  ornament^—  a  superb  album  is  laid  out, 
filled  with  pieces  of  poetry,  written  in  German,  and  in 
celebration  of  the  charms  of  the  beautiful  countess,  and  on  an 
embroidered  cushion  upon  the  same  table  a  hand,  sculptured 
in  marble,  is  shown  as  a  representation  of  "  the  royal  hand 
that  wrote  the  verses.'* 

The  Late  Mr.  Bellamy. — The  subscriptions  for  the 
purpose  of  erecting  a  tomb  to  the  memory  of  this  much- 
lamented  and  highly-esteemed  gentleman  are  likely  to  be 
attended  with  a  result  favourable  to  the  wishes  of  the  friends 
of  the  deceased.  In  addition  to  the  sums  already  received 
from  various  inhabitants  of  Bath,  subscriptions  have  been 
sent  from  the  following  members  of  the  theatrical  profession 
in  the  metropolis,  with  whom  Mr.  Bellamy  was  upon  terms 
of  intimacy: — Mr.  and  Mrs.  Charles  Kean,  Mr.  and  Mrs. 
Bartley,  Mr.  Macready,  Mr.  Charles  Young,  Mr.  Meadows, 
Mr.  Hemming,  Mr.  W.  Harrison,  Mr.  Charles  Farley,  Mr. 
John  Cooper,  Mr.  Harley,  Mr.  F.  Matthews,  Mr.  W.  Farren, 
and  Sir  Gieorge  Smart.  Mrs.  Macready,  the  lessee,  and 
Mr.  Chute,  the  acting  manager  of  our  theatre,  have  also  con- 
tributed their  donations  towards  carrying  the  desired  object 
into  effect. — Bath  Herald. 

M.  DizT,  a  celebrated  Harpist,  formerly  a  member  of  the 
Philharmonic  Society  of  London,  died  last  week  in  Paris, 
aged  67. 

An  Organ  has  lately  been  presented  to  the  new  church 
of  Bradford,  Wilts,  by  Captain  Palairet,  ^t.N.,  a  resident  in 
the  neighbourhood. 

Death  oe  an  eccentric  Musical  Amateur. — ^Died,  on 
Wednesday,  the  22nd  ult.,  David  Hatton,  of  Thornton,  North 
Britain,  better  known  in  the  locality  as  FUUortm,  in  the  78th 
year  of  his  age.  Few  of  his  craft  enjoyed  equal  reputation 
with  the  deceased  for  the  peculiarity  of  his  sentiments  upon 
civil  and  religious  topics.  He  had  a  handsome  coffin  made 
for  himself  some  years  ago,  and  realised  the  outlay,  long  ere 
he  died,  by  exhibiting  the  mute,  though  eloquent  memento  mori. 
His  house,  both  internally  and  externally,  was  a  perfect 
curiosity,  with  figures,  devices,  and  emblems  of  the  most 
incongruous  beings  and  objects  in  nature ;  many  visitors  re- 
sorted thither,  in  consequence.  He  had  great  musical  talents, 
and  invented  a  musical  Instrument  (hence  the  name  of  Flu" 
torum),  something  in  the  shape  of  an  Irish  bagpipe,  upon 
which  he  played,  with  tolerable  accuracy,  most  of  the  old 
Scotch  tunes.  He  has  left  a  considerable  property  to  be 
divided  amongst  some  distant  relations,  as  he  never  was 
married.— <Sco/cA  paper, 

Mr.  Mitchell  is  expected  to-morrow,  from  Brussels,  to 
complete  his  arrangements  for  the  Opera  Comique,  at  the  St4 
James's  Theatre. 

A  Rival  to  all  the  Soprani.  —  It  is  reported  that  a 
pupil  of  Mdme.  Pasta  will  appear  in  the  season  1849,  at  the 
Royal  Italian  Opera,  who  is  likely  to  eclipse  every  European 
singer. 

M.  Berlioz  leaves  Paris  to-day  for  London.^  Felicien 
David  will  visit  London  next  spring,  and  intends  bringing  out, 
it  is  said,  his  last  great  work. 

The  Late  Mr.  Rookb.— A  grand  operatic  concert  will  be 
given  on  Thursday  evening,  Dec.  the  2nd,  at  the  Hanover 
Square  Rooms,  for  the  benefit  of  the  widow  and  children  of 
the  above  lamented  musician.  Particulars  will  be  announced 
forthwith* 


712 


THE  MUSICAL  WORLD. 


Grisi  has  transmitted  to  England  a  donation  of  £50  to- 
wards the  relief  of  the  children  of  the  late  Madame  Albertazzi. 
We  are  not  at  all  surprised  at  this :  from  numerous  other  cir- 
cumstances, which  have  reached  our  ears,  we  have  long  known 
that  the  Diva  is  as  generous  as  she  is  great.  In  ^e  same 
benevolent  spirit,  though  not  in  the  same  largeness  of  spirit. 
Her  Most  Gracious  Majesty  Quten  Victoria  has  sent  Madame 
Madame  Albertazzi's  children  £10. 

Beiohton  Musical  Union. — The  following  is  the  pro- 
gramme of  the  first  stance  which  took  place  at  the  Old  Ship 
Assembly  Rooms,  on  Monday  last : — 

1.  Quartette— No.  88  in  F,  two  Tioliiu,  viola,  and  violoncelb,  Mesm. 
Oury,  Cramer,  Hill,  and  Signor  Piatti— /Taj/dn.  2.  Grand  Trio^in  B  flat, 
Op.  97^  pianoforte,  Madame  Oury,  violin,  Mr.  Oury,  Tioloncello,  Signor 
Piatti — Beethoven,  3.  Solo — vioioncello,  La  Sotmambuiaf  Signor  Piatti — 
Piattu  4.  Qoartette  Concertante— in  A,  Op.  IS— Mozari.  5,  Duo  de  Sakw 
— (MS.)  pour  piano  at  violin,  Mr.  and  Madame  Oury,  Xa  Figlia  del  Reggi' 
mento—Uury. 

Among  the  suhscribers  and  patrons  are  the  Earls  of  West- 
morland [and  Falmouth,  the  Hon.  General  Upton,  the  Hon. 
Lawrence  Parsons,  Admiral  Bladen,  Lady  Capel,  and  Captain 
Newbury.  The  meetings  are  held  once  a  week,  under  the 
direction  of  Mr.  and  Madame  Oury. 

Miss  Rainfo&th,  Mr.  Travsbs,  and  Mr.  Stretton, 
have  been  attracting  full  and  fashionable  audiences  at  the 
Newcastle  Theatre.  Donizetti's  Elisir  d'Amore  was  produced 
on  Friday  in  a  manner  which  would  have  done  credit  to  a 
metropolitan  theatre.  The  choruses  and  orchestral  depart- 
ment were  excellent. 

Mr.  G.  H.  Bianchi  gave  a  concert  at  the  Theatre,  Ipswich, 
on  Tuesday  evening,  composed  entirely  of  English  music. 
The  vocalists  were  Miss  Bassano,  Miss  Eliza  Nelson,  Mr. 
Leffler,  and  Mr.  John  Parry.  The  concert  was  given  under 
the  immediate  patronage  of  the  nobility  and  gentry  of  the 
neighbourhood.  The  entertainments  opened  with  Bishop's 
glee,  '*  Blow  gentle  gales,"  sung  by  Miss  Bassano,  Miss  Eliza 
Nelson,  and  Mr.  Leffler.  This  was  followed  by  Nelson's 
ballad,  "The  Wind,"  well  executed  by  Leffler;  after  which 
Miss  Nelson  sang  Henry  Russell's  "  The  Old  Water-mill," 
with  the- greatest  taste  and  feeling,  and  was  loudly  applauded ; 
whereupon  Miss  Bassano  gave  a  ballad  of  Maynard's  in  her 
usual  style  of  excellence ;  and  then  Miss  £.  Nelson  and  Mr. 
Laffler  indulged  the  audience  with  a  duet ;  and  Mr.  Louis 
Emanuel,  who,  by  the  way,  officiated  as  conductor  during  the 
evening,  was  admired  in  an  impromptu  on  the  harmonium ; 
and  "  The  Chough  and  Crow  "  was  rendered  with  effect  by 
Miss  Bassano,  Miss  E,  Nelson,  and  Mr.  Leffler :  and  John 
Parry  wound  up  Part  1,  with  ♦'  The  London  Season."  In  Part 
2."we  admired  most  Miss  Eliza  Nelson  in  a  very  pleasing 
ballad,  called  <*  The  Happy  Gipsies,"  which  she  gave  most 
excellently,  and  in  a  style  which  promised  still  greater  excel- 
lence. This  young  lady  has  a  charming  mezzo  soprano  voice, 
and  her  method  is  good.  We  have  heard  her  but  a  few  times, 
yet  have  heard  enough  to  augur  well  of  her  future.  Miss 
Bassano  sang  a  Scotch  ballad  so  admirably,  that  she  received 
a  unanimous  encore.  It  is  in  the  interpretation  of  such  music 
that  this  lady  excels.  The  concert  went  off  with  considerable 
spirit,  most  of  the  fashionables  remaining  to  the  end. — {From 
a  Correspondent.) 

Mr.  Frederick  R.^Vbnct A,  Berks,  son  of  Mr.  Venua, 
of  Reading,  formely  leader  of  the  band  and  composer 
to  the  Italian  Opera,  London,  has  been  lately  elected  a 
student  in  the  Royal  Academy  of  Music,  under  the  immediate 
patronage  and  recommendation  of  his  Excellency  the  Right 
Honorable  the  Earl  of  Westmorland,  President  of  the  Institu- 
tion.    Mr.  F.  R,  Yenua's  examination  for  qualification  proved 


so  very  satisftictory  in  every  respect  that  he  has  been  jdaoed 
in  the  highest  position  in  the  establii^ment,  wibidi  must  prove 
very  gratifying  to  himself  and  his  respected  father,  who,  on 
application  for  his  i^dmitteCbee,  received  the  fdiowiog  gradou 
letter  :— 

''Roifol  Acaimaii  nf  Mumc,  4,  TmUrim  Sirett, 
Hmova-'iquare,  SOth  October,  1847." 
•*  Sir,— I  am  directed  by  the  Earl  of  WeaUnorland,  to  acknowledge  the 
receipt  of  your  letter  of  the  J  8th  instant,  and  his  lordship  desires  me  to 
say,  he  will  be  most  happy  to  give  his  recommendation  for  the  entry 
of  your  son  as  a  student  of  the  Royal  Academy  of  Mnaic:  and  his 
loxdBhip  farther  desires  me  to  add,  that  he  very  sinoenly  wishes  your 
son  every  success  In  a  pro^esaion  in  which  his  father  has  been  so 
distinguished. 

Believe  me  to  remain,  Sir,  your  very  fiuthful, 

J.  Pitt  Bonteiw,  General  Superintendent 
To  Frederick  Vemua,  Esq.,  Reading,  Berks. 

Jennt  LiND. — The  following  has  been  the  distribution  of 
the  £200,  left  by  Jenny  Lind  for  charities  at  Norwich. 

Norfolk  and  Norwich  Hoapital ...     £  50 

West  Norfolk      .     .     Ditto 20 

Yarmouth       .     .     .     Ditto     .     .     •     .  20 

Blind Ditto     ....  15 

The  Dispensary 15 

Sick  poor  Society 15 

'    District  Visiting  Society 15 

Eye  Infirmary 10 

Lying-in  Charity 10 

Benevolent  Association 10 

Shipwreck  Mariners  Assooiation    ...  10 

Thorpe  Hamlet  Church 5 

Mr.  Taylor,  the  BKnd  Organist  .     •     .     .    5 

£200 
We  think  this  distribution  a  most  judicious  one,  and  sore  are 
we  that  every  one  will  hail  the  kind  consideration  which 
prompted  the  presenting  a  portion  of  Mdlle  land's  donation 
to  the  blind  musician,  Mr.  Taylor,  whose  latter  years  we 
regret  to  say,  are  blighted  by  the  presence  of  distress.— 
iVorfolk  Paper, 

iShakspere's  Plays. — ^The  earliest  quarto  editions  of  the 
plays  of  Shakspere,  wherein  the  title-pages  are  given  exactly 
as  they  stand  and  in  the  form  in  which  they  are  printed  in  the 
original  editions.  It  has  generally  been  said  that  there  are 
twenty  quL^rto  editions  of  plays  by  Shakspere  printed  anterior 
to  the  folio  of  1623  ;  but  the  fact  is,  that,  exclusive  of  "  The 
Taming  of  thy'-  Shrew,  the  tifle-page  of  the  quarto  edition, 
which  bears  date  in  1631»  there  are  only  seventeen  quartos. 
Steevens  in  1766^  to  make  up  the  number,  added  the  two  parts 
of  The  Trouhlesanh"  ^^9^  of  King  John,  1611,  which  nobody 
in  modem  times  has  Jmputed  to  Shakspere,  although  "Wntten 
by  W.  Sh."  was  insert*. 'd  fraudulently  on  the  tiUe-.page  by  the 
old  printer:  he  also  repr>ted  among  his  "Twenty  auartos 
the  two  parts  of  the  Con^^^^on  betfoe^n  the  two  Houses  of 
Lancaster  smd  Ywk ;  but  he  .  strangely  omitted  Pericles,  which 
had  much  more  than  an  equal  ^"^^^  ^  *^®  distinction.  Ihe 
undoubted  plays  of  Shakspere,  .w^<5^  <»°™®  ^^^"^  ^^^  press  in 
quarto  before  1623,  were  the  foUo^wiog,  and  our  hst  is  made 
out  according  to  the  dates  of  pubHca/^^^^  •  "" 

Romeo  and  Juliet,  1597-Richard  the  iyi'^^^^^Jlr^^x^ 
Third.  1597-.Henry  the  Fourth,  part  tl.  ^^''^^^^''X^^t}^ 
1598-Much  ado  about  Nothing,  leOoLllWida^ -^K^lif  ^ightf  Dn»m^ 
1600-Merchant  of  Venice,  160a-Henry  the  Fc  ^"J^^' P"!:  ^;i!?^ 
Henry  the  Fifth,  1600-Titu8  Andronicus,  I^Qs.^^TLao^L^ 
Windsor,  1602— Hamlet,  1603— KInff  Lear,  1608— Tk  '^^^^  vA^^^f^moA, 
1609— Pcrides,  1609— OthcUo,  1622|itized  by  VnOW 

Thus  it  win  be  seen  at  OBee  how  iiTegiilaily    ShiW®*^^ 


THE  MUSICAL  WOBLD. 


713 


dramas  came  from  the  press,  viz.  three  in  1597,  two  in  1598, 
six  in  1600,  one  in  1602,  and  another  in  1603,  one  in  1608, 
two  in  1609,  and  one  in  1622.  Why  six  separate  productions 
were  crowded  into  1 600,  while  in  various  years  none  at  all 
appeared,  is  matter  of  curipus  and  interesting  speculation  :  five 
of  these  six  were  printed  from  good  mauacripts,  whether 
derived  from  the  Theatre  or  from  any  other  source,  while  the 
sixth  was  indisputahly  surreptitious,  and  never  could  have 
been  authorized  by  anybody. — Mr,  Collier,  in  the  Shakspere 
Society  Papers, 

NOTIGE  TO  CORRESPONDENTS. 

OuB  Cork  Corrxbpondbnt  is  informed  that  no  manuscript  works  are 
recdve4  by  the  Society  of  British  Musicians,  unless  those  of  a  member, 
or  an  associate :  and  we  are  ^f  oifiniwi  that  the  same  regulation  prevails 
in  all  musical  sodeUes.  If  our  omrespondent  have  manuscripts  lying  by, 
which  are  supposed  to  be  worthy  of  submitting  to  trial,  then  had  our 
correspondent  best  join  the  Society  of  British  Musicians,  and  send  in  the 
M88.  to  the  committee  for  approval, 

Q.  S.  P.—"  11  Barbiere'*  is  decidedly  superior  to  "  La  Otzza  Ladra ;"  and 
is,  moreoveft  one  of  the  greatest  musical  works  ever  written.  To  the 
other  question,  "  which  are  Rossin^s  chefs  d'oeuvre  in  open^seria,**  we 
answer,  -'  GuiUtume  Tell,  Otdlo,  and  the  Mos4  in  Egitto." 

J.  Wakiman.— >Fre  are  sorry  we  cannot  Jhtd  room  for  our  correspondents 
letter.  We  feel  the  truth  of  his  remarks,  and  would  willingly  oblige 
him  by  inserting  them,  but  they  are  not  qfsii{fficient  importance  to  claim 
a  space  in  our  columns. 

NOTICE  TO   SUBSCRIBERS. 

t^  Our  Subscribers  are  respectfully  requested  to  forward  their  Subscrip' 
tions,  up  to  Christmas  next,  to  the  Publisher,  60,  St,  Martin's  Lane,  by 
Post  Office  order,  payable  to  William  Sfbxcbr  Johnson,  a$  the  Post 
Office,  Charing  Cross. 

APVERTISEilENTS, 
BY  APPOINTMENT  TO  THE   QUESN< 

Maniiiiu;tcirer  of  Improred 

Cabineti  Oottage,  Piccolo,  ft  Square  Pianofortes, 

Sr9j  BXSB0P8OATB    8TREBT   WXTBIlf^ 

'  Opposite  the  Marine  Society. 


PIsfiolo  PiaiioCort€a 

PIANOFORTES,  WARRANTED  of  the  best  manufacture,  and  at  the  lowest 
possible  prices,  for  Instmments  that  can  really  be  Warranted.  G.  PEACHEY 
respec^ilT  invites  li^  fHends  and  the  public  to  inspect  his  extensive  stock  of 
IMPBOVBD CABIKBT,  OpTTAGB,  PIOCOLO, and SQUARBPIANOFOaTES, 
New  Scale  6)  Octaves,  C  to  G,  upon  the  most  approved  principles,  for  tone, 
touch,  and  durability,  snitable  to  any  climate.  Also  a  large  collection  of  second- 
hand, of  every  description,  in  good  condition. 

Superior  InstnuaenCs  Xient  on  BlrOi  in  Town  or  Country. 
One  Hundred  Pianofortes  for  general  inspection,  8c  Packed  free  of  expense. 
G.  PEACHEY,  73,  BiiBOPf  gatb-sihist  Within,  opposite  the  Marine  Society. 

THE    PIANISTA  SWISS    aUADSILLES 

ARE  SUPERIOR  TO  JULLIEN*3  VOR  DANCING. 

The  same  No.  of  the  PIANISTA,  (86)  also  contains  Musard's  Swiss  Quadrilles' 
the  four  Alboni  Polkas  (for  four  hands)— the  Desir  Wa]tze»-and  the  Pope's 
National  Hymn  of  Liberty.  The  whole  for  2s.,  or  post  free  36  stamps.  All  the 
Ethiopian  Songs  and  Mary  Blane  Quadrilles  are  in  77,  for  as.  RutseU's  twenty 
popular  Songs  in  78  and  79.  38.  AD  Jenny  Llnd'i  Sonirs  in  Not.  80  to  85.  M. 
each  nomber.   Pianista  Office,  (first  floor)  67,  Paternoi&r  Row. 


quee;n's  concert  rooms,  hanover  square. 
QEAHI)  OPEBA^G  OONOEBT, 

On  THURSDAY  EVENING,  DECEMBER  2nd, 
For  tli#  BfiMfit  of  tbe  WIDOW  imd  FAMILY  Of  tlie  Ul^ 

Composer  and  Professor  of  Music.  —  Particulars  will  be  immediately  announced. 

NOW  PUBU8HING,  IN  MONTHLY  PARTS, 
Small  quarto,  as.  6d.  each  Part,  containing  60  pages  of  engraved  Music, 

THE  STANDARD  L7RIC  DRAMA: 

A  GoUection  of  all  the  BEST  OPERAS  by  the  most  eminent  Composers ;  with  an 
ENGLISH     VERSION 

IN  ADDITIOH  TO  THX 

ORIGINAL.        LIBRETTO, 

the  whole  of  the  unaccompanied  Recitatives,  Stage  Directions.  &c.  ice.   The 
Series  commenced  July  I,  1847,  with  MOZA.&T'B  charming  Opera— 

^'THB  MAitBXAOE  OF  FIOARO/' 

Past  Six  (to  appear  Dec.  1,)  will  complete  "  Figaro,*'  which  will  be  followed  by 

BEIaUNZ'S    ''NOBBflLA,'* 

Complete  in  S,  or  at  the  outside,  4  Parts,  commencing  Jan.  1,  1848. 

London  t  T.  BOOSBYft  Co.,  88,  RoUes  Street,  Oxford  Street, 

And  all  Music  and  BookieDers  in  Town  and  Country. 


NEIV    MUSIC. 

Just  Publidied,  at  Messrs.  C.  HALE  AND  SON'S  Piano  FOrt^  Harp,  and 

Music  Warehouse,  Promenade  House,  and  MontpeUer  Walk,  Cheltenham; 

cfTBB  WILIiOUOHBY  POIiKA/' 

Dedicated  (by  permission)  to  Miss  Jonxs,  by  the  Publisheis,  airaaged  by 

W.».  Jarrett.    Also,  "THE  PBSTH  POLKA,''-W. E. Jarrett. 

NEW  EDITIONS  OF  THE  SONGS  OF  THE  HEART. 

No.  1.-^'  The  BU^ted  Beert."        No.  a.-''  The  Wasted  Hear^" 

No.  S.— «'  I  took  mj  Iiute/'  by  Mrs.  Frands  Herridc. 

''When  the  Violet  hloomed,"— ftBallad,cQmpoaed  by  Mn.FnmcisHerrick. 

A  Seleetion  of  ^Taltsee,  by     A.  Yoigt. 

The  ftiTQrite  Hymns,  "  9pruu9Xom,'*  and  '^Before  f  ehoir»h'«  awltal 
Throne,''  arranged  in  Score,  by  J.  Uglowe. 

M  U  S  I  P  §  B  L  L  I  B  S. 


TO    BB    HAD    OV    ALL 


GRIMSTONE'S  AROMATIC  REGENERATOR  for  Imwoving  and  Promoting 
THE  GROWTH  OF  HUMAN  HAIR. 
To  THB  Ladxbs.— A  lady  had  the  following  letter  inserted  in  the  T|Me«  news- 
oaner  on  August  7/1846.    Keader,  remember  Sds  letter  was  put  into  toe  paper  by 
ffelidy  hCTaelf,  as  a  testimony  to  Ihe  virtues  of  Grimstone's  Aromatic  Regenerators 


«*Mra.Weekleygj 


■self  as  a  testimony  to  tne  virtues  oi  unmBione-H  Axumauu  «c6ctKri  «w. . 

■ekley.  of  No.  8,  Swan-street,  Borough,  takes  this  opportunity  of  public, 
ly  tSaui£Mr?^V.Grimstonj^  of  the  Herbl^ighg^^  *H!?SS°i£j 
Aiwmadc  ReKenerator.  in  ha^g  completely  restored  the  hair  on  her  hea<L  after 
uiSSIt  al^f  fSw  moithE,  and  8ie  whSe  ofW  hair  is  mudi  stroM;er  anymore 
liJSfiinttoS  tt^er  was  before  the  baldnm«^^  P^f  ^*i'*5LlS^2S!? 
in  answering  any  lady  of  respcctabiUty  to  the  above  facts.-8.  Swan-street, 

^ThSSost  deUcate  ladies  may  use  thU deliriitful  product  of  the  most  aromatic 
habe  and  flowera  with  confidence  j  its  reflr3hing  odour  removes  head-ache  and 
^£es  it  a  most  neceasary  companion  to  the  toilet.  In  cases  of  nervous  head-ach^ 
^m- ten  or  twelvedVTps  on  thecrown  of  the  h«id;  i/^^ry  bad,  repeat  iteyer 
quMter  of  an  hour.  In  most  cases,  relief  is  certain  in  ten  minutes.  It  produces 
Sair  on  children's  heads  in  a  fcwappttcations.  .If  used  on  in^n**' n«j2«' " 
hM  such  a  peculiar  cooling  influence  on  the  brain  as^to  prevent  conYulsions, 
M  tSl  aa  ^omoting  the  growth  of  hair.-See  pamphlei  of  tcatlmoniala  with 
every  bottle.  RING-WORM   CURED.     ^    ,^^  ,  ,     ,^^ 

14,  DevoBshire-sq.,  Bishopsgate-st.,  19^  July,  1847. 

<«  Mr  Frederick  Biadshaw.  having  lost  some  portion  ofms  hair  <rom  xing-worm. 
haa hSd tt2?2rfeS?SSd w wonifeffuUy rwtw^^^by onlya short  ^gjj?}^- <>] 
Mr.  GrimrtoiK's  *•  Aromatic  Regenerator,"  feda  thus  c»»l«i«W  »"*fi^y^^ 
nubliclv  to  acknowledge  it.  Mr?  F.  Bradshaw  has  much  Ple»»«=^  ™J?*nft>^™* 
tolmwiy^totlw  5b^  of  the  remedv.  end  Mr.  Grimstpne  is  at  perfect  liberty  to 
make  any  use  of  this  communication  he  pleases.  ,  .  „ 
To  Mr.  W.  Grimstone,  Herbary,  Highgate,  near  London." 

Sold  by  Mrs  J.  and  E.  Atkinson, k  Old  Bond-street :  Messrs. Hsherand Toller, 
ColSuit-Vtreet;  J.  Sanger.  Chemist,  ic.,  150,  Oxford-sfcreet;  Messrs,  Bard^jjnd 
Son^Farrinsdon-Btreet }  Ar.  Johnston,  68,  Comhni ;  T^J^J^ S^''^:^^^ 
St.  taul's  Churchyard ;  Messrs.  Hannay  and  (J..  68.  ^o"lftrert ;  and  ^  all 
Chwnists,  Druggiits,  uid  Medicine  Vendors.  Sold  m  triangular  bottles,  at  4s., 
Vs.,  inUls.  eacl;  id  forwarded  by  post  at  4s.  6d.,  78.8d.,  and  12s.,  c«e  to- 
clui  ed  .for  money  orders  only.  Sold  only,  Wholesale,  at  the  Herbary,  Higbgatfc^ 
Th^  7s  contJJM  two  48.,  the  III.  four  Umcs  the  quan  W  <srXM  46;  ^ 


714 


THE  MUSICAL  WOULD. 


ONE  STEP  firam  the  Importer  to  the  Consumer. 

TH^  EAffT  INDIA  OOMPANT  importing  their  own  Teu,  supply  Hotel- 
keepen  and  Fiunilies  at  dealers*  pricea :— the  present  state  of  Buropean  Commerce 
ofTers  facilities  to  purchasers  which  may  never  again  occnr.  A  good  household 
Black  Tea,  in  61b  migs,  is  now  sold  at  Half-a-Crown  a  pound.    Coffee  at  9d^ 

Omem$j  No.  9,  areat  8t.  Helen's  Churebyard,  Blsbopsffate 
Street,  City. 

^  CAUTION." 

WHBSBA8 

It  hath  been  falsdy  stated  that  the  popular  Song, 

'^JEANNETTE      AND      JEANNOT/' 

is  a  reprint  of  an  old  song,  I  hereby  request  all  Musicsellers,  Booksellers, 
Teachers  of  Music,  and  others,  not  to  be  deceived  by  such  statement,  and  as  the 
report  has  been  traced  to  the  shop  of  a  Publisher  in  FatfriMster  Rott,  the  young 
men  and  boys  in  the  employ  of  that  Publisher  are  hereby  cautioned  not  to  repeat 
a  declaration  which  is  uikolijf  /oIm,  The  **  Words*'  are  by  myself,  and  the  Music 
is  by  Charles  W.  Glover ;  both  are  original,  and  not  derived  from  the  French,  as 
many  persons  have  asserted :  this  declaration  is  issued  in  order  that  no  person 
may,  through  ignorance  of  the  fturt,  be  entrapped  into  a  violation  of  the  law. 

The  demand  for  Copies  of  this  Song  havmg  become  very  great,  Musicsellers, 
Booksellers.  Music  Copyists,  and  others  are  hereby  cannoned  against  setting 
pirated  copies  of  either  words  or  music  of  "  JMmutU  mud  JwnnoV*  or  colour- 
able imitations  thereof,  and  the  same  caution  extends  to  the  other  Songs  of  the 
Series,  entitled  *'  Swv  of  a  CoHicript,*'  as  under. 

WUmstt  «f  ktmd,  m*  Fkrtt  2>fly  of  Nooomber,  1847, 

CHARLES  JBFFBRTS. 

SONGS  OF  A  CONSCRIPT. 

Jeannette's  Song,    "  Ton  are  going  far  away,  fiur  away  fnm 

poor  Jeannette."      .».«,.,•        i»,  Od^ 
Jeannot's  Sonrt    "  Cheer  up,  cheer  up,  my  own  Jeannette."        2t,  Od, 


No.l, 


Jeannette 

returning.' 


reannot.    Duot,  ''From  the  Field  of  light 


.  6<f. 


LONDON: 

Fablished  by  O.  JSFFERYS,  21,  Soho  Sqtuure* 
PIANO-FORTE. 

A  very  superior  and  remarkably  fine,  powerful,  britUant-toned  CABINET 
PI ANCFQitirB,  in  a  very  beautiful  rosewood  case,  6}  octave,  richly  carved  flront, 
carved  leas,  fret  work,  O  G  Ml,  &c.  It  has  all  the  very  latest  improvements,  has 
not  been  in  use  four  months,  and  will  be  sold  at  a  very  low  price  for  ready  money. 
So  very  superior,  flne-toned,  and  elegant  an  instrument  is  very  seldom  to  be  met 
with.  To  be  seen  at  Mr.  Pain's,  Hat.maker,  1,  Bisbopsgate-street  within  (the 
seoond  house  flnom  GomhiU). 

Britannia  Life  Assurance  Company, 

1,  Princes  Street,  Bank,  London. 

Sa^ow€Md  0y  Bpodat  Ad  tf  PaHiameiUt  IT.  Vki,^  cap.  IX. 

Capital  iBlO^OO^OOO  BterUnv. 

ADVANTAGES    OF   THIS    INSTITUTION. 

MUTDAX.  ASSUBANCB  BRANCH. 

Complete  Security  afforded  to  the  Assured  by  means  of  an  ample  subscribed 
cai^tsl,  and  the  laige  frmd  accumulated  flnom  the  premiums  on  upwards  of  6000 

Half  the  amount  only  of  the  annual  premium  required  during  the  first  five 
years,  the  remaining  half  premiums  being  paid  out  of  the  profits,  which,  after 
five  years,  will  be  annually  divided  among  toe  Assured. 

PROFBisTAar  Branch. 

The  lowest  rates  consistent  with  security  to  the  Assured. 

An  increasing  scale  of  premiums  peculiarly  adapted  to  cases  where  kssuimnoes 
•re  eflheted  ibr  the  purpose  of  securing  Loans  or  Debts. 

Half^^redit  rates  of  Premium,  wliereby  credit  is  given  for  half  the  amount  of 
premium  for  seven  years,  to  be  then  paid  off,  or  renuun  a  charge  upon  the  Pottcv. 
at  the  option  of  the  holder.  ' 

EXTRACTS  FROM  THE  TABLES.' 


mutual  assuranor  branoh.      I 

PROPRIBTARY    BRANCH.                | 

HalfPremhmi 

Whole  Pre. 

Half  Premium 

Whole  Pre- 

Age.  ^ 

first  five 

mium  after 

Age. 

first  seven 

mium  after 

fears. 

five  years. 

years. 

seven  years. 

Jg    «.     d. 

jff  «.    <l. 

df    9,     d. 

^    0,     d, 
1  16    0^ 

90 

1    0    0 

9    0   0 

90 

0  18    0 

95 

19    9 

9   4    4 

95 

0  10    7 

1  10    9 

80 

1    4  11 

9    9  10 

80 

1    1    0 

9    8    6 

as 

18    6 

9  17    0 

85 

1    4  11 

9    9  10 

40 

1  IS    8 

8    6    6 

40 

1    0    9 

9  18    4 

45 

1  19    6 

8  19    0 

45 

1  14  10 

8    9    8 

SO 

9    7    9 

4  15    6 

50 

9    9    6 

4    5    0 

55 

9  18  10 

5  17    8 

65 

9  19    9 

i    ^    ^ 

PBTBR  MORRISON,  Ruidiitt  DiBiCfoa. 


THBATBB   &OTAL,       MZS^^         D&V&T    XiANB. 
)I.      JULLIEN'S 

ANNUAL  SERIES  OF  CONCERTS, 

LAST    WEEK     BUT    ONE. 

BNCykaBMBNT    OP    THB    MIS8B8   WXXJbXAKfl. 


BEETHOVEN  FESTIVAL. 
M.  JULLIEN  has  the  honour  to  announce  that  his  Annual  Series  of 
ConcerU  will  terminate  on  Saturday,  November  90th,  the  Theatre 
being  required  for  the  production  of  the  GRAND  OPERA.  During  tiiese 
few  remaining  nights  the  Programmes  will  include  all  the  Attractive  and 
Popular  Music  of  the  season,  and  in  order  to  render  them  addidonallj 
attractive,  M.  Jullibn  has  entered  into  an  engagenoent  with  the  Mlssn 
Williams,  who  will  sing  one  of  their  fiivonrite  Duets  on  eadi  Evnung; 

BEETHOVEN  FESTIVAL. 
On  MONDAY,  November  8(h,  the  whole  of  the  1st  Part  of  the  Concert 
will  be  selected  from  the  Works  of  Beethoven,  as  performed  at  the  cele- 
brated Beethoven  Festival,  including  the  Overture  to  *'  Fidelio :"  Sok>,Tiolin, 
"  II  Tremolo,"  by  M.  Sainton  ;  the  *<  Andante  Allegro  and  Starm,**  from  the 
"Pastoral  Symphony ;"  the  Sonata  in  F  ;  the  Grand  Symphony  iii/C  Miner; 
the  complete  Work,  ficc  Sce^— The  2nd  Pftrt  will  include  Selections  firam  the 
*<Stabat  Mater''  and  *<  Robert  le  OUhle;'*  a  Solo  by  Mr.  Riciluumon, 
the  <<  Swiss  Quadrille,"  &c 

On  Tuesday  next,  November  9th,  the  Conoert  will  be  for  the 

BBNBFIT  of  HBRR   XCBifia. 

Hie  Ck^ncert  commences  at  Sight,  and  terminates  before  Blefea  0*ciodc, 

M.  JuLLiEh's  Grand  Annual  BAL  MASQUE  will  take  place  on  MoNOATt 
November  22nd,%nd  terminat^the  season. 


THEATRE  ROYAL,    DRURY  I^ANHE. 
M.  JITLLIEN'S    CONCERTS. 

•  LAST  WEEK  BUT  ONE, 

HERR    KCENIQ'S     BENEFIT. 

HBRR  KCBNIG  begs  most  respecUbllr  to  annouiio^  tiiat  his  Annual  BKNBFIT 

will  take  place 

On  TUB8DAY  MBXT,  NoT«mbtr  #l|^ 

on  which  occasion  wUl  be  perfonsed  a  Grand  New  Sdcctioa  horn  Doniietti** 
Opera,  "  LuCrrzia  Boroia"  (Ist  Time);  the  popular  PantasiR  fkom  ''La 
SoNNAMRDLA  {*'  a  Solo  by  M.  Baumann;  a  Solo  by  Hrrr  Konio;  a  Duct 
by  the  Mines  Williams  ;  the  New  **  Swiss  Quadrillr,'*  ftc  te. 
Prices  of  Admission  as  usual. 
Further  Particulars  will  be  dul§  amuumted. 


MS.    HOWABD    OLOYEB 

Has  the  honor  to  announce,  that  he  is 

FORMING   CLASSES 
FOR  THE  PRACTICE  of  CLASSICAZ.  MIFSXC 

BOTH  VOCAL  AND   INSTRUMBNTAL. 

Hie  meetings  of  the  members  take  place  once  a  week,  under  his  pcwonsl 
superintendence.    For  Terms  and  ftirther  particuUirs,  apply  to 

Mr.  OltOVBR,  No.  14,  Iiower  BelcraTe  Ptaee,  Ptanlteo. 

LOOK  OFT  on  TAursdat  next,  November  11th,  far 

A  WORD  WITH    "PUNCH," 

On  the  respective  merits  of  his  Tliree  Pnppets, 
WRONOBEAD,     8LBBKHBAD,     Sttd    THIOKHBAD, 

With  stronic  Family  likenesses,  flnom  the  pencil  of  an  eminent  artist, 

BY    ALFRED     BUNN. 

To  be  printed  by  W.  S.  JOHNSON,  80,  St.  Martin's  Lan^  and  to  be  had  of 
an  Booksellers  and  Newsveoders.  As  80,000  copies  of  theirst  editfon  wiU  be 
struck  off,  no  Advertisements  can  be  received  after  Monday  next. 


Printed  and  Published,  for  the  Proprietors,  at  the  *<  Nassau  Steam  Press." 
bv  William  Spbncrr  Jobnbon,  60,  St.  Martin's  Lane^  in  the  parish  of  St. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex;  where  all  communications 
for  the  Editor  are  to  be  addressed,  post  paid.  To  he  had  of  O.  Purkcsa,  Dean 
Street,  Soho :  Strand,  Paternoster  Row ;  Yickers,  HolyweU  Street  i  andall  Boob- 
•dleni  CityAgenMur.GX  Deudn(ABiiddenhary«--^ftaiday,Kornbcr  ^IM^^ 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  CONCERT  ROOM,  MUSIC,  LITERATURE,  FINE  ARTS, 

FOREIGN  INTELLIGENCE,  &c. 

Terms  of  Subscription,  per  Annvm,  16s.  Stamped ;  Ifls.  Unstamped ;  to  be  forwarded  by  Money  Order  or  Vosta^e  Staaips 
to  the  Pnblisber,  W.  S.  Johnson,  "Nassau  Steam  Press/'  60,  St.  Martin's  I.ane,  Oharlnc  Orossi 
4^ Yearly  Sabflcribers  only  (whose  names  are  recistered  at  the  Ofllee)  are  entiUed  to  an  Admission  to  the  Annnal  Concert. 


No.  46.^V0L.  XXIL 


SATURDAY,  NOVEMBER  13,  1847. 


i  PRICE   TUREBPENCS. 
1  STAMPED,  FOURPENCE. 


LETTERS    FRORR   PARIS. 

(No.  8.) 

TO    DESMOND    RYAN,    ESQ, 

Wednesday y  November  10. — My  Dear  Ryan, — As  usual, 
here  I  am,  at  the  eleventh  hour  (three  o'clock  by  the  Bourse), 
JDst  in  time  not  to  be  too  late  with  my  hebdomadal  dispatch. 
However,  it  is  a  chronic  malady  with  me,  that  I  cannot  begin 
to  work  until  I  am  absolutely  compelled ;  and  if  there  were 
another  post  at  six,  I  should  not  commence  my  letter  till  four. 
During  the  current  week  my  head  is  crammed  with  matter, 
that,  by  reason  of  our  relationship,  should  be  placed  at  your 
disposal ;  but  when  the  time  comes  for  me  to  turn  it  into 
prose,  I  am  at  a  complete  stand-still,  everything  of  im- 
portance has  gone  clean  out  of  my  memory,  and  I  am 
puzzled  how  to  fashion  the  opening  paragraph  of  my  epistle. 
Here,  however,  you  have  it  ready  made ;  by  force  of  com- 
plaining that  I  do  not  know  how  to  begin,  I  have  un- 
consciously begun— and  so  now  fox  the  news,  ventre  a  ierre, 
in  full  gallop ! 

The  Opera  being  the  first  thing  that  presents  itself  to  my 
consideration,  let  me  begin  by  the  Opera.  Since  my  last 
there  has  been  no  novelty.  Auber's  Le  Philtre^  one  of  the 
most  charmingly  pastoral  of  all  pastorals,  has  twice  prefaced 
the  Fille  de  Marbre,  in  which — ^although  the  nightly  receipts 
are  diminishing  —  the  nightly  reception  of  Cerito  by  the 
public  is  increasing  in  enthusiasm.  You  know  the  music  of 
Z*e  Philtre ;  it  only  then,  remains  for  me  to  speak  of  the 
style  of  its  performance  here.  This  may  be  done  in  very 
few  words  :— Mdlle.  Nau,  in  Theresine,  is  mediocre;  Alizard, 
in  Fontanarose,  is  mediocre  ;  Porth^ut,  in  Joli-Coeur,  makes 
us  regret  keenly  the  absence  of  Massol,  who  was  mediocre ; 
Paulin,  in  Guillaume,  is  mediocre ;  the  subordinates,  Duclos, 
Bengraf,  &:c.,  &c.,  are  mediocre  ;  the  orchestra  is  mediocre ; 
the  chorus  is  mediocre  ;  in  short  Le  Philtre  was  just  as  well, 
if  not  better,  performed  by  the  Belgian  company,  at  Drury 
Lane,  in  the  summer  of  1846.  On  Sunday,  as  there  was  no 
Cerito  the  public  was  treated  to  Charles  F/.,  which  I  did  not 
go  to  hear ;  and  to-night,  as  there  is  Cerito,  the  public  will  be 
treated  to  Lucie,  which  I  shall  not  go  to  hear — albeit  the 
attractions  of  Betttni's  Edgard,  Paulin's  Arthur,  Porthdaut's 
AshtoD,  Bremond's  Raymond,  and  Koenig's  Gilbert,  not  to 
add  Mdlle.  Nau's  Lucie,  will  doubtless  draw  many  amateur 
vocalists,  pleased  to  listen  to  artistes  who  would  be  called 
amateurs  any  Where  out  of  the  neighbourhood  of  the  Rue 
Pelletier,  and  to  draw  a  reasonable  comparison  in  favour  of 
themselves.  No,  my  dear  Ryan,  I  am  insensible  to  this 
immense  phalanx  of  talent,  united  together  in  the  interpre- 
tation of  this  immense  novelty — albeit  I  cannot  but  own  that 
*  the  afiairs  of  the  Opera  are  much  more  wisely  and  energeti- 
cally conducted  by  MM.  Roqueplan  and  Duponchel    than 


,  they  were  by  that  culpably  neglectful  L^on  Pillet — who  never 
would  have  imagined,  in  his  most  flighty  moments,  such  a 
superb  novelty  as  Lucie ^  cast  with  such  singular  efficacy  and 
completeness.  Paulin  alone — that  captivating  tenor  leper, 
who  has  been  wronged,  hitherto,  inasmuch  as  M.  Nestor  has 
not  yet  consigned  the  principal  parts  of  Duprez  to  his  care-— 
Paulin  alone,  that  Cupidon  of  tenors,  to  whom  might  be 
applied  Shelley's  line,  in  the  song  of  Beatrice  Cenci, 
"  With  a  light  and  a  heavp  heart.*'— 
(With  a  light  head,  understood) — Paulin  alone,  beloved  of 
the  Muses  would  be  enough  to  stamp  the  management  of 

MM.  Roqueplan  and  Duponchel,  with  the  epithet  of , 

choose  your  own,  my  dear  fellow,  I  have  not  time  to  consult 
a  dictionary.  Meanwhile  there  is  no  sign  or  promise  of  Miss 
Birch*s  debut,  and  after  all  said  and  done,  I  do  not  see  very 
well  how  the  presence  of  that  clever  artist  would  be  consistent 
with  the  policy  of  the  Opera  directors,  and  the  patronage 
of  the  liberal  press,  as  at  present  disbursed.  The  policy 
consists  in  forming  a  company  out  of  three  elements  : — per- 
sons who  have  no  voices  but  would  sing  if  they  could,  persons 
who  have  voices  but  no  idea  of  singing,  and  persons  who 
have  no  voices  and  no  ide.i  of  singing  ;  the  patronage  is  dis- 
bursed by  the  critics  in  qurmtities,  at  so  much  per  packet — 
the  only  journals  wholly  independent  of,  and  by  no  means  devo- 
ted to  the  interests  of  MM.  Roqueplan  and  Duponchel  being 
the  Coureur  des  Spectacles,*  and  La  France  Musicale ;  the 
former  expressing  disapproval  openly  and  in  plain  tenns, 
the  latter  in  the  guise  of  praise,  so  flowery  abundant,  so 
thickly  laid  on,  and  so  entirely  without  distinction  of  persons 
or  things,  that  the  public — or  that  part  which  consults  La 
France  Musicale — views  it  through  the  medium  of  Socratic 
spectacles,  and  distinguishes  the  esoteric  irony  of  the  editors, 
under  what,  to  common  minds,  would  appear  an  impenetrable 
cloud  of  words — or«  to  use  another  metaphor,  a&r  off,  as  a 
meteor  in  a  mist.  Miss  Birch,  therefore,  who  has  not  only  a 
fine  fiesh  voice,  but  can  sing  very  well,* would  not  properly 
belong  to  any  of  the  three  elements  of  which  the  Opera  troupe 
is  composed ;  nor  can  ^e  even  be  said  to  appertain  to  a  fourth 
element,  which  as  it  is  insignificant  in  proportion  to  the  other 
three,  I  omitted  to  mention — ^persons  who  had  voices  once, 
and  could  sing  once,  but  are  disabled  by  time,  and  should  by 
rights  be  conveyed  to  the  Hdpital  for  musical  invalides ; 
these  are  to  be  found  in  the  chorus,  and — read  fiddles  and 
flutes  instead  of  voices — are  still  more  plentiful  in  the  band  ; 
one  or  two  may  be  found  on  the  stage  close  to  the  foot-lights. 
However,  I  trust,  next  week,  to  be  enabled  to  afford  you 
some  decided  evidence  on  the  subject  of  Miss  Birch's  appear- 


•  Edited  by  the  well-known  CI  arle^^)iH^%i^Vthe  dread  of  evei  y  artigt 
resident  in  Paris. 


716 


THE  MUSICAL  WORLD. 


ance ;  and  till  then,  I  drop  the  subject,  which  is  not  of  the 
most  agreeable,  as  matters  stand. 

The  Paris  concert  season  will  soon  begin  ;  small  shots,  in 
the  shape  of  matinees  and  soirdes,  given  by  vocalisU  and 
instrumentalists  unknown  to  fame,  are  firing,  at  brief  intervals ; 
the  proprietors  of  La  France  Musicale,  foremost  champions 
of  t))e  present  management  at  Uie  Grand  Opera^  have  announced 
their  first  concert  for  to-morrow,  with  ^pas  seul  on  the  violin 
by  M.  St,  Ldon,  the  dancer,  as  the  principal  attraction; 
Thalberg,  the  pianist,  has  arrived  and  has  already  refused  ts 
perform  in  public  seven  or  eight  times  ;  Emile  rrudent,  his 
shadow,  has  departed  for  A!giers,  in  time  to  escape,  what  he 
could  hardly  avoid  in  the  meridian  of  the  season,  an  examina- 
tion of  his  pretensions  before  the  ordeal  of  a  Paris  audience  ;* 
Rosellen,  Goiia,  Kontski,  and  the  countless  tribe  of  minnow- 
pianists,  are  publishing  ntw  pot-pourris,  to  make  sorry  the  hearts 
and  sore  the  ears  of  amateurs;  Geraldy,  and  the  host  of  white- 
bait vocalists,  have  re-commenced  their  singing  classes;  Chopin, 
•who  is  rarely  seen  in  the  recess,  is  now  wholly  invisible ; 
Felicien  David  is  begetting  another  ode- symphony  out  of  the 
ideal  vacuum  of  his  muse ;  Stephen  Heller,  Charles  IIall4, 
musician-pianists  of  the  true  school,  make  themselves  com- 
fortable by  their  awn  fire-sides,  fearful  of  stirring  out,  lest 
they  should  be  saluted,  on  the  Boulevards,  by  the  roaring  of 
some  late-expatriated  iion  of  the  Dreysdiock,  or  the  Wilmers 
species ;  Liszt  has  not  been  heard  of  for  the  last  six  weeks  ; 
Vivicr  lias  gone  to  tell  the  *'  story  of  Pi6tro"  to  the  inhabitants 
of  the  Hague ;  and  a  hundred  other  familiar  signs  forebode 
Ad  near  approach  of  that  much-to-be- deplored  epoch,  when 
every  day  in  the  week  swells  the  catalogue  of  benefit-concerts, 
or,  in  other  words,  musical  performances  of  the  most  tedious, 
trivial,  twaddling  kind,  by  ones,  twos,  and  threes  at  a  time. 
As  X  have  a  plentiful  dose  of  these  in  the  London  season,  be 
assured  the  very  first  that  demands  ray  personal  attendance 
will  be  the  signal  for  my  flight.  So,  if  you  desire  to  be  en- 
lightened as  to  the  precise  period  of  my  return  home,  look  in 
the  musical  papers  for  the  advertisement  of  the  first  **  grand 
concert  of  vocal  and  instrumental  music ;"  and  make  up  your 
mind  that  J  shall  be  two-hundred  miles  off  as  early  as  pos- 
sible. 

Meanwhile,  events  of  stirring  interest  in  the  dramatic  world 
are  casting  their .  shadows  before.  Every  day  I  expect  to  be 
apprised  of  the  fir$t  representation  of  the  new  tragedy  of 
Cleopatra^  at  thje  Theatre  Francais,  which  I  hope  to  be  able 
to  attend*  The  author  is  Madame  dc  Girardin,  wife  of  the 
proprietor  of  La  Presse,  whose  books  and  feuilleions,  under 
the  pseudomen  of  Sophie  Gay,  are  popular,  and  deserve  the 
vogue  tljcy  have  obtained.  I  am  nevertheless  of  Pirrhon's 
opinion,  that  a  woman  cannot  write  a  good  tragedy ;  elle  n'a 
pas  dequoi,  I  say  it  with  becoming  deference,  chapeaubas;  die 
napas  de  quoi,  there  is  no  denying  it ;  but,  then,  Rachel  plays 
the  heroine,  and  that  magnificent  and  inspired  creature — who 
must  not  be  classified  into  sex  or  species,  being  a  thing  alone, 
a  sublime  exception  to  the  universal  common-place  —  can 
endow  the  most  empty  words  with  meaning,  can  make  even 
barrenness  teem.  You  have  heard,  I  presume,  of  the  present 
interesting  condition  of  the  famous  actress  ?  if  not,  let  this  be 
your  informaill.  I  saw  her  yesterday,  in  the  Rue  de  Rivoli, 
looking  daikly  bright,  and  fiercely  beautiful ;  she  is,  amopg 
women,  as  the  niger  cygnus  among  birds ;  more  rare,  indeed ! 
for  there  is  but  one  Rachel ;  another  can  never  be  !  Among 
the  recent  performances  at  the   Theatre  Francais  have  been 

•  Never  was  artist  more  rarely  heard,  and  never  was  artist  more  profusely 
eulogised  than  M.  Prudent,  pianist  to  His  Magnificence,  Ibrahim  racba.  1 
fear,  however,  he  is  not  precisely  puff-prcof. 


Andromaque,  in  which  you  know  what  Rachel  makes  of  the 
passionate  and  capricious  Herraione  ;  MUhrida^e^  in  which  her 
Monimia  is  a  m^terpiece  of  feminine  dignity  and  tenderness ; 
Phedre,  the  eke/'d'oeuvre  of  Racine  and  Rachel ;  Les  Htraeesy 
the  chef-d'oeuvre  of  Corneille  and  Rachel ;  Polyeucte,  and 
Aihalie.  Whenever  Rachel  plays,  the  house  is  full  to  over- 
flow I  on  the  of-Bigl>t8»  until  the  recent  prpdi^^tiop  of  Les 
Aristocracies,  it  has  been  but  thinly  attended.  And  yet 
Rachel  is  poorly  supported,  by  Beauvallet  and  Lizier,  both  of 
whom  are  vastly  heavy  tragediana.  Cooper  would  be  a  god- 
send here,  if  Maddox  would  let  him  come  and  study  French. 
On  Saturday  night  a  performance  took  place,  for  the  benefit  of 
liepeintre,  an  old-established  actor  and  a  gieat  favourite  with 
the  public ;  Rachel  appeared  in  Athaiie,  Bouff(§  in  LafiUe  de 
VAvare,  Arnal  in  Le  Poltron,  Lepeintre  in  Le  Binificiaire, 
Plunkett  in  a  divertissement ^  and  soipe  of  the  Italian  vocalists 
in  a  selection.  The  house  was  crammed,  but  the  perform- 
ances went  off  coldly,  and  you  may  imagine  how  late  they 
terminated — seven  o'clock  being  the  hour  for  commencement. 

Returning  from  the  Boww^  last  Wednesday^  aflar  jotting 
my  letter  to  you,  I  found  Paris  in  a  commotion,  [Pm*  Proper, 
you  must  know,  aceording  Co  tha  beat  topographical  asthori- 
ties,  lies  upon  the  Boulevards,  hetween  the  Roa  de  la  Paix 
and  the  Rue  Vivienne,  on  the  one  aide,  and  between  the  Rue 
de  Ja  Chau6s4e  d'Antin  and  the  Rue  Grange  Bateliere  on  the 
other.  There  be,  who  for  the  sake  of  the  Caf(§  Vacebatte, 
^e  most  economical  of  the  great  dining^houaes,  would  extend 
the  boundary  as  far  as  the  Rue  MontmarUe ;  but  this  ia  an 
error  of  volition,  eufficiently  pardonable«  by  the  way,  tg  those 
whose  poekets  are  not  strong  enough  to  resist  the  attaeka  of 
the  Cal(6  de  Paris  and  the  Caf-§  Anglais.]  As  soon  as  I  reaefaed 
the  Boulevard  dea  Italiens,  my  attention  was  roused  by  the 
unusual  aspect  of  things  in  general,  and  of  flaneurs  in  paitj- 
oular.  Small  knots  of  individuals,  busily  occupied  in  conver- 
sation, spotted,  at  intervals,  the  whole  surface  of  this  great 
public  thoroughfare,  as  clusters  of  stars  the  wide  expanse  of 
•'  the  cerulean" — to  borrow  a  word  from  one  of  your  poems ; 
countless  couples,  bras  deseus  bras  deeaeus,  were  walldng  up 
and  down,  at  irregular  paces,  engaged  ia  discourse  of  sefemiDgly 
intense  interest ;  citadines,  and  milords,  and  other  two  and 
four-wheeled,  one  and  two-horsed  vehicles,  from  twenty  eons 
to  fbrty  (by  inexplicable  gradations),  were  nunbltng  nloog»  at 
a  pace  even  slower  than  usual — a  feat  I  ehouid  have  thought 
impossible,  but  that  seeing  is  believing— occupied  by  iudifi- 
duals,  on  whose  physiogntoies  might  be  traced  the  oooaeioua- 
ness  of  some  extraordinary  event.  Vivier  was  taking  ndfan- 
tage  of  the  bustle  to  recount  the  hUtoite  de  Pieiro  to  «i  honest 
unsuspecting  German,  whose  *'Vas  ist  das  Pietno?*'  no«Mi- 
panied  by  an  earnest  look  of  Inquiry,  did  not  melt  the  h««i  of 
the  relentless  fnog«ff«r;*and  other  signs,too  numcrons  to  s|^eial- 
ise,  declared,  in  plaift  terms,  that  something  strange  waa  m  the 
wind.  The  first  five  or  six  persons,  to  whom  I  addressed  a 
demand  for  explanation,  vouchsafed  me  nothing  fuitiisr  than 
\l  stare  of  astonishment.  At  last,  however,  I  stumhifld  upon 
Balfe,  who  was  issuing  precipitately  from  one  of  the  f  ntnnnes 
to  the  Opera  Comi  jae :— '' What  16  the  matter?"  said  I; 
**  Don't  you  know  ? "  said  he ;  "  Ko,"  Aaid  I ;  **  Mbybruu 
IS  IN  Paris  !  "  said  he— and  befiwe  I  could  Ikirther  question 
him,  had  vanished. 

Weil—thotight  I— Meyerbeer  U  in  Paris,  hut  what  is  that  to 
me,  and  what  is  that  to  Balfe,  and  what  is  that  to  ^eBouievatdsr 
Meyerbeer  is  in  Paris,  but  why  should  diut  turn  the  ^ude 

*  VIvlcr,  like  the  'Ancient  Mtrinor'of  0>lerid|(e,  wwdd  aeem  to  be 
by  the  secret  of  hii  defttiny,  to  be  eternaUy  ta]ung:  Bon^^f  hw 
for  the  purpose  of  relating  this  extraordinary  history.  -^SM  KJ 


THE  MUSICAL  WORLP. 


717 


to  cs)nfarriatioii — that /usually  quiet  and  sociably  houri  when 
everybodv  mepts  everybody— into  a  tornado  ?  Meyprbeer  is 
in  Paris,  but  why  should  the  people  in  the  streets  be  as  {straws 
blown  about  by  a  whirlwind  ?  Meyerbeer  is  in  Paris,  but 
why  should  that  metamorphose  the  urbane  and  philosophical 
inhabitants  iuto  irregular  companies  of  echapp^s  de  Charenion  ? 
"  I  will  tell  you,"  said  Fioreutifto,  who  placed  bis  arm  in 
mine  before  I  observed  him,  and  caught  the  tenor  of  my 
audibly-expressed  reflections;  "I  ivill  tell  you."  And 
walking  with  me  as  far  as  the  corner  of  thp  Rue  Laflittp,  he 
stooped  suddenly,  and  in  a  subdued  tone  of  voicp  he  said, 
•*  Meyerbeer  pomes  to  Paris,  ope^  a  yei^r»  »nd  it  is  ever  thus 
when^  he  arrives."  **  Why  so  ?"  I  enquired-  '•  I  can't  exactly 
say/'  was  his  reply,  and  turned  away,  leftvjog  me  ^  mii^h 
as  ever  in  the  dark. 

At  last  I  met  PanoCkii,  who  knows  everytbing  and  every' 
body,  and  the  reason  of  everythrag,  and  tb^  peculiarities  of 
everybody  ;  and  having  no  engagement  I  accepted  bis  invita- 
tion to  dine  with  him  at  the  recently  renovated  Eocher  de 
Cancale  (excuse  the  three  R'a)  celebrated  by  Paul  dc  Kock. 
Now,  thought  I,  Panofka  will  tell  xne  the  why  and  the  wbere- 
fore.  And  so  Panof  ka  ordered  the  dinner — which  as  be  was 
to  pay  for  it  was  in  due  form  -and  this  was  his  tas^e,  (I  »xd 
in  the  circumstantial  vein,  so  you  must  take  all  I  give  you 
and  J)e  thankful.)  Huitns  d^Ostende,  4  doz.^bottle  of 
Chably  Premttre ;  Puree  ds  Cr^wy— bottje  of  Beauue, 
Premitre ;  Merlan  friie,  garni  d'«p^rW«5— -bottle  of  Stras- 
bourg beer;  Coieleiies  dc  Mouton  4  la  »iii^»o»— bottle  of 
Champagne (Sillery) /rappee;  Poulei  d  la  Marengorr-liQtXleof 
Chateau  MargauJ^  with  eau  de  Selz  /  fai$an  rati  and  pur^e  de 
pommes  de  ferrer^seco^d  bo^le  of  Champagne  frqppee-^ 
omelette  souffiie^  salade  ordinairey  fromage  de  RoeH^qfrt-r^fio/^ 
noir  (deux  demi  iasses) ;  eau  de  pie.  de  cognac  (deux  pet$is 
verreM)  /  and  dessert,  involving  divers  fruits,  crimet  de  chocoltLt^ 
patisseries^  sucreries^  and  ices  d  Veau  and  d  la  crkmetd  various 
kindf  and  colours,  This  was  Panof k^'s  idea  of  a  dinner ; 
and  it  was  not  a  bad  one,  you  will  pWUf  When  we  could  eat 
np  more,  apd  drink  no  more,  I  took  ocoaaion  to  put  the  quesi> 
tion  to  Panofka  as  to  what  was  the  oaus0  of  the  unusual 
disturbance  op  the  jpoulevard*  "  Why/'  said  be,  'Meyerbeer 
is  here,  to  be  sure."  "  >Vh^t  then  ?"  I  rejoined.  "  Ab  num 
cher  farcon^  I  can  see  you  know  little  of  Paris,  and  less  of 
Meyerbeer«-go  and  ask  ^ulea  de  Glides/'  "  But  he  is  not  in 
Paris,  he  is  in  Brussels."  "  WelL  go-to  Brussels,  und  ask 
Jules  de  Glimes."  Au4  the  ne^  day  I  packed  up  %  few 
necessaries,  apd  pxooeeded  to  the  cf^emin  de  fer,  in  the  Jlue 
d'Arosterdamr  end  there,  meeting  Mr.  Mitchell,  who  was  en 
the  point  of  starting,  I  took  my  pl^ae,  and  acpppfpailied  him 
to  Houen — where  hp  had  some  burinesp  connected  vitb  bil^ 
company  for  the  ensuing  seaiK)nr 

How  beautiful  is  Bouen  by  dayligbt-r^with  its  Cath^ral,  it^ 
Quay,  its  Seine,  its  bridges,  and  its  relics  of  Norman  archi- 
tecture ;  at  least,  so  I  have  beard,  and  read,  for  bg  daylight 
I  never  saw  it  /  How  beautiful  is  Rouen  by  moonlight — with 
its  Cathedral,  its  (^uay,  its  Seine,  iU  bridges,  and  its  relics  of 
Norman  architecture;  at  leapt,  sp  I  b^ve  beard,  and  read,  for 
bg  moonlight  I  never  saw  it  I  How  beautiful  is  Rouen  by 
starlight— with  its  Cathedral,  its  Qu^y,  its  Seine,  its  &c.  &c, 
&c. ;  at  least  so  I  have  he!>rdi  and  readt  for  hy  starlight  J 
nevet*  saw  it/  We  started  from  Paris  at  three— Mr. 
Mitchell  and  I— and  we  arrived  at  Rouen  by  seven— Mr. 
Mitchell  ^nd  I.  But  all  was  dark !  The  night  was  gloomy  and 
tempestuous  ;  the  sky  was  buried  in  clouds  ;  not  a  star,  not 
a  moon,  not  |»yen  a  comet,  when  comets  are  plientifnl  as  black*- 
berri^s,  wai  to  be  itcen !    Nothing  waf  jo  h^  seen^-iirt  ^ven 


the  dftrkness^for  everything  was,  as  it  were,  swaddled  in  a 
roany^foided  gloon^  of  doubtful  grey.  As  we  passed  through 
the  ptreets,  the  houses  seemed  tumbling  about  our  ears--as 
we  parsed  the  Cathedral  it  was  as  a  gigantic  shapeless  edifice 
of  mist,  the  very  ghost  of  the  Norman  architecture— as  we 
stood  upon  the  bridge,  we  could  not  see  the  city — as  we  stood 
upon  the  city  we  coald  not  see  the  bridge!  But  Mr. 
Mitchell  persisted  in  asking  me  what  I  thought  of  Rouen, 
and  took  me  out  to  see  the  Cathedral,  i^nd  to  see  the  other 
monuments  of  note,  wbich  were  all  as  invisible  as  the  future, 
In  revenge,  bowcvpr,  we  repaired  to  tbe  Grqnd  Theatre,  the 
Theatre  des  Arts^  where  usually  the  grand  operas  are  given, 
and  there  we  saw-r^as  well  as  the  fog,  which  nearly  blinded 
the  lamps,  would  let  us— a  part  of  the  little  vaudeville^  called, 
Une  femme  qui  sejettepar  ia  fenetre^  very  tolerably  played, 
and  the  first  act  of  Paer's  jolly  old  opera,  the  Maitre  de 
ChapeUe,  which*  (bough  villanously  rendered  by  all  concerned, 
pleased  me  by  its  quaintness*  delighted  me  by  its  cleverness 
and  made  me  anions  to  know  wore  of  its  composer.  After 
this,  to  wind  up  with  eclat,  we  had  a  sumptuous  dinner,  at 
eleven  o'clock,  with  two  bottles  of  Sauteme  that  made  the 
heart  rejoice,  and  expelled  all  the  vapours  created  by  the  fog. 
And  then,  at  hcjf-past  n^idnight,  without  cot/wre— none  being 
obtainabl&p-knowing  nothing  of  the  dty,  and  seareely  seeing 
a  yard  before  our  noses,  we  had  to  grope  our  way  to  the  rail- 
rc«d  station,  without  a  guide;  of  course  we  went  to  the 
wrong  plaee  first,  as  ther^  were  twq  to  choose,  and  had  not 
only  to  retraoe  our  steps,  but  to  mend  our  paoei  for  the  right 
station  was  a  good  half  league  away«  By  help  of  stamina, 
and  resolution)  and  a  civil  inhabitant  of  Rouen*  ^bom  we 
met,  jusi  at  the  moaneat  when  we  despaired  of  finding  the 
way,  we  reached  the  terminus,  in  time ;  two  mnuies  iater^ 
and  we  should  baye  had  to  pass  the  night,  with  the  fog  for 
pillow  (or  rather  wet-blankets  and  damp^sheets)  in  the  streets 
of  Rouen.  At  half-past  ^ve  we  got  baok  to  Paris  i  and  at 
six  o'clooki  snug  in  bed,  I  fell  asleep  and  dreamed  of  Rouen 
— Rouen — RouAn,  I  was  wandering  about  the  streets,  all 
night,  with  Mn  Mitchell,  and  might  have  saved  myself  the 
trouble  of  coming  back  to  Paris.  But  in  my  dream  I  had 
the  sentiment  of  cold  and  heat  at  the  same  time,  distinctly ; 
my  soul  was  at  Rouen,  and  my  body  in  Paris,  I  shall  never 
forget  the  adventure-^and  pleaae  Heaven  will  pay  Rouen  a 
visit  some  day  by  daylight. 

Of  news  I  am  scant.  Meyerbeer,  who  came  here  with  tlie 
fog,  has  consented  to  write  a  one^act  opera  for  Mr.  Lumley, 
in  which  Jenny  Lind  is  to  have  the  principal  part.  The  wage 
eay  that  Meyerbeer  came  to  Paris  to  escape  from  Men- 
delssohn's Elijah,  which  is  preparing  at  Berlin^  and  to  preside, 
after  hia  partioular  fssbion,  at  the  first  representation  of  Verdi's 
Jerusalem,  which  is  in  a  forward  state  of  progress  at  the 
Gitnd  Opera  $  but  this  I  regard  as  a  mere  pleasantry.  Meyer- 
beer has  brought  his  wife  and  family  here,  en  route  to  Italy, 
where  they  are  going  for  the  sake  of  health,  and  no  doubt 
Meyerbeer's  wife  and  fiamily,  as  well  as  himself,  are  anxious 
to  he^r  the  new  creation  of  the  celebrated  Verdi,  one  of 
Meyerbeer's  most  enthusiastic  disciples  and  closest  imitators. 
M.  Vatel  has,  I  bear»  sent  Alboni  a  blank  tr^ily  for  her  to  fill 
up,  and  the  opinion  prevails  that  she  will  appear  at  the  J  (aliens 
soon  after  her  return  to  Paris.  She  is  expected  at  the  end 
of  this  month.  M,  Vatel— report  says^— has  been  offered 
200,000  francs  to  give  up  the  two  seasons  that  remain  of  his 
directioa  i  but—report  adds — demands  860,000 !  You  will 
be  glad  to  hear  that  Mendelssohn,*  while  in  Switzerland,  was 

*  Our  Conre«ponden(  had  not  been  informed  of  Mendclssohn't  dentb  when  he 
mote. 


■ 


718 


THE  MUSICAL  WORLD. 


not  idle ;  he  has  positively  composed  the  first  act  of  his 
opera — Larline^  not  the  Tempest — and  two  violin  quartets ; 
who  will  eventually  have  the  opera  in  London  remains  to  be 
decided.  Carlotta  Grisi  is  still  reaping  laurels  at  Brussels. 
Adolphe  Adam's  new  theatre,  in  the  Boulevard  du  Temple, 
the  Opera  National^  whose  object  is  music  for  the  multitude, 
will  open  next  week  ;  on  Saturday  I  hope  to  be  able  to  at- 
tend the  dress  rehearsal.  Mr.  Green  and  his  balloon  are 
creating  a  furore  at  the  Hippodrome;  on  Sunday  nearly 
200,000  persons  witnessed  his  ascent :  next  Sunday  up  he 
goes  again,  in  company  with  a  pair  de  France^  and  some 
other  simpletons,  who  pay  through  the  nose,  as  I  hear,  for 
their  seats.  And  thus  the  world  wags  here.  Excuse  the 
length  of  this  ;  I  had  no  time  to  make  it  shorter.  Good  bye, 
till  next  week.     Yours,  D. 

P.S.  Madame  Grisi  assures  me  that  she  has  not  signed  for 
St.  Petersburg — but  she  does  not  say  she  will  not,  Rosati 
will  appear  at  the  Opera. 

laeatf) 

of 

The  greatest  musical  genius  in  the  world  has  left  us.  Yes! 
Mendelssohn  is  dead — vanished  suddenly  before  our  eyes, 
like  some  mighty  star,  but  newly  quenched,  towards  which 
all  gaze  was  turned.  In  the  pride  of  life,  in  the  zenith  of  his 
fame,  has  he  departed  from  us.  While  the  echos  of  his  Elijah 
were  yet  ringing  silverly  in  the  ears  of  universal  England; 
while  the  fame  of  that  immortal  work  was  spreading  its 
author's  name  on  the  four  winds  of  heaven,  exacting  its  com- 
memoration before  the  living  world,  the  spirit  of  the  composer 
fled  for  ever.  Yes!  Mendelssohn  is  dead!  We  linger  on 
the  words  as  though  there  might  haply  be  some  error  of  the 
brain  in  our  giving  credence  to  all  we  have  heard  ;  and  that 
some  dream,  some  hideous  nightmare,  had  brought  us  the 
terrible  news.  For,  can  we  believe  that  he  who  so  lately 
shook  our  hands  in  sweet  fellowship,  the  music  of  whose  voice 
is  yet  audible  to  our  hearing,  the  intellectual  beaming  of 
whose  countenance  still  plays  before  our  eyes,  is  now  but  an 
earthy  clod,  a  lightless,  pulseless,  motionless  thing  of  clay — 
corruption's  crop,  the  worms'  proper  harvest  ?  Alas !  it  is  no 
error  of  the  brain,  nor  dream,  nor  hideous  nightmare  ! 
Mendelssohn  is  dead !  From  mouth  to  mouth  fly  the  fatal 
words.  The  streets  are  rife  with  sad  accounts  of  this 
universal  calamity.  It  needs  no  bills  in  mighty  type  to 
chronicle  the  report.  His  death  is  music's  eclipse,  and  all 
eyes  are  sensible  to  the**dunnest  cloak"  that  ever  misfortune 
threw  athwart  the  bright  day  of  art. 

It  is  impossible  to  estimate  the  loss  of  Mendelssohn  to  the 
musical  world.  Had  he  died  full  of  years  like  Handel,  Haydn, 
and  Beethoven,  his  great  countrymen,  our  regrets  would  have 
been  qualified  by  the  consideration  that  he  had  outlived  his 
time  and  fulfilled  his  mission.  But  he  died  in  the  very  prime 
of  manhood,  at  the  age  of  38,  and  in  the  fullest  powers  of  his 
genius.  His  last  great  work,  Elijah,  has  been  universally 
pronounced  his  masterpiece,  and  when  we  call  to  mind  how 
lately  this  oratorio  was  written,  we  must  concede  to  him,  at 
the  moment  of  his  death,  the  most  perfect  possession  of  his 
lofty  abilities.  If  we  consider  the  amount  of  intellect  and 
variety  of  capacity,  the  powers  of  imagination  and  reflection, 
the  acuteness  of  perception  and  observation,  and,  above  all, 
the  knowledge  and  experience  that  are  demanded  to  make  up 
the  sum  of  a  great  musical  composer,  we  shall  not  hesitate  to 


place   Felix  Mendelssohn   Bartholdy  side  by  side  with  the 
greatest  musical   geniuses   the  world  has  produced.      Yes, 
Mendelssohn  was  a  genius  in  the  truest  sense  of  the  word. 
Possessed  of  a  mind  singularly  clear  and  luminous,  he,  from 
his  very  childhood,  grappled  with  the  science  of  music,  and 
mastered  its  knowledge  with  as  much  ease  as  other  boys  would 
acquire  their  alphabet.      Music  may  be  said  to  have  been 
cradled  with  him.     From  his  earliest  years  he  not  only  dis- 
played the  most  surpassing  capacity  to  appreciate  the  myste- 
ries of  his  art,  but  he  also  gave  proof  of  that  enthusiasm,  with- 
out which  there  can  be  no  real  genius,  no  more  than  there 
can  be  fire  without  heat.     Fortunately  this  enthusiasm,  which 
so  often   renders  genius  like  an   unbitted  steed,    was,  with 
Felix  Mendelssohn,  under  the  governance  of  the  most  admirable 
judgment.  Never  was  musician  more  conscientious,  and  never 
did  composer  allow  himself  to  be  less  influenced  by  momentary 
flights  of  fancy,  or  un  weighed  impulses — those  rocks  upon  which 
so  many  bright  intelligences  have  been  shattered.  Though  pos- 
sessed of  the  utmost  facility  in  composition,  Mendelssohn  never 
allowed  his  first  impressions  to  go  before  the  public  before  he 
had  submitted  them  to  subsequent  repeated  inspections.     He 
owed  this,  he  thought,  to  his  own  fame  as  an  artist,  and  to  the 
world,  who  in  purchasing  his  works,  expected  from  him  some- 
thing better  than  the  sweepings  of  his  studio.     In  this  respect 
Mendelssohn's  conduct  might  form  an  admirable  example  to 
all  future  writers,  the  following  of  which  would  teach  them 
not  only  to  prize  art  the  more,  but  to  know  themselves  better. 
Modesty,  we  are  sorry  to  say,  is  not  one  of  the  peculiarities  of 
the  musical  class   in   general.     Mendelssohn's  intellect  was 
deep  and  searching  rather  than  vast  and  comprehensive.     His 
mind  loved  rather  to  cling  round  the  true  and  beautiful,  and 
to  pore  into  their  recesses  for  hidden  joys,  than  to  roam  at 
large,  in  quest  of  unknown  worlds,  and  not  finding  them, 
draw  upon  his  imagination  only.     Originality,  in  the  strictest 
term,  may  be  applied  to  Mendelssohn  as  a  composer.     In  the 
face  of  the  great  masters  of  all  times  he  founded  a  new  school : 
a  school,  which  having  truth  for  its  basis,  and  knowledge  for 
its  superstructure,  will  live  while  music  lives.     But  wo  do 
not  wish,  in  this  place,  to  enter  into  an  analysis  of  the  com- 
poser's works  ;  nor  is  it  our  intention  to  give  more  than  a  cur- 
sory glance  at  his  life.     In  an  early  number,  when  the  mate- 
rials in  our  possession  are  arranged,  we  shall  enter  into  a  critical 
review  of  all  his  works,  and  endeavour  to  estimate,  satisfacto- 
rily to  our  readers,  the  effect  his  music  has  produced  on  the 
present  age.  Meanwhile,  we  trust  our  subscribers  will  rest  satis- 
fied with  the  following  succinct  notice  of  his  life  and  works. 
Felix  Mendelssohn  Bartholdy  was  born  at  Hamburgh  on 
the  3rd  of  February,  1809.     Before  he  was  six  years  old,  he 
gave  extraordinary  indications  of  a  genius  for  music.     His 
parents,  especially  his  mother,  herself  a  musician  of  no  common 
order,  immediately  decided  on  having  the  young  Felix  in- 
structed in  music,  and  accordingly  placed  him  under  Zelter, 
who  taught  him  composition.     His  pianoforte  instructors  were 
Ludwig  Berger,  Klein,  Hummel,  and  Moschelles.     He  subse- 
quently studied  counterpoint  under  Cherubini,  who  augured 
the  greatest  things  of  his  young  pupil.     Before  he  was  nine 
years  old,  his  performance  on  the  pianoforte  was  so  astonish- 
ing, that  his  friends  advised  him  to  play  in  public ;   and  in 
consequence,  he  made  his  debut  at  Berlin,  in   1818.     His 
success  was  most  triumphant ;  and  all  the  journals  teemed 
with  eulogiums  on  the  boy-pianist,  and  prognostications  of  his 
future.     In  1824,  when  but  fifteen  years  of  age,  he  first  pub- 
lished his  compositions.    These  consisted  of  four  quartets,  and 
a  sonata.     In  1827,  his  opera.  Die  Hochzeit  de  Camacho,  was 
performed  at  Berlin.     From  this  period  up  to  the  moment  of 


THE  MUSICAL  WORLD. 


719 


his  death  he  was  giving  compositions  to  the  world,  embracing 
all  sorts  of  works,  from  the  "  Lieder  ohne  worte,"  or  ballads 
without  words,  to  the  Oratorio.  His  pianoforte  works  are 
perhaps  more  important  than  those  of  any  other  writer.  But 
music  was  not  alone  Mendelssohn's  study.  He  was  a  profi- 
cient in  almost  all  modem  languages.  With  the  English  he  was 
intimately  acquainted.  It  was  after  poring  over  the  magic  pages 
of  Shakspere  he  wrote  the  overture  and  supplemental  music  to 
A  Midsummer  Night* s  Dreamy  of  which  it  is  not  saying  too 
much,  that  it  is  worthy  to  be  wedded  to  such  immortal  verse. 
We  do  not  remember  the  first  year  of  his  coming  to  England, 
all  that  shall  appear  anon;  but  it  was  subsequent  to  his 
journey  to  the  Hebrides  that  he  composed  the  overture  to 
The  hies  ofFingal,  one  of  his  most  brilliant  and  characteristic 
effusions.  About  the  same  period,  we  believe,  or  a  year  later, 
he  wrote  the  Melusina.  In  1833,  Mendelssohn  was  appointed 
musical  director  of  Dusseldorf,  which  he  held  for  two  years, 
and  resigned  for  the  post  of  director  of  the  Gewanhouse 
Concerts,  at  Leipzig.  At  the  Musical  Festival  at  Dusseldorf, 
on  the  22nd  of  May,  1836,  his  first  grand  Oratorio,  Paulus^ 
was  produced.  His  last  and  greatest  work,  the  Oratorio, 
Elijah,  was  first  produced  in  this  country,  being  performed  at 
Birmingham  in  August,  1846.  It  was  subsequently  performed 
at  Exeter  Hall  in  April  last,  and  afterwards  at  the  Glou- 
cester Festival.  Although  the  promise  of  the  Opera  of  The 
Tempest  was  an  idle  report,  and  utterly  unfounded  in  fact^ 
Mendelssohn  had  yet  thoughts  of  writing  for  the  stage.  After 
leaving  Englandthis  spring,  and  fulfilling  some  necessary  duties 
on  the  continent,  he  betook  himself,  for  the  benefit  of  his 
health,  to  Interlachen  in  Switzerland,  with  a  determination,  as 
he  expressed  it,  of  abstaining  ft-om  composition  altogether.  But — 

"  Quiet  to  iqaick  bosoms  is  a  hell." 
Mendelssohn  could  no  more  rest,  unfortunately,  than  could 
the  sun  stand  still.  All  his  friends  and  his  medical  adviser 
entreated  him  to  give  his  brain  repose.  He  had  previ- 
ously been  affiicted  with  two  strokes  of  celebral  paralysis, 
and  the  physician  too  well  knew  how  likely  the  third  was  to 
prove  fatal.  But  all  remonstrance  was  fruitless — Mendelssohn 
could  not  exist  and  be  idle.  Accordingly  he  set  to  to  write 
an  Opera  entitled  Larline^  the  libretto  of  which  had  been  fur- 
nished him  in  Paris,  and  applied  himself  to  the  task  with  so 
much  assiduity  that  he  had  the  first  act  completed  before  he 
left  Switzerland.  There  is  little  doubt  that  the  mental  exertion 
applied  to  this  composition  had  some  participation  in  the  cause 
of  his  death. 

The  published  works  of  Mendelssohn  amount  to  one  opera, 
four  overtures,  two  symphonies,  three  quartets,  two  quintets, 
two  sonatas,  concerto  for  pianoforte,  psalm  ''Non  nobis,"  "  Ave 
Maria,  for  eight  voices,  six  books  of  *'  Lieder  ohne  worte/' 
two  fantasias,  three  chorales,  and  numberless  varied  temas, 
rondos,  lieders,  capriccios,  fantasias,  &c.,  for  the  piano ;  and 
his  two  imperishable  Oratorios.  Paulus  and  Elijah.  Among 
his  manuscripts  may  be  found  an  overture  and  symphony, 
several  chorales,  the  Walpurgis  Nicht,  cantatas,  an  operetta, 
entitled  Leiderapel^  some  sacred  pieces,  and  music  adapted 
to  Antigone  and  the  (Edipua  Colonnus,  We  have  reserved 
the  specification  of  these  composition  to  our  promised  notice  on 
the  Life  and  Works  of  Mendelssohn. 

We  quote  an  interesting  extract  from  a  letter  of  Mr.  Mos- 
chelles  to  a  friend,  which  appeared  in  the  Morning  Post  of 
Thursday,  concerning  the  last  moments  of  Mendelssohn  : 

"  Mendelssohn  felt  the  first  approach  of  the  malady  which  ul- 
timately terminated  his  life  on  the  8lh  of  October.  It  was  an 
attack  of  an  apoplectic  nature.  From  that  day  until  the  28th  he 
experienced  moments  of  ease  and  relapses.    During  this  period  he 


felt  sufficiently  well  to  take  several  carriage  airings.  On  the  28th» 
when  in  full  convalescence,  a  second  attack  occured,  but  this  was 
of  short  duration.  He  promptly  recovered  his  senses  and  his 
strength  returned.  Notwithstanding  this,  he  felt  severe  attacks  of 
head-ache,  and  could  not  sleep  for  three  or  four  days.  During  the 
nights  of  the  2nd  and  drd  of  November  his  sleep  returned,  and  he 
slept  seven  hours  consecutively.  Upon  his  awaking  on  the  mor- 
ning of  the  drd,  ho  felt  ouite  well,  and  his  family  had  sanguine 
hopes  of  his  recovery,  ne  remained  thus  duriug  the  forenoon. 
But  at  two  o'clock  he  had  a  relapse,  and  a  third  attack  supervened 
more  violent  and  more  prolonged  than  the  former  ones.  He 
recovered  consciousness  but  slowlv,  after  bleeding,  application  of 
leeches,  and  vigorous  friction,  fie  was  attended  by  Dr.  Clarus 
and  Dr.  Hammer  of  Leipsic.  Messengers  had  been  sent  for  Dr. 
Schonlein,  of  Berlin,  xlis  arrival  was  waited  for  with  intense 
anxiety,  hut  he  did  not  come.  The  night  passed  in  alternations 
of  agitation  and  tranquillitv.  Mendelssohn'  recognised  all  the 
persons  present,  but  spoke  little.  On  the  morning  of  the  4th,  his 
state  caused  the  most  vivid  inquietude.  The  directors  of  the 
*' Gewanhous"  decided  to  put  ofi  the  concert  which  was  to  have 
taken  place  that  evening.  At  the  second  hour  tho  sufferer  became 
insensible,  and  s^ave  no  other  signs  of  life  than  a  strong  and  equal 
respiration.  All  the  efforts  of  tho  medical  men  to  restore  sight 
and  hearing  were  useless.  From  six  till  eight  o'clock  blisters  and 
violent  frictions  were  exhibited,  but  without  success.  In  the  mean- 
time his  features  changed  with  frightful  rapidity.  At  half-past 
eight  his  respiration  became  feebler — it  was  evident  that  his  end 
was  near.  At  last,  at  nine  o'clock,  on  the  4tb,  a  lengthened  sigh 
announced  that  Mendelssohn  had  rendered  up  his  soul  to  his 
Maker.  Near  his  bed  were  his  wife,  his  brother,  the  two  doctors, 
Mr.  Schleinitz,  Mr.  David,  and  myself.  All  Leipsic  is  in  mourning." 

We  have  this  moment  received  from  a  correspondent  at 
Leipzig  a  further  account  of  the  death  of  Mendelssohn, 
which  we  insert  in  our  jouri^al,^as  every  atom  of  news,  at  this 
moment,  concerning  the  last  moments  of  so  great  a  man,  must 
have  an  inestimable  value.  Our  correspondent,  who  sends  via 
Hamburgh,  thus  writes : — 

Leipng,  Sunday ^  Nov,  7, 1847.— Before  receiving  this,  vou  will 
nave  already  beard  the  sad  tidings  of  the  deprivation  witfi  which 
the  musical  world  especially  has,  within  the  last  few  days,  been 
visited.  Our  great  and  beloved  Mendelssohn  is  dead!  Anxious 
fears  had  been  entertained  respecting  him  for  some  time,  and  on 
Thursday  night  (4th  instant),  at  half-past  nine,  he  breathed  his  last. 
The  commencement  of  his  illness,  I  believe,  was  an  attack  of  the 
nervous  fever  (very  prevalent  iu  Leipzig),  and  his  sufferings  were 
brought  to  a  speedy  close  bv  two  strokes  of  paralysis.  This  severe 
blow  has  fallen  so  suddenly  upon  all  that  it  seems  like  a  dream. 
Would  to  God  that  it  was  only  a  DaEAM!  But,  alas!  it  is 
true.  The  brightest  star  of  the  musical  hemisphere  is  now 
dimmed — no  more  to  shine  upon  us  with  its  sparkling  lustre.  You 
mav  easily  imagine  that  the  fatal  news  spread  like  wildfire,  and 
with  it  carried  dismay  to  every  heart.  On  Friday  and  Saturday 
persons  were  admitted  to  view  the  bodv ;  great  numbers  went  to 
pay  their  last  tribute  of  affection ;  and  many  were  the  heartfelt 
tears  that  fell  beside^  his  couch,  from  those  who  long  had 
known  his  inestimable  qualities,  and  must  now  take  their  '*long 
and  last  farewell!  Although  his  sufferings  were  extreme, 
the  same  heavenly  smile  he  was  wont  to  wear,  seemed  to  play 
upon  his  features  as  he  lay  stretched  upon  the  couch  of  death. 
How  shall  I  attempt  to  describe  my  feelings,  as  I  stood  by  the 
side  of  him  viho  was  so  blessed  with  happiness — transcendent 
genius — beloved,  honoured  by  all  tho  world — the  pride  and  glory 
of  his  art  ?  As  I  placed  my  hand  upon  hit  fine  forehead,  and 
looked  on  his  death  shut  eye,  how  fearfully  the  blood  thrilled 
through  my  veins  'tis  impossible  for  me  to  relate !  This  afternoon 
the  funeral  ceremonies  were  performed  in  the  St.  Paul's  Church, 
preparatory  [to  the  Removal  of  his  remains  to  Berlin,  where  they 
are  to  be  interred.  A  t  three  o'clock  the  cortege  proceeded  on  its 
way,  headed  by  the  military  band,  playing  Beethoven's  March  for 
the  Dead  :  next  came  the  members  of  the  Concert  Orchestra, 
followed  bv  the  students  of  tho  Conservator! um  of  Music  Tfounded 
by  Mendelssohn) ;  then — Thb  Coffin  —supported  on  citner  side 
by   Professors  Moschelles,  David,   Hauptmann,  and   Gadc,  and 


Digitized  by^^OOy  It: 


720 


THE  MUSICAL  WORLD, 


followed  by  thd  brother  of  the  departed  as  chief  liioiirtidf  t  the 
directors  of  the  Cotiservatoriutli j  nametous  t:it'ore8spts  (amoti^ 
whom  wer^  Meyerbeet,  Robert  SchUrtianti,  Charlds  Mayfet,  &c) 
and  friends  brought  Up  the  rear  df  this  mournful  procession.  'The 
streets  through  Which  the  cort^6  passed  wefe  thtonged  With 
spectators,  atid  the  church  Was  crowded  to  (Excess  with  persohs  all 
anxious  to  talie  (heir  last  look  of  this  ^feat  man.  the  derfemonies 
in  the  church  comMDnced  With  aii  Organ  t'rteludiutn  and  a  Chorale 
ft>om  Mendelssohn,  interpreted  by  a  large  band  and  chorus,  led  by 
Professoi*  David,  atid  conducted  by  Professed  Gade  and  Rietz. 
The  heavenly  Chorale  frtjm  St.  Paill,  *^To  thee,  0  Lord !  1  yield 
my  spirit,'^  ciitHo  tiett ;  aftdr  Which  the  minister  made  an  impressive 
oration ;  then  followed  the  Chorus, "  Happy  and  blest  are  they 
who  have  endured,"  fi-dm  the  same  oratorio.  The  mltilstef  theti 
pronouiiccd  the  &enedi(*tiofl,  and  the  mdumful  eferemony  concluded 
with  a  Chorale  ffonl  feach^s  «*  fassiott.*'  This  evetlintf  the  hbdy 
will  be  conveyed  to  fietlinj  where  it  will  be  deposited  in  its  last 
resting-place.  Doubtless  the  feeling  of  the  musical  profession  in 
England,  and  the  public  at  large,  will  receive  as  fffeat  ft  shock  at 
this  melancholy  and  sudden  bereavement  as  those  who  have 
witnessed  the  close  of  this  amiable  and  great  mah^s  career — eut  off 
in  the  prime  of  life,  and  in  the  midst  of  his  glottr.  1  understand 
he  has  left  several  important  Wotks  in  an  unfinished  state,  among 
which  are  a  new  oratorio,  *•  Chrlstus,"  and  aU  opcta.  Poor 
Joachim,  as  you  may  Imagine,  is  almost  heartbroken  ;  and  ttfiiiT 
Ueakt  is  struck  with  dismay;  But  let  us  hope  that '*  the  Great 
Ruler  of  all  things**  has  been  pleased  to  receive  htm  into  *'  tnat 
blessed  place  where  onW  his  barmoUy  cah  be  exceeded.*'  This 
very  day  poor  Mendelssohn  was  to  have  been  iU  Vienna*  to  direct 
his  Elijah!  but,  alas!  in  what  a  diffbrent  ceremony  baa  he 
unwittingly,  and  to  the  consternation  of  all,  performed. 


The  foliowing  translation  of  the  words  adapted  to  the 
music  performed  at  the  Funeral  Service  of  the  illustrious 
Composer  may  not  be  unacceptable  to  our  readers  : 

®Je  jpumral  Sbetbfce  of  iWntlrelsftoftn, 

CHOAALB. 

Look  down  on  me,  my  Saviour, 

Mr  Shepherd,  take  me  home  ; 
The  Source  whefiee  every  joy, 

And  earthly  good  must  come. 
Oft  to  thv  iable  called 

I  ate  the  bread  of  Heateft^ 
And  by  thy  fKendly  voiee 

Were  joy  and  coflUfort  given. 

Behold,  1  stand  before  thee» 

l)o  not  despise  me  now. 
The  clammy  damp  of  Death 

Is  on  my  whitening  brow. 
And  yet  I  will  not  leave  thee— 

Upon  thy  love  I  rest^ 
And  spite  of  pang  and  pain 

Find  refuge  in  thy  breast* 

Although  I  travel  hence  ^ 

Yet  part  not  tbtfu  from  me  \ 
If  Death  be  heavy  here^ 

Here  let  thy  preseuee  be. 
And  as  my  trembling  soul 

Draws  nearer  to  the  grave. 
The  agony  eontroul. 

And  bend  thee  down  to  sate: 

In  mine  extremest  need 

Be  shield  and  buckler,  thou ; 
Death  loses  all  its  fear 

In  gazing  on  thy  brow. 
My  heart  is  full  of  faiths 

Oh,  hold  it  firm  and  fast— 
For  him  who  thus  can  die, 

Already  Death  is  past* 


criOaALB   tftOit  PAUL.*^ 

Lord,  to  thee,  myself  I  render 

Thine,  and  thine  alone,  to  be  ; 
Thou,  only  thou,  my  breath  and  life 

My  greatest  gain  is  death  in  thee. 
Thine  alone  this  yearning  faith. 
Thine  in  life,  and  thine  in  death. 

Jftiittral  ©ratfeit. 

CHORUS  raoM  paul. 

Behold  1  we  hold  him  holy  who  is  meek  of  spirit,  for  when  the 
body  dies,  yet  lives  the  soul. 

CBOBUS,  FBOM  THE  '<  PASSION**  OF  J«  8.  BACH. 

We  sit  us  down  in  tears 

Galling  on  thee  in  thy  tomb  ; 
Gentle  slumber,  calm  and  deep, 
On  each  wcarj  limb  shall  sleep. 
Calming  the  soul  with  its  gentle  kiss 
Steeping  it  in  a  trance  of  bliss. 
Sleep— sleep,  and  soft  be  thy  doom. 

We  sit  us  down  in  tearsi 

Galling  on  thee  in  thy  tomb. 

« tt!s  needlen  to  say  thit  we  sIioqM  not  have  made  a  new  and  so  impel  feet  a 
■ketch  of  the  flae  chorale  and  following  chorus  from  Paul  had  ife  had  the  book 
of  the  OratoHo  by  us.  This,  and  the  lateneii  of  the  hour  at  which  we  received  cnzr 
express  from  Iieipsiir»  nrast  prove  an  apologf  for  the  hqrry  and  imperfection  of 
the  translation.— EpiroR  or  ''  Thb  Musical  World.*' 


In  England,  next  to  the  land  of  his  birtti,  more  than  any 
other  country,  will  the  memory  of  Mendelssohn  be  endeared 
while  genius  is  prized,  and  worth  revered.  In  Bngland  the 
intellect  of  the  great  composer  was  duly  weighed,  and  duly 
appteciated^  It  was  amongst  us  he  found  his  fondest  admfrers, 
and  it  was  our  writers,  who  laboiiring  in  his  golden  wake, 
first  rendered  his  school  a  great  model  for  composition.  But 
not  his  genius  alone,  his  goodness  will  perpetuate  his  name. 
In  every  relation  of  life  Felix  Mendelssohn  was  loved  and 
honoured.  As  he  had  no  real  rival  in  the  glory  of  his  fame, 
so  had  he  none  who  envied  his  popularity;  His  hand  was 
ever  ready  to  assist  the  needy  artist,  and  his  tongue  was  ever 
lavish  of  praise,  even  when  praise,  tVithout  suspicion  of  envy, 
were  that  possible,  tnight  be  withheld.  His  death  is  a 
universal  calamity,  without  remedy,  without  hope.  Men- 
delssohn is  dead ! 

$tate  td  f^to  iVlanes. 

MUUOl  THY  UWITOHINd   CHARM  I 

l^oa  uusic. 

1  have  heard  steal  oTer  the  waters, 
Sounding  like  some  fairy's  ^oloe, 

Soifgs  by  Italy's  fair  daughteri, 
Making  every  heart  rejoice. 

When  reclined  beside  the  ocean. 
In  the  evening,  pure  and  calm. 

Then  my  heart  felt  with  emotion- 
Music  !  thy  bewitduDg  charm. 

Sweetest  pleasure  1  who  does  hear  thee. 

And  nefer  feels  thy  spells  divine  T 
Fiercest  wild  beasts  list  and  fear  thee— 

Mortals  bow  before  thy  shrine  1 
Angels  do  their  Saviour's  praises. 

Sing  for  ever  with  sweet  psalm's. 
And  each  feathered  warbler  raises  j^^  t 

Music  1  thy  bewitching  c|,^  ^y  V^O(5gl( 


THE  MUSICAL  WORLD. 


1^1 


IN   1T8  WORLD-HISTORICAL  eiONIflCANGB, 
DBTSI.O?SD  ACCOBDnr^  70  178  VOBiU.  Alil>  IBTIBTICAIi  TAXTJSi 

Trttn^lahd  from  ik^  German  of  Dr.   Heimieh  Tkeodor  MoMk^r, 
Frofesaor  at  tbe  Royal  Gynmaainm  at  Brombeng. 

{(MiHnMid  A-gm  page  W%)* 
OHAPTBR  iU. 

tHt  ARTIFICIAL  COMPOSITION   6F  "  THB  AFFINITIBS." 

AfTBE  this  endeaTOur  to  become  conscioTiB  of  the  significance  of 
the  objects  ^hich  sarround  the  acting  individuals,  and  to  compre- 
hend their  sesthetictl  operation »  we  turn  to  the  exposition.  This 
giTSt  ua  the  chief  traits  or  the  positions  and  the  indiTidualities,  so 
that  we  can  antieipate  their  future  conduct,  if  anj  fact  should  call 
them  out  of  their  sphere,  and  at  tbe  same  time  points,  in  the  most  pro- 
found manner  to  the  mystery  of  the  opposition  between  freedom 
and  necessity.  By  the  latter  we,  at  tne  same  time, '  fain  the 
pecniiar  soil,  upon  which  the  action  and  the  events  take  place,  and 
our  glahce  retains  the  deafly  defined  limit  of  the  district,  which 
we  have  to  traverse. 

It  cannot  be  made  snfiieiently  prominent  that  the  whole  expo* 
sition,  if  we  consider  it  in  connection  with  the  succeeding  deve- 
lopment of  the  work,  reveals  the  most  wonderful  irony  at  the 
yiews  aij4  reflections  of  the  individuals  as  they  themselves  express 
them.  Edward,  with  the  most  importunate  loquacity,  entreats 
Oharlotte  to  consetit  to  an  invitation  of  his  active  and  clever  friend; 
he  represents  to  her,  in  the  most  lively  mannef,  all  the  advantages 
which  will  arise  fVom  his  society.  Charlotte  does  not  eoneeal  that 
she  wishes  something  similar  for  Ottilia^  and  looks  upon  the  ftiifll- 
roenl  of  this  wish  aa  a  counter  oonoession  for  the  Captain.  Thus 
Oltijia  invites  the  Captain,  Charlotte  invites  Ottilia,  and  aaoh 
of  the  two,  unknowingly,  draws  into  the  quiet  domestic  circle  the 
disposition  of  his  happiness  and  peace  of  mind.  While  every  ono 
labours  thus  anconsciously  against  himself,  the  seed  of  a  destruc- 
tive destiny,  which  ripens  more  and  more  fearfully.  Is  scattered  in 
the  most  unseen  manner. 

But  is  not  this  wish  of  the  married  pair  perfectly  justified  ? 
Certainly;  its  fulfiment  therefore  sbovrs  us  nothing  further  than  this, 
thai  in  the  jmost  innocent  and  insignificant  matterSi  in  the  roost 
harmless  positions,  the  germ  of  a  violent  fate  may  be  concealed  ; 
but  that  nere  man  must  make  and  form  into  an  element  for  his 
moral  development  that  which  takes  placo  without  any  action  on 
bis  part.  If  he  is  able  to  do  this  h^  has  really  mastered  chance, 
bat  if  it  ia  transformed  into  an  internal  misfortune,  he  has  become 
the  aaorifiee  of  a  blind  pow^f. 

But  in  Charlotte's  opposition  so  Edward's  desire,  from  tbe  con- 
sideration  that  the  intervention  of  a  third  party  is  important  in  every 
situation,  nay,  that  tho  most  sacred  relations  are  not  nnfrequently 
utterly  destroyed  by  the  addition  of  a  new  person — in  this  oppor 
sition  we  already  heaf,  as  it  were,  a  warning  voice  which  carries  us 
beyond  the  Ittimediate  present,  if,  at  the  same  time,  we  Consider, 
that  it  is  Chariotte,  just  this  clever,  sensible  lady,  from  whom  we 
have  this  warning  objection,  it  appears  aa  a  secret  foreboding  of  an 
uawboleaome  change  In  bar  position^  which  lias  greater  weight  in 
the  mouth  of  one,  who  sets  it  down  as  the  essential  characteristie  of 
her  aex*  to  think  more  of  that  which  connects  together  in  life» 
because  the  fate  of  women,  and  the  fate  of  their  families,  is 
attdbhed  to  this  connection.  Thus,  bv  tho  most  unobtrusive  prelude 
^e  are  carried  beyond  the  immediate  present,  and  by  Charlotte 
the  mind  ia  familiari^sedj  at  least  with  the  possibiliiy  of  a  great 
efaatnge  of  position. 

Let  na  not,  however,  overlook  tbe  more  important  additional 
element,  by  which  Charlotte's  objection  first  gives  the  charaeter 
of  a  foreboding.  When  she  montions  her  earlier  connection  with 
fdwardf  we  learn  that  both  of  them  were  compelled,  by  circum- 
stances, to  give  their  hands  to  another  ;  that  they  afterwards  met 
agaift,  and  that  Charlotte  had  hesitatingly  consented  to  an  union 
with  Edward.  From  this  we  perceive,  that  the  relation  between 
the  two  does  not  rest  upon  a  ieelmg  which  embraces  the  whole 
eaistenoe,  but  that  they  have  taken  a  quiet  kindliness  for  perfect 
love.  Thus  also,  by  her  resistance  at  the  beginning,  Charlotte 
causes  us  to  suspect  a  deeper  motive.  Certainly  a  sec  ;t  voice  told 
her  that  while  both  had  yielded  to  circumstances,  ana  ^lad  formed 


another  union  \^ithuut  affection,  they  had  been,  as  it  were,  silently 
instructed  as  to  (he  nature  of  their  c&nuection,  nampl}-,  that  it  is 
not  a  free  lovo,  embracing  tho  whole  life,  uhicli  has  destined  them 
for  each  other.  For  this  reason  ulonc  does  the  foreboding  soul  of 
Charlotte  strive  against  an  union  with  Edward.  But  had  not  loth 
already,  in  a  certain  sense,  entered  with  a  contradiction  into  matri- 
mony ;  since,  feeling  for  each  other,  they  had  bestowed  their  hands 
elsewhere.  That  they  could  do  this  at  all  gives  us  a  proof  of  tho 
state  of  selMclusion  in  which  they  ^e  placed.  And  in  this  wci 
might  also  see  the  deeper  germ  of  the  original  guilt  of  both,  whieii 
afterwards  ripens  into  such  bitter  fruit.  Henco  it  iS|  that  the  narra- 
tive of^  Charlotte's  earlier  connection  with  Edward^  on  the  oceaiiop 
of  her  objection  to  make  an  associato  of  a  third  patty,  carries  ua 
beyond  the  scene  immediately  before  us,  and  awakens  in  ni  the 
notion  that  each  of  the  married  pair  might  easily  be  completely 
fascinated  by  another  individuality,  and  thus  gain  the  mistakeli 
feeling  of  passionate  love.  Thus  tlie  eloquent  opposition  of  Char- 
lotte becomes  to  us  a  secret  foreboding  which  rests  upon  the  feel* 
ing  of  an  cxistoneo  not  completely  satisfiedt  and  hints  at  an  evil 
threatening  from  this  side.  The  very  unobtrusivenels  of  this 
beginning,  the  narrative  of  the  earlier  connections,  which  seem 
woven  in  accidentally,  constituto  tbe  artistic  value  of  this  intredue- 
tion,  the  relation  of  which  to  the  oiganisation  of  the  whole*  we 
have  endeavoured  to  show. 

After  the  conversation  and  reflections  of  the  two  have  given  ua 
the  fundamental  traits  of  Charlotte  and  Edward— after  tlie  Captaiai 
on  his  very  first  appearance,  has  introduced  himself  to  us  as  a  olear^ 
practical,  circumspect  man— and  Ottilia,  through  the  letters  of  the 
Uoverness  and  tho  Teacher,  stands  before  us  in  her  mysterioue 
internalness,  the  poet  shows  to  us  tho  three  first-named  individuele 
in  a  dialogue  which  we  may  rightly  deem  the  ke^-stone  of  th^ 
exposition,  and  afso  as  a  niiae  rich  in  deep  thoughts  for  our  work. 

As  if  b^  accident,  the  conversation  turns  upon  the  affinity  of 
natural  things,  and  more  nearly  upon  that  elective  affinity,  br 
means  of  which  certain  substances  seek  and  hold  each  other,  mu- 
tually seize  and  determine  one  another.  In  this  is  at  once  touched 
the  kernel  of  our  work,  which  does  not  appear  in  its  full  signifi- 
eance  and  justification  until  the  end.  We  here  see  individuids  in 
intimate  hearty  converse  on  a  natural  relation,  to  which  man,  9A  It 
were,  assigns  his  own  position  and  his  own  feelings,  since  ne  desig- 
nates by  the  expression  '*  elective,"  that  Which  is  conditioned  by  a 
natural  necessity,  and  thus  concedes  to  such  a  <nere  natural  opera- 
ration  a  sort  of  will  and  freedom.  The  plearly  analyaing  Char- 
lotte had  declared  herself  dissatisfied  with  this  nnnffling  of  different 
regions,  and  will  have  choice  confined  to  human  relations 
alone.  In  a  short  time  we  see  how  in  these  individuals  positions 
are  developed,  in  which  freedom  really  yields  to  natural  necessity — 
how  these  persons  who*  as  it  were,  in  proud  seeurity,  are  oonscious 
of  their  higher  attributo  of  freedom,  sink,  against  theit*  will  and 
knowledge,  into  the  rank  of  natural  substances,  which  attract  and 
quit  each  other  as  they  are  compelled.  From  tnis  feeling  of  secu- 
rity proceeds  those  lively,  halfjesting  allusions  in  whidh  they  class 
themselves  like  natural  things,  and  can  assign  a  place  to  tbe  yet 
absent  Ottilia.  In  an  artless  manner  the  poet  has  here  uttered  an 
almost  overpowering  irony.  The  positions  in  which  the  individuals 
place  themselves,  in  mere  sport,  and  for  the  sake  of  illustrating 
the  doctrine  of  •*  elective  affinity,*'  are,  In  the  shortest  possible 
time,  transformed  Intb  fearful  earnest ;  and  the  coilsciousnass  which 
has  distributed  the  conceptions  of  frpedoni  and  necessity,  among  hu 
man  and  natural  relations,  soon  finds  itself  really  exposed  to  a  per. 
version  of  these  conceptions,  since  it  feels  itself  bound  by  a  power 
which  lies  beyond  all  reflection. 

Since  here'the  consciousness,  booause  it  is  still  fh)e,  distincuishes 
itself  from  tho  natural  necessity  of  elective  affinity «  ana  in  its 
spiritual  vitality  deems  itself  exalted  high  above  the  confined 
position  of  chemistry,  it  unconsciously  designates  the  succeeding 
position,  in  which,  against  its  willl,  it  is  seized  and  retaihfcd  by  a 
kindred  being,  as  one  which  Is  nnfree  and  opposed  to  the  proper 
distinction  of  man,  and  by  which  the  individual  is  himself  trans- 
ported back  to  the  point  of  natural  necessity.  Is  not  the  really 
tragic  calamity  of  the  individuals  thus  at  the  same  time  indicated? 
To  be  forced  to  enter  into  a  condition  which  one  would  rather  shun, 
to  be  obliged  to  eudure  all  the  happiness  and  torment  which  this 
comprises,  to  be  aware  of  ^Mj^Rf^tifi^^  |hiS|hw|al  suffering  of 


If  82 


THE  MUSICAL  WORLD. 


tho  Boul,  compared  with  which  all  other  misfortune  appears  merely 
external.  Bound  to  other  powers  of  feeling,  man  is  an  unlree 
natural  product,  and  subject  to  the  laws  of  nature.  At  this  grade, 
it  may  be  said,  is  shewn  only  the  universal  affinity  of  natural 
things,  which  is  continued  even  in  the  human  race,  ana  represents 
the  connection  between  the  macrocosm  and  the  microcosm. 

So  long  now  as  man,  in  this  his  elective  affinity,  agrees  at  the 
same  time  with  the  laws  of  the  moral  mind,  which  are  quite 
independent  of  it,  and  fulfils  the  latter  only  in  the  form  of  the 
former,  he  is  really  happy,*  for  he  exhibits  in  himself  and  his 
relations  the  union  of  freedom  and  necessity.  If  both  sides  fall 
into  a  difference,  so  that  the  free  moral  consciousness  stands  in 
opposition  to  elective  affinity,  then  man  is  placed  in  a  tragic 
collision,  the  deeper  sense  of  which  in  reference  to  our  work  we 
pointed  out  at  length  in  our  first  notice.  This  whole  discussion, 
the  thoughts  of  which  are  just  brought  out,  therefore  forms  a  con- 
clusion to  the  exposition,  which  is  profound,  because  it  shews  us  in 
such  a  naive  manner  the  essence  or  Elective  Affinity  in  the  region 
of  nature,  and  again  indicates,  and  almost  anticipates  its  power 
in  human  relations.  In  the  distinction  between  choice  and  neces- 
sity, which  is  especially  put  in  the  mouth  of  Charlotte,  the 
conversation,  with  just  as  much  funveU,  refers  us  to  the*approaching 
collisions  between  these  two  powers.  The  designation  of  the 
characters,  the  narrative  of  the  earlier  relations  between  Edward 
and  Charlotte,  only  elevate  for  us  the  matter  of  this  dialogue  into 
a  foreboding  of  the  discord  which  is  shortly  to  arise — elevate  the 
harmless  classification  of  individuals  according  to  the  law  of 
elective  affinities  into  a  warning  prelude  of  reality. 

The  exposition,  admirable  by  its  simplicity  and  the  extensive 
prospect  it  affords,  has  attained  that  whicn  is  the  great  point  in  all 
artistic  introductions — ^the  tone  of  mind  is  brought  so  far  that  it 
does  not  find  the  development  of  the  struggle  unprepared. 
(To  be  conHnued.) 
\*  To  prevent  xnitimderftanding,  it  may  be  stated  that  the  copyright  of  thii 
translation  belongs  solely  to  the  translator. 


right 


SONNET. 

No.  LVIII. 

[A  wrong  line  crept  into  this  Sonnet,  as  given  last  week ;  it  is  fhereftm  deemed 
ght  to  reprint  it  with  the  necessary  correction,  especially  as  it  is  immediatdy 
connected  with  No.  LIX.] 

Life  does  not  flow  in  one  continued  course. 

So  that  its  parts  all  with  each  other  blend. 

Each  one  beginning  at  another's  end, 
And  each  one  in  its  turn  a  goal  and  source. 
No,  there  are  points  where  the  stream  gathers  force. 

And  suddenly  appears  its  course  to  mend* 

As  though  to  some  new  destiny  'twould  tend-* 
Such  points  with  joy  we  think  on— or  remorse. 
And  thus  it  was  when  first  thine  eyes  met  mine, 

The  changeless  course  of  years  at  once  was  broken. 

Another  ccene  was  offer'd  to  my  view ; 
And  though  the  image  be  not  always  thine 

That  fills  my  soul ;  yet  still  through  thee  was  spoken 

That  word  of  fate,  which  bade  my  life  be  new. 


SONNET. 

No.  UX. 

Unask'd  in  a  strange  country  we  are  plac'd ; 
The  scene  of  our  own  act  we  may  not  choose. 
There  is  one  manacle  we  ne'er  can  lose^ 

One  bound'ry,  which  a  pow'r  not  ours  has  trac'd. 

New  scenes  arise,  old  objects  are  effiic'd 
Without  our  will ;  that  pow'r  its  strength  renews. 
From  whose  dark  hand  no  cup  we  may  refuse, 

Whether  of  gall  or  nectar  be  its  taste. 

Within  such  limits  can  the  soul  be  free  T 
It  can — for  it  can  meet  the  pow'r  without 
By  change  within,  through  its  own  native  might. 

Qaick,  bold,  relentless  must  its  action  be- 
lt must  not  doubt — it  must  not  hesitate. 
But,  lightning-like,  flash  through  the  destin'd  night. 


N.D 


DRAMATIC    INTELLIGENCE. 

Haymarket. — The  once  popular  operatic  comedietta,  The 
Rencontre,  has  been  revived  here.     The  piece  was  excellently 


played  and  veas  received  with  applause.  Mr.  H.  Farren 
improves  a  little  on  acquaintance ;  but,  as  far  as  we  could  judge 
from  the  weak  samples  he  gave  us  of  his  singing,  the  night  we 
heard  him  in  the  Rencontre,  we  would  advise  him  to  eschew 
vocalisation  altogether.  Farren's  performance  of  the  old 
Baron  who  hates  duelling,  threatens  to  disinherit  his  nephew 
fur  challenging  a  fellow-officer,  and  is  himself  ultimately  in- 
duced to  pull  a  trigger  with  an  adversary,  was  most  excellent. 
It  was  legitimate  comic  acting — rich,  racy,  and  unctuous. 
Webster's  Pierre  was  admirable.  The  parts  of  Madame  de 
MerviUe  and  Justine  were  respectively  filled  by  Mrs.  Seymour 
and  Miss  Reynolds,  and  were  played  right  well. 

Jullien's  Concertr. — The  principal  feature  of  the  week's 
performance  has  been  the  selection  from  Beethoven's  works, 
which  was  received  on  Monday  with  great  applause.  Mr. 
Koenig*s  benefit  took  place  on  Tuesday,  when  a  selection 
from  the  Lucrezia  Borgia  was  given,  embracing  the  popular 
airs  from  that  opera.  We  deem  it  but  justice  to  notice  the 
performance  of  two  young  artistes,  Mr.  Yiotti  Collins,  and 
Mr.  Roland,  who  on  their  respective  instruments,  the  violin 
and  contra-basso,  displayed  great  mechanical  powers,  and 
elicited  enthusiastic  applause.  Mr.  Viotti  Collins  is  a  very 
elegant  and  tasteful  player^  and  his  performance  was  decidedly 
the  most  complete  we  have  heard,  from  an  English  violinist, 
for  some  time.  He  was  encored.  Mr.  Roland  played  an  air 
with  variations,  of  his  own  composing,  and  narrowly  escaped 
an  encore.  He  is  really  a  very  clever  artiste,  and  is  one  of 
our  best  performers  on  itie  contra-basso.  His  bowing  is  par- 
ticularly neat  and  clear,  and  his  execution  very  brilliant. 
Notwithstanding  the  inclemency  of  the  weather,  the  theatre 
has  been  thronged  every  night.  M.  JuUien  has  announced 
his  Bal  Masqu^  for  the  22nd  inst.,  with  which  the  conce  ts 
close  for  the  season. 

Princess's.—"  Eight  celebrated  singers  from  the  Pyrenees," 
have  appeared  here  during  the  week,  and  have  indulged  the 
audience  in  very  extraordinary  displays  of  vocalisation.  The 
singers,  severally,  have  considerable  merit.  The  part-singing 
showed  they  had  studied  in  a  good  school,  and  exhibits  both 
taste  and  art.  A  war  chant,  in  which  the  tenor's  chest  voice 
came  out  with  Donzelli-like  power,  was  encored  with  accla- 
mations. Since  the  days  of  the  celebrated  Hungarian 
Brothers,  we  have  heard  no  set  of  vocalists  of  this  kind, 
which  can  compete  with  the  **  Singers  of  the  Pyrenees." 

Sadler's  Wells. — A  new  tragedy,  or  play,  as  the  bills 
call  it,  was  produced  here,  on  Wednesday  evening,  the  2nd 
inst.  To  the  interest  commonly  felt  in  a  successful  dramatist, 
is  added  the  fact  that  the  author  is,  in  the  present  instance,  a 
clergyman  of  the  Church  of  England :  accordingly  a  crowded 
and  highly  intdli^^ent  audience  assembled  to  witness  this,  the 
third  and  latest  dramatic  effort  of  the  Rev.  James  White. 
The  play,  like  the  rest  of  the  author's,  is  historical.  We  do 
not  know  whether  John  Saville  is]  a  real  personage  or  not, 
but  the  chief  historical  interest  of  the  piece  turns  on  the 
assassination  of  the  Duke  of  Buckingham,  the  profligate 
favourite  of  Charles  the  First,  by  Felton.  The  opening  scene 
displays  the  Duke,  Mr.  Marston,  in  the  midst  of  his  retainers, 
one  of  whom,  Trivett,  Mr.  Hoskins,  offers  him  the  pos- 
session of  a  young  country  girl  of  great  beauty,  the  excite- 
ment of  novelty  to  his  palled  and  listless  passion?.  This  girl 
is  Lillian,  Miss  Addison,  the  daughter  of  John  Saville. 
Meanwhile,  Felton,  a  kinsman  of  Saville,  claiming,  in  an 
interview  with  the  Duke,  the  long  promised  reward  of  im- 
portant military  services,  is  dismissed  by  Buckingham  with 
scorn  and  indifference,  and  retires  to  his  kinsman.  We  are 
now  introduced  to  John  Saville  and  his  daughter  at  their  house 

Digitized  by^^OOy  It: 


THE  MUSICAL  WORLD. 


723 


at  Haysted.  The  rapacious  favourite  has  already  marked 
Savi]Ie's  property  for  confiscation,  and  a  claim  is  made  by  the 
King,  ivhich,  unless  it  can  be  successfully  resisted,  will  in- 
volve the  unfortunate  squire  in  hopeless  ruin.  The  Duke,  in 
pursuit  of  his  design  upon  Lillian,  obtains  an  interview  with 
her  in  her  father  s  garden,  by  means  of  a  feigned  assault  and 
rescue,  and  thus  succeeds  in  making  such  progress  in  her 
confidence,  that  upon  his  announcing  himself  to  be  the  Duke 
of  Buckingham's  brother,  the  artless  Lillian  forms  the  some- 
what romantic  project  of  seeking  an  interview  with  the  Duke, 
for  the  purpose  of  averting  her  father's  impending  ruin,  and 
thus  falls  into  the  enare  that  has  been  laid  for  her.  She 
secretly  leaves  her  father's  house  for  Portsmouth,  the  head- 
quarters of  the  Duke,  who  follows  her,  but  is  encountered  by 
Felton,  who,  suspecting  his  designs^  succeeds  in  drawing  the 
truth  from  him,  and  vehemently  denouncing  him,  they  fight. 
Felton  is  wounded,  ond  can  only  hasten  to  Saville,  to  an- 
nounce to  him  his  daughter's  flight.  The  heart-stricken 
parent,  unaware  of  her  motives,  follows  her.  The  scene 
changes  to  Portsmouth,  and  now  comes  the  best  scene  in  the 
play.  The  Duke,  throwing  off  the  mask,  discloses  himself 
and  his  designs  to  Lillian^  who  receives  his  proposal  with  the 
deepest  disgust,  but  she  is  now  completely  in  his  power.  Her 
father  has,  however,  contrived  to  convey  to  her  a  phial  of 
poison,  with  an  intimation  to  swallow  it  as  a  last  resource 
from  the  Dnke's  designs ;  but  an  order  arrives  from  the  King, 
obtained  by  one  of  Saville's  friends,  corcmanding  Buckingham 
to  desist  from  his  purpose  and  restore  the  maid  to  her  father; 
but  the  Duke  tearing  the  paper  in  a  rage,  and  rushing  out  to 
consummate  his  designs  on  Lillian,  is  met  by  tl:e  dagger  of 
the  assassin,  and  staggering  in  again  falls  dead,  and  is  followed 
by  Felton,  with  the  instrument  of  death  reeking  in  his  hands. 
The  rescue  of  Lillian  thus  effected,  comes  too  late,  for  she  has 
'swallowed  the  poison  in  despair,  and  dies  in  her  father's  arms. 
Here  is  excellent  matter  in  incident  and  character  for  a  tragic 
drama,  but,  although  the  play  contains  much  of  both,  and  was 
listened  to  with  considerable  interest  throughout,  yet  the 
author  has  failed  to  work  up  his  materials  to  the  utmost  of 
their  capabilities.  In  short,  the  play  is  so  good  that  we  cannot 
help  thinking  that  it  ought,  and  that  it  might  have  been  much 
better,  and  such  is  the  impression  that  this  gentleman's  plays 
have  all  left  upon  us.  They  seem  to  fail  of  their  due  effect, 
less  from  want  of  power  in  the  author,  than  from  lack  of  the 
needful  time  and  labour  in  their  construction.  He  weaves 
his  tale  with  clearness  and  simplicity,  and  in  his  conception  of 
character  has  as  clear  an  insight  of  the  great  requisites  for 
dramatic  effect,  strength,  variety,  and  contrast.  Thus,  nothing 
can  be  better  adapted  for  his  purpose  than  the  characters  of 
the  haughty,  profligate,  and  relentless  Duke — the  honest, 
brave,  and  heart-seared  parent,  Saville  —and  the  gloomy  and 
fanatical  puritan,  Felton.  The  fiery  elements  on  each  of 
these  only  wanted  contact  to  produce  a  volcano.  But  the 
Duke  has  but  two  short  scenes  with  Felton,  although  the 
latter  is  a  very  effective  one ;  and,  as  for  Saville,  with  the 
exception  of  a  weak  and  somewhat  feeling  interview  with 
Buckingham,  in  which  the  outraged  parent  is  made  to  go 
down  on  his  knees  to  his  relentless  oppressor,  they  do  not 
once  come  in  contact  throughout  the  play.  Thus  the  author 
fails  to  realise  the  high  promise  held  out  by  the  first  two  acts. 
The  best  drawn  character  in  the  piece  is  that  of  Saville.  The 
mingled  pathos  and  humour  of  the  early  scenes  were  given  by 
Mr,  Phelps  with  the  versatility  peculiar  to  him.  The  last 
scene,  in  which,  holding  his  dead  child  in  his  arms,  he  clings 
with  true  parental  tenacity  to  the  hope  that  she  is  only  asleep, 
was  touching.     He  was  well  supported  by  Miss  Addison, 


who,  by  the  way,  looked  exceedingly  well,  and  was  dressed 
with  becoming  grace  and  simplicity.  Her  best  point  was  her 
burst  of  indignation  at  the  profligate  proposals  of  the  Duke. 
Here  she  was  quite  in  her  element.  Felton  is  made  a  fanatical 
and  dreaming  enthusiast,  who  fancies  that  the  hand  of  Heaven 
will  sanction  his  assassination  of  the  Duke,  nor  could  anything 
be  better  than  Mr.  Bennett's  personation  of  the  character, 
which  was  not  the  less  effective,  because,  with  the  exception 
of  two  or  three  passages,  it  was  perfectly  quiet  throughout. 
His  face  and  attitude,  as  he  stood  over  his  fallen  victim  had  a 
stem  repose  exceedingly  picturesque.  A  scene  of  the  inside^ 
and  another/)f  the  outside  of  Haysted  Hall,  are  well  painted, 
and  interesting  as  specimens  of  the  style  of  building  prevalent 
at  the  period ;  a  wooded  landscape  also  is  admirably  designed 
and  executed.  The  piece  was  received  with  the  greatest  en- 
thusiasm. After  the  principal  performers  had,  as  usual,  come 
forward,  there  was  a  loud  call  for  the  author,  when  Mr.  Phelps 
announced  that  he  was  not  in  the  house. 

Astley's. — A  new  grand  dramatic  spectacle,  entitled.  The 
Camp  of  Silesia,  taken,  as  the  bills  have  it,  from  Meyerbeer's 
celebrated  opera,  was  produced  on  Monday,  with  great  mag- 
nificence, and  was  received  with  success.  A  certain  Miss 
Lydia  Pearce  made  her  first  appearance  at  this  theatre,  and 
played  the  heroine  with  great  spirit.  Mr,  Batty's  two 
elephants,  purchased  at  Mr.  Hughes's  sale,  were  exhibited  in 
the  circle  after  the  spectacle,  and  displayed  great  docility,  and 
went  through  several  very  un-elephantine  feats. 

OPERATIC   SKETCHES, 

No.  1.— GRISL 

GiULiETTA  Grisi  is  One  of  the  most  favoured  and  favourite 
singers  the  Opera  has  boasted  of  since  the  days  of  the 
famous  Banti.  From  the  first  night  when  she  appeared  in 
Ninetiaf  in  La  Oazga  Ladra,  in  1834,  to  the  present  time, 
her  career  has  been  one  of  undeviadng  favouritism  and  un- 
diminished success.  She  took  the  town  by  storm  and  still 
retains  her  strong-hold  in  the  citadel.  Her  classic  beauty, 
her  natural  ease,  her  pathos,  her  fervour,  her  exquisite  organ, 
the  perfectibility  of  her  singing,  clear,  brilliant,  and  pure  in 
intonation,  created  a  tempest  in  her  favour,  of  which  time, 
circumstance,  and  mutation,  have  scarcely  allayed  one  breath. 
The  grandeur  of  Pasta,  unfortunately  too  sublime  for  general 
appreciation,  or  too  deeply  moulded  in  the  school  of  imperial 
tragedy,  might  awe  the  public  into  admiration  but  for  a  few 
seasons — Catalani  might  electrify  and  astound  awhile,  yet 
at  last  outweary  her  hearers — the  silvery  fluidity  of  Sontag, 
unattended  with  higher  excellencies,  might  pall  upon  the  ear 
— but  it  was  absolutely  left  for  Grisi,  through  time  and  tide, 
through  change  and  novelty,  through  seasons,  cycles  and 
lustres,  albatross-like,  with  wing  that  never  tired,  to  hold 
her  way  still  onward  in  public  estimation :  nay  more,  with 
Malibran  in  her  zenith,  she  seemed  to  divide  the  general 
acclamation  ;  and  some  had  the  hardihood  to  declare  she  was 
as  fine  a  singer,  while  no  few  insisted  Grisi's  was  the  more 
accomplished  voice.  We  do  not  pledge  ourselves  to  belong 
to  either  of  these  parties. 

Grisi's  voice  is  a  pure  soprano  of  the  very  finest  quality. 
She  can  sing  without  a  ^train  to  C  in  alt.  Her  lower  notes 
are  occasionally  weak,  but  the  middle  tones  are  full,  mellow, 
and  deliciously  sweet.  The  fiexibility  of  her  voice  is  proverbial. 
In  arias  di  agilita  she  may  even  fairly  compete  with  Sontag, 
while  in  every  other  respect  she  is  the  avowed  superior  of 
that  charming  songstress.  Grisi's  voice  has  power  to  a 
great  extent,  but  power  alone  is  not  her /or/e.  if  her /or/e 
singing  be  as  perfect  as  might  be  desired  '^^f^^^^  p]^te« 


7S4 


THE  MUSICAL  WORLD. 


her  sotto  voce  leaves  nothing  for  the  most  critical  to  cavil 
at.  In  this  respect  she  is  far  superior  to  any  singer  we 
ever  heard.  It  is  impossible  to  describe  the  exquisite 
delicacy  and  purity  of  her  tones  while  warbling  jjmno  passages. 
Perhaps  the  knowledge  of  this  directs  her  to  throw  into  her 
singing  too  much  light  and  shade  for  the  sake  of  effect,  and 
tempts  her  to  force  her  voice  beyond  its  power,  that  she  may 
shine  by  contrast  and  revel  in  the  excellence  of  her  sotto  voce — 
as  actors  in  parts  of  their  character  purposely  underplay 
themselves^  that  they  may  strike  the  more  when  they  come 
to  their  points.  But  6risi*s  voice  has  charms  independent  of 
this.  It  adapts  itself  to  all  styles  of  music,  from  the  lofty 
grandeur  oi  Donna  Anna  to  the  simple  pathos  of  Ninetta — 
from  the  passion  of  the  Babylonian  Queen  to  the  coquetry 
of  Norina — from  the  voluptuous  sensibility  oi  Norma  to  the 
comic  grace  and  nahete  of  Rosina.  Where  energy  is  required, 
ot  love,  anger  or  despair,  her  voice,  as  it  were,  having  power 
to  modulate  itself  to  every  newer  shade  of  feeling,  becomes 
the  veritable  vehicle  of  the  passion  of  the  moment.  This  is 
high  praise,  but  it  is  commensurate  with  desert.  Her  singing 
Mozart's  music,  witness  her  Donna  Anna,  is  no  less  chaste 
and  severe  than  her  singing  Rossini's  is  brilliant  and  light. 
From  her  lips,  Or  sai  chi  Vonore  is  as  grand  an  effort  of 
classical  vocality,  as  the  Di  piacer  is  a  dazzling  illustration 
of  the  aria  di  agilita.  There  is  but  little  appearance  of  art 
al)out  Grisi's  singing :  what  she  utters  seems  to  fall  naturally 
from  her  lips,  and  from  the  impulse  of  the  moment.  On  the 
stage  she,  indeed,  seems  to  be  a  true  child  of  Nature. 

Perhaps  it  may  be  said,  Grisi  is  still  more  commendable 
as  a  histrionic  than  a  lyric  artist.  If  she  be  removed  from 
the  awful  majesty  of  Pasta,  or  if  she  lack  the  absorbing  in- 
tensity of  Malibran,  she  has  passion  and  power  of  the  highest 
accomplishment.  In  the  lofty  and  sublime  she  fails  not  in 
the  ability  to  identify,  or  the  abstraction  to  realise.  Grisi 
possesses  great  versatility  of  talent.  There  is  grandeur  in  her 
tragedy — witness  her  Donna  Anna  and  Norma;  there  is 
infinite  beauty  in  her  pathos,  as  her  unrivalled  personification 
of  Ninetta  may  illustrate :  and  her  Susanna  and  Rosina 
abundantly  testify  her  claims  to  comic  power  in  **  its  highest 
sighification.'*  Thus,  it  cannot  for  a  moment  be  denied  that 
she  lays  claim  to  genius  in  its  truest  and  fullest  import. 
Like  every  other  faculty  of  the  human  mind,  genius  must 
have  its  grades.  The  endurance  of  fame — the  unabating 
ardour  of  admirers — the  enthusiasm  of  succeeding  audiences 
-^the  universal  favoritism,  amounting  to  a  mania,  could 
hardly  be  the  unfailing  attendants  on  mere  talent,  or  that 
species  of  ability,  which,  however  praiseworthy,  or  however 
supported  by  fashion,  prejudice,  or  taste,  can  never  hope  to 
fix  that  hold  on  public  estimation  which  true  genius  dltyne 
effectuates. 

It  mast  be  allowed  in  the  scale  of  her  appreciatio<i,  that, 
with  a  certain  class  of  her  upholders,  Grisi  s  beauty  carries 
ho  small  weight.  Her  beauty,  indeed,  is  of  high  order.  The 
outline  of  the  head  is  particularly  elegant  and  classical,or,  as 
Hector  Berlioz  would  denominate  it,  Olympian.  Her  features 
are  expressive  and  full  of  fine  intelligence :  they  are,  of  a 
verity,  features  cast  in  no  common  mould.  They  are  full- 
fraught  with  that  nobility  by  which,  with  a  thought,  the 
deepest  shade  or  brightest  sunshine  is  truthfully  depicted. 
This  was  one  of  the  wondrous  characteristics  of  poor 
Malibran's  looks ! ! !  The  slightest  emotion  or  change  of 
feeling  was  apparent  as  the  hours  on  the  dial  plate.  A  poet 
of  onr  acqnair.t2«'^.  was  wont  to  say,  **  she  had  a  thousand 
passions  on  her  upper  lip !"  With  some  little  reservation  we 
may  assert  the  same  of  Grisi.    Her  face  is  a  clear  lake  where 


thd  beam  or  the  cldud  is  reflected  trith  truth  and  perspictiity. 
Thought  seems  to  e*hale  from  her  coni^tenance,  and  thfe 
artist-feeling  casts  the  momentancfous  veil  of  the  ruling  passion 
over  her  features.  This  is  tb^  choicest  faculty  of  genius ; 
and  whether  it  be  ciphered  abiitraction  or  mimetic  power,  is 
the  grand  line  that,  on  the  stage,  separates  the  rare  few  frortti 
the  tnillion.  To  award  an  individual  a  higher  niche  Iri  the 
histrionic  than  the  lyric  temple,  is  to  invest  the  head  with  a 
crown  of  gold  instead  of  a  wfeath  of  roses.  For  one  who  ia 
pre-eminent  as  an  actor,  we  have  thousaods  Who  have  oc- 
cupied the  foremost  rank  as  singers.  Pasta's  voice  was  aft 
brgan  of  indifferent  excellency,  but  Pasta  was  one  6f  the 
greatest  dramatic  singers  the  world  ever  saw.  On  the  other 
hand,  what  host  of  delicious  songstefs  do  we  hear,  year  after 
year,  that,  like  cottiets,  emblazon  the  hemisphere  4  space,  thefi 
disappear  as  suddenly  as  they  came,  hevcr  to  l>e  heard  Of 
more — ^annuals  that  die  with  the  season !  How  many  singers 
does  England  at  this  motnent  possess,  with  voicea  of  rare 
quality  and  power,  and  yet  to  hope  that  one  of  these  may  rival 
Grisi  is  to  indulge  In  a  dream  of  visionary  speculaUoo.  And 
why  is  this  ?  They  lack  dramatic  power — the  geniua  to 
make  others  feel  what  themselves  express.  Force  will  not 
aupply  the  place  of  energy,  rant  passion,  nor  affectatioa 
feeling ;  and  yet  to  these  three  qualities,  ot  rather  as- 
sumptions, force,  rant,  and  affectation,  some  df  oQf  firat 
singers  are  indebted  for  being  enrolled  among  the  foster- 
babes  of  genius.  Genius  Is  unmistakeable :  it  stands  out 
in  bold  relief  from  the  flat  ground  of  surrounding  mediocrity. 
There  Is  no  erring  in  respect  to  Grisi.  Hypetcritics  liiay 
urge  that  she  wants  Pasta's  flight  or  Malibran's  fire,  bnt  this 
mode  of  criticising  is  only  less  feeble  than  that  of  judging 
by  defects,  and  cannot  affect  het  own  high  merits.  That  she 
is  not  perfect,  is  only  what  may  be  predicated  of  all  the 
greatest  artists.  Greatness,  so  far  from  being  Incompatible 
with  faults,  is  necessarily,  from  its  lofty  soaring,  being  liable 
to  be  dazzled  with  the  sun,  or  dizzied  with  its  elevation,  more 
subject  to  sins  and  offences  than  mediocrity,  whose  Wing  is 
too  cautious  and  too  dependent  to  dare  too  high  or  too  dis- 
cursive a  flight.  It  may  be  a  matter  to  be  deplored,  but 
nothing  has  experience  taught  us  to  be  more  true,  than 
that  the  greatest  geniuses  are  allied  to  the  greatest  feults. 
Pastat  Malibran,  Catalani.  Garcia,  Velluti,  Ambtogett]| 
Tamburini,  Rubini,  and  Braham  are  all  on  the  lyric  stage  evi- 
dences of  this  position.  We  shall  therefore  be  lees  astonished  to 
find  Grisi  number  a  few  defects  among  her  excellencies.  These 
it  is  neither  grateful  to  us  to  touch  upon,  nor  do  we  think 
them  of  sufficient  importance  to  hold  otir  attention  one 
niomeiit,  In  gazing  on  the  sun  his  lustre  outshines  his  spots. 
In  conclusion,  whethet  we  consider  Grisi  as  a  vo<5a1ist  of 
an  actress — whethet  we  look  tjpon  het  as  one  endowed  with 
the  rarest  faculties  of  song,  or  as  gifted  with  histrioAic  pOWert 
of  the  highest  order,  in  either  case  eminent  aWafd  mu$l  aWait 
her; — but  when  conjoining  both  qualifications,  when  to  sweet- 
ness, purity,  delicacy,  intonation,  perfectibility  of  execution 
in  the  voice,  we  add  fire,  energy,  high  development,  and 
abstraction  in  hor  acting,  we  dhall  not  hesitate  to  enrol  hef  lA 
the  list  of  the  greatest  singefs,  while  we  adjudfge  to  her,  as  hef 
incontrovertible  right,  the  loftiest  seat  in  the  Temple  of  the 
Modern  Lyric  Drama. 


PORCIQN   INTeLLICENCB. 

Hanover,  November  7. — {From  our  own  Correspondent.) 
— Although  I  have  been  visiting  a  number  of  places,  it  does 
not  happen  that  1  can  give  you  much  musdcal  ^°{9'Q^9lb' 


THE  MUSICAL  WORLD. 


195 


I  beg,  therefore,  you  will  not  place  the  dearth  to  any  want  of 
aetiyity^  or  inelination  on  my  part  to  seek  for  it^    After 
leaving  Baden-Baden  I  wended  my  way  north-east.     At 
FrancEfoft  there  was  no  Opera,  nor  was  there  any  concert 
announced.    Dance-music,  d  la  Sperl^  one  might  hear  in  the 
Wiedenbuseb  Hotel,  if  inclined  to  inhale  at  the  same  time,  the 
maases  of  smoke  issuing  from  the  mouths  of  a  thousand  burg- 
hers !   I  spent  one  day  at  the  pretty  watering-place,  Homhurg, 
situated  in  a  most  agreeable  country.  The  Prince  has  allowed  a 
Cursaal  to  be  erected  there,  which  is  not  inferior  to  those  at 
Baden  and  Sms.     In  the  evenine  an   excellent  orehestre 
performed  poiptmrriB  ftom  Robert  fe  Diahle,  and  Led  Mous- 
quetaites  de  la  Reine,  as  well  as  several  waltzes  and  polkas. 
Next  morning  1  set  off  (the  railway  not  being  completed)  by 
diligence  to  Eisenach^  the  road    wending  through  Tallies 
smiling  with  rerdure,  ofteii  reminding  me  of  English  scenery. 
At  Eisenach  I   found  myself  in   a  most  romantic  part  of 
Thuringia.     Of  course  I  ascended  without  loss  of  time,  the 
mountain  on  wliich  stands  the  celebrated  Wartburg,  where^ 
some  dosen  years  ago«  assembled  many  thousand  students 
from  all  parts  of  Germany  to  celebrate  the  300th  anniversary 
of  Luther's  birthdav.     You  are  aware  how  unfortunate  this 
meeting  ended  for  the  liberties  of  the  univeisities.    The  King 
of  Prussia  is  now  having  the  castle  reinstated  into  its  ancient 
fbrm,  and,  when  finished,  it  will  be,  to  all  lovers  of  the 
beautifnl  and  romantic,  a  spot  of  great  attraction,  for,  from  its 
casements,  the  roost  delightful  prospects  present  themselves 
to  the  eager  gaze  of  the  visitor.     The  rooms  which  Luther 
inhabited,  during  his  ten  months*  imprisonment,  remain  as 
they  then  existed ;  the  furniture  Of  wood  is  of  the  coarsest 
description,  whilst    a  couple   of   portraits    of   Luther,   by 
Krauach,  ornament  the  otherwise  bare  walls.    From  Eisenach 
I  proceeded  on  to  the  bath,  Lichiensteifif  situated  a  few  hours, 
journey  distance  from  Eisenach,  amongst  the  most  romantic 
scenery.    The  Duke  of  Coburg,  and  the  Prince  of  Meiningen 
were  there,  still  enjoying  the  pure  mountain  air  ;  and  as  the 
place  is  but  small^  all  the  principal  persons  congregate  at  the 
hotel  erected  by  the  Duke  for  the  visitors  accommodation. 
I  made  some  very  agreeable  acquaintances— among  them,  the 
Baroti  and  Baroness  of  Oldershausen ;  the  Baroness  speaks 
English  Tery  well ;  in  the  course  of  conversation  I  discovered 
that  she  is  the  niece  of  our  esteemed  friend,  Mr.  Wessel,  of 
London.     The  Baron  and  Baroness  were  kind  enough  to 
invite  me  to  their  chateau  at  Gebesee,  near  Erfurt ;  so,  after 
enjoying  the  charming  retirement  of  Lichtenstein  for  about 
a  week,  I  went  to  EHbrt  and  took  post  for  the  chateau  at 
Gebesee^  whefe  I  was  niost  kindly  received  by  the  noble 
owners.     The  Baroness  is  a  good  musician,  and  possesses  a 
soprano  voice  of  uncommon  sweetness  and  fiexibility^     The 
Baron    accompanied    me  to  a    neighbouring  town,   called 
Wekienseet  where  the  Thuringia,    Gesang  ^iereine^  had  as- 
sembled to  execute   some  choruses.    At  one  time,  about 
twelve  hundred  voices  united  to  sing  Luther's  Hymn,  *'  Eine 
feste  burgist  unser  Gott ;"  the  eifect  was  most  overpowering 
and  sublime.     The  famous  chorus,  from  Fidelio,  likewise 
pfoduced  a  great  effect.    Minor  compositions  served  for  rival 
display  of  the  powers  of  the  different  societies.    After  the 
performances  all  parties  met  at  the    social    dinner^tables. 
Lodgings  were  eheerfully  given  to  the  visitors  by  the  towns- 
people without  any  remuneration,  which  gave  us  a  favourable 
impression  of  the  kindness  and  hospitality  of  the  Thuringians. 
I  parted  with  regret  from  my  kind  host,  and  taking  the  train 
at  Erfurt,  steamed  on  through  the  pretty  valley  of  the  Saale, 
te  Weumar,  Halle^  Magdeburg,  Brunswick,   and  Hanover, 
where  I  had  the  gratification  of  seeing  King  Ernest  and  th# 


Crown  Prince,  who  bothlooked  remarkably  well.     The  whole 
court  came    in  gala  the  other  evening  to  the   theatre,  in 
honour  of  the  King  of  Prussia  and  the  Grown  Prince  of 
Bavaria,  both  guests  to  his  Majesty  of  Hanover.     The  opera 
of  Ernani  was  performed  on  the  occasion.     The  choruses,  in 
particular,  showed  the  excellent  training  of  the  conductor! 
Herr  Marschner ;  the  fine  band  deserves  a  due  share  of  praise^ 
and  the  principal  singers  are  very  good.     A  Baron  Yon 
Klensheim  gave  two  evening  readings  of  his  poetry,  written 
in  the  Austrian  dialect,  that  pleased  amazingly.     He  shotirs 
in  his     writings   a  natural   vein   of   humour,    relieved   by 
passages  of    much  sentiment  and   feeling.     Several  of  hu 
songs  have  been  set  to  music,  and  were  capitally  sung  by 
Madame  Nottes,  prima  donna  at  the  theatre.     On  my  return 
I  shall  have  the  pleasure  to  present  a  few  of  them  for  your 
use  for  the  Musical  World.     Herr  Marschner's  last  opera  is 
called,  Der  Herzoy  von  Nassau,  but  I  have  not  yet  heard  any 
part  of  it.     A  young  composer,  M.  Wallerstein,  bids  fair  to 
become  very  popular  in  Germany,  as  an  inventor  of  pretty 
and  elegant  melodies  for  polkas  and  other  dance  music.     In 
Paris  they  have  been  introduced  with  great  success.     I  had 
the  pleasure  of  seeing  here  Thalberg,  who  was  staying  at  the 
British  Hotel.  He  travels  solus,  and  is  on  his  way  to  Vienna. 
Tamburini  also  stayed  here  a  night  on  his  way  to  St.  Peters- 
burgh,  to  fulfil  his  engagement  in  that  city.  With  the  renowned 
Alex.  Von  Humboldt  I  conversed  a  short  time ;  although  past 
seventy  he  is  still  active  and  occupied  in  literary  labours  ;  his 
**  Cosmas**  creates  universal  attention ;  no  doubt  you  have 
heard  of  his  work  in  England.     I  hear  that  a  commission  is 
appointed  to  regulate   the  acts  for  international   copyright 
between  Hanover  and  England.     I  believe  that  all  the  states 
of  the  "  ZoU-Verein"  have  joined  the  contract  with  Great 
Britain  and  Prussia.     As  British  composers  are  daily  making 
progress  in  the  good  opinion  of  their  German  brethren,  it  is 
high  time  that  their  labours  should  be  secured  to  them  by  law 
in   this  country,  where  so  large   a  field  is  open  to  obtain 
musical  reputation  and  honours.      Lady  Jersey  and   Lady 
Villiers  were  here  on  a  visit  to  the  King ;  to  gratify  them, 
several  of  the  best  pieces  from  Balfe's  Bohemian  Girl  were 
frequently  executed  by  the  military  bands.      The   cavalry 
band  is  of  the  first  class ;  the  leader  is  Herr  Sachse,  a  splendid 
performer  on  the  saxe-horn.     I  am  now  going  to  **  assist"  at 
the  opera  of  Ernani,  commanded  in  honour  of  the  Duchess  of 
Mecklenburg's  presence;     I    would  gladly   have   preferred 

''something  worth  listening  to,"  but My  next  may,  in  all 

probability,  be  from  Berlin.  I  have  just  received  the  melan- 
choly tidings  of  the  death  of  Dr,  Felix  Mendelssohn 
Bartholdy,  who  expired  at  Leipzig  from  the  effects  of  brain 
fever.  This  severe  loss  will  be  felt  by  the  whole  of  musical 
Europe ;  no  where,  I  am  sure,  you  will  say,  more  than  in 
England,  where  he  obtained  the  greatest  reputation  as  a 
composer,  and  enjoyed  the  highest  regard,  as  a  man.— A.  Z. 

Vienna,  October  27. — ^Wallace's  opera  of  Mariiana  will 
be  produced  here  in  about  a  fortnight,  the  principal  parts  will 
be  sustained  by  Mdlle.  Meyer  (a  pupil  of  Mendelssohn),  Mdlle. 
Helreih,  Herren  Helscehsky,  and  Staudigl.  The  composer 
has  written  a  new  scena  and  chorus  for  the  last  act,  of  which 
report  speaks  highly.  Miss  Wallace,  the  composer's  sister, 
has  made  a  great  impression  on  the  Viennoise,  and  is  expressly 
engaged  to  sing  at  a  grand  concert,  on  the  15  th  of  November, 
before  the  Emperor  ,and  the  court.  She  is^so  engaged  to 
sing  at  a  concert  to  be  given  on  the  8th  of  Dofember,  by  the 
Brothers  Helmesbergersi  the  violinists  ;  and  subsequently  at 
Parish  Avars*  concert.  She  is  next  engaged  to  lend  her 
vocal  aid  to  a  concert  about  to  be  given  by  Madame  Schiitz 


7«6 


THE    MUSICAL  WORLD. 


Oldose,  prima  donna  to  the  Court  of  Austria ;  and  finally 
purports  giving  a  concert  on  his  own  account. 

Hatanna.  Skpt.  29,  1847.— The  cultivation  of  music  here 
seems  to  be  on  the  increase.  We  have  a  very  good  opera 
during  the  winter,  and  many  vocal  and  instrumental  concerts ; 
and  those  distinguished  artistes  who  visit  the  United  States, 
seldom  omit  paying  us  a  visit  before  their  return  to  Europe! 
There  is  an  on  dit  afloat  that  we  are  to  have  Rubini  next  win- 
ter, ti^ther  with  the  Yiennoise  children,  and  other  novelties. 
The  planters  have  been  making  large  crops,  and  selling  them 
at  more  than  remunerating  prices,  and  can  therefore  afford  to 
bleed  a  little  for  the  amusement  of  their  wives  and  progeny. 

A   RELIGIOUS   FESTIVAL  AT   BOLOGNA. 

The  Philharmonic  Society  of  Bologna  published,  on  the  9th 
of  September  last,  the  following  manifesto : — 
i„hn9."r kf-il*."'  September  a  ma»s  in  mu.ic  will  be  celebnited  at  Saint 
the  health  of  his  Holine.8  Pope  Pius  IX..  who.  after  so  many  acts  of 
auTsT'rotecUon"      "*  to  honor  the  above-named  Society  with  his 

On  the  day  appointed,  the  f6te  was  celebrated  with  unpre- 
cedented  pomp.  The  church  of  Saint  John  was  decorated  and 
adorned  m  the  most  magnificent  style.  In  the  centre  aisle 
they  erected  a  throne  of  crimson  velvet  with  a  cloth  of  silver 
spread  beneath,  and  the  portrait  of  the  august  Pius  IX.,  to 
whom  this  ffete  was  consecrated.  On  all  sides  were  seen 
portraits  of  the  eminent  Cardinal  Opizzoni,  Archbishop  of  the 
«ty,  and  the  most  zealous  supporter  of  the  Philharmonic 
Society.  At  eleven  o  clock  His  Eminence  arrived,  attended 
7  t  if  *^«  ^"?^  A°»»t'  and  fo«nd  already  seated  in  the 
church  the  Marquis  Guidotti,  Senator  and  City  Magistrate. 

might  be  recognised  Rossini,  and  other  bodies  corporate, 
mingled  in  a  crowd  composed  of  the  most  distinguished  classes 
of  the  society  of  Bologna. 

yhe  mass  was  chosen  from  different  authors.  They  per- 
formed, with  orchestra  and  full  choir,  a  Kjr-ie  of  Thomas 
Marches.;  a  Gloria  of  Antoine  Fabbri. ' president  of  the 
Ina^^Z'  fT'y'n"  ^J"^"^^  «f  ^'•aippe  Vanduzzi; 
f^  f  P  i  ^*'"w  Bartolini.  The  inttpduetion  was  comi 
posed  by  Professor  Manetti,  the  T,  Deum  by  the  maestro, 
Joseph  Busi.  and  the  Tantum  Ergo  by  the  maestro  Fabbri. 

P  Jtiff'p- "11-''  Z"^  r  ''^'y  "'P*"'  ''■"%  of  *e  Sovereign 

S  ;  fu"  "^^  ^^"''^  r*""*  "'^"^d  »««»«"  enrolled  at  *e 

5,«  .hL5r  'T"^  i  *^"  '"'*''^»y-  O"  *»»«'  departure  fh>m 
^e  church,  the  people  sung  aloud  the  new  hymn,  0  S<mmo 

PROVINCIAL. 

by  Hiss  Waldron  wd  Mr.  Wykra  as  »oSi1.u    ^^"lu"'  Leicester,  assisted 

puUtionasaWt-rateflTuttefby  bf.'  e"cejlfn?trr  '"»*""«d  hi.  re- 
Introduction  and  variations  to  the  "  H^nf.L  T'*?.'^"'""*  of  Drouefs 
was  enthusiastically  enwJtl     A  simn.rhr""  ^''°""'"  '"  ""'='' '"' 

^  M.  .f  n^Ts^S&'XXS^ '"  ""•  ""• ""  "  "» 


lately  have  not  been  fn  the  highest  walks  of  the  drama,  but  have  well 
suited  the  capacities  of  the  company,  the  taste  of  the  times,  and  of  con- 
sequence have  served  the  interest  of  the  manager.  The  Arabs  and  the 
Mexican  wonders  have  aided  the  attraction  of  Mrs.  Brougham's  Jack 
Shepherd,  and  Mr.  Browne  in  The  Unfimshed  Genileman,  and  have 
afforded  high  gratification.  On  Thursday  evening  the  little  Bush  People 
made  their  debut  on  these  hoards,  and  were  saluted  with  a  shower  of 
coppers,  the  use  of  which  they  seemed  fully  to  comprehend.  They 
appeared  to  be  highly  delighted  with  the  magnitude  of  the  house,  the 
number  of  heads  which  they  saw,  and  the  band  of  music,  the  drummer 
in  particular  receiving  a  large  share  of  their  commendation.— I4o«rpoo/ 
MaiL  '^ 

CwPTON.— Messrs.  H.  PhiDips  and  Land  gave  two  concerts  at  Long's 
Hotel,  Clifton,  on  Tuesday;  the  morning  performance  consisting  of 
sacred  music,  in  the  delivery  of  which  Mr.  Phillips  sustained  his  justly- 
acquired  eminence ;  and  the  evening  one,  of  the  songs  of  Scotland, 
England,  and  Ireland.  Mr.  Phillips  sang,  "  Mine  be  a  cot,"  CKraust) 
and  the  old  English  ballad,  "  Shall  I  wastynge  in  despaiie,"  (G.  WIthcis, 
1640),  with  consummate  taste.  Mr.  Land  sang  several  songs  with  much 
sweetness.  The  performances  afforded  a  delightful  musical  treat,— 
Felix  Farley* t  Bristol  Journal, 

Harmonic  Society,  Bath.— The  third  meeting  of  the  memben  was 
held  on  Friday  evening,  at  the  Assembly  Rooms.  The  room  was  fiUed  to 
an  overflow,  and  the  performance  of  everything  calculated  to  please.  Six 
encores  were  demanded.  As  to  the  merits  of  the  singing,  we  can  only 
repeat  our  previously  expressed  opinion,  that  professionals  and  amatean 
did  themselves  great  honour,  and  their  indefatigable  conductor  great 
credit.  It  would  be  unjust  not  to  mention  the  beautiful  execution  of 
two  pieces  in  particular— the  madrigal,  by  Luca  Marenzio,  "  Lady  see 
on  every  side,"  and  "Thou  art  beauUful,  queen  of  the  valley,"  Dr. 
Callcott)— a  vehement  burst  of  applause  followed  both.  We  hear  that 
the  demand  for  tickets  for  the  "  Ladies'  Night"  (the  next  concert;  U 
unusually  large;  consequently,  a  full  room  is  expected.— BaM  md 
Cheltenham  Gazette. 

Chkltbnham.— Messrs.  Hale  and  Son's  Concert  took  phu»  yesterday 
mommg,  at  the  Assembly  Rooms,  and  was  honoured  with  a  fashionable 
and  numerous  attendance.  The  programme  was  very  attractive,  as  re- 
gards  both  the  music  and  the  performers  which  it  specifled.— Madame 
Dulckcn,  the  Misses  Smith,  John  Rirry,  and  Mr.  Blagrove,  compoMS  an 
assemblage  of  diversified  talent  but  seldom  surpassed  at  musical  riMinions 
in  the  provinces.  The  style  of  Madame  Dulcken  is  superb,  combinioe 
great  manual  skill  with  the  higher  qualities  of  expression,  grace,  and  in- 
ventive  brilliancy.  She  executed  "  Tarantelle  Brillante,"  *' Fantasia  on 
Russian  airs,"  "  Nottumo,"  and  "  II  Tremolo,"  an  Italian  air.  in  a 
manner  which  must  have  delighted  connoisseura.  The  Misses  Smith  are 
doubUess  favourably  remembered  by  our  musical  readers,  owing  to  the 
concerts  at  which  they  appeared  in  this  town  last  season.  We  are  quite 
sure  their  return  will  be  welcomed  by  every  lover  of  baUad  music;  a 
style  in  which  their  voices  blend  with  a  penetrating  sweetness-a  pathetic 

S!I?o'h  K^*^-?''^**iu''\^''V^"^"'^^^*  the  wild  and  witching  strains 
poured  by  Ariel  on  the  charmed  air  of  Prosperous  magical  island.  Not 
the  least  pleasmg  of  the  vocal  pieces  was,  *'  When  daylight  fading."  a 
new  song  composed  by  Mra.  Francis  Herrick,  and  about  to  be  published 
by  Messrs.  Hale  and  Son.  The  music  of  this  composition  is  highly 
pleasing  and  harmonises  delightfully  with  the  theme.  John  Parry  san& 
or  rather  rented,  four  of  his  popular  extravaganzas.  Of  course  even? 
body  laughed,  applauded,  and  encored,  with  as  much  enthusiasm  as  the 
conventional  restraint  of  fashionable  mannera  would  permit.  Mr. 
Blagrove  s  poformances  on  the  concertina  were  likewise  well  received.— 
Cheltenham  Chrontcle, 

DuNMow  LiTKRARr  Institutiok.— LicTaRB  ON  Music  WITH  ItLtrs- 
W^lJir"  *^*'"'l*^  .^""^"""S  Mr.  J.  T.  Frye,  organist  of  Sai&on 

riJZJ!:  ^JIM^"^  V^e^ms  lecture  on  music,  deducing  its  history  and 

fntrnL^  '  "^^^  ^Y  "^w**"^  ^f  scvend  Very  able  vocalists,  he 
inPoH^f^Ti,'^""  ""^  appropriate  illustrations  and  several  am^iog 
Wnson  fJ  ^^^^^^  ^".^*ȣly  "^P^ctable.  including  John  Maryon 
GricL  T  ^.?f' w^^^'*^'  ?'  ^""^"  ^'•^^  •''d  WoSlbridge;  Jos. 
SnJ;^f  ^-  ^i"*^"'":"'  ^'l-  ^^^''  ?•»•«"  •nd  friends,  a  large  at- 
mSsZfnn.  "Lt'?^"'*"*'  "P^>«i8  of  eighty  visitors.  Besides  the  vocal 
Mr  W  Sn?;  J  .'k**  r^  -"PPOrted  by  Messn.  R.  and  T.  Chappell  and 
kindlvlprS?nM^  lecturer  accompanied  the  singing  byacoiteoUan, 

nILI?  i  "^  the  occasion  by  a  member.-£««r  Standard. 
AH."  "•'~^''-  ^^"^^^  ^'*^'«»'  Concert.— Last  night  Mr.  Julian 

fn^S^ifoTtn  t'"^^  "^""T  '"  **^^  ^""^  «^"  «f  this  town,  at  S 
attSn^J^  ThP  Hn  "^  acknowledged  talent,  the  celebrated  cillins  famii; 
?hdHa^t  viWfo?^"""'*  ""^  the  latter  is  considerably  altered  sin<^ 
^lltur.  «*  ^Tr.^^^  "S^-  ^"*  Ro*«o*  plays  most  superbly  on 
Of    master.    Mr.  JiUian  Adams,  on  his  patent  harmonion,  called  dowA^ 


THE  MUSICAL  WORLD. 


— »•• 
727 


a  perfect  thunder  of  applaase,  and,  we  need  hardly  say,  waa  loudly 
encored. — Newceutle  Guardian. 

Ibid. — The  re-engagement  of  Miss  Rainforth,  Mr.  Travers,  and  Mr. 
Stretton  brought  out  at  the  theatre  Weber'a  grand  opera  of  "  Der 
Freiachutz,"  which  kept  the  stage  for  three  successive  nights.  "In 
its  day"  this  was  one  of  the  most  popular  of  foreign  operas.  Besides 
some  of  the  beautiful  songs,  which  are  still  well  known,  the  grand  in- 
cantation scene  imparts  to  it  a  terrible  interest,  which  Mr.  Stretton,  in 
the  part  of  Caspar,  rendered  with  much  effect.  The  last  evening  was 
appropriated  as  a  benefit  to  that  gentleman.  On  Thursday,  Mr.  Travers 
took  his  benefit,  in  the  repetition  of  Donizetti's  opera  of  "  The  Love 
Spell,"  and  last  night  Miss  Ralnforth's  benefit,  in  Vincent  Wallace's 
opera  of  "  Maritana,"  appropriately  concluded  the  engagement  of  this 
talented  and  harmonious  /no.—- ifrid. 

REVIEWS   OF   MUSIC. 

"  The  Fairy  WalU,"  for  the  Pianoforte.    Compoted  by  Thomas  Talus 
Trimnbll.— D'Almaine  and  Co. 
A  trifle,  but  a  neat  one. 


•'  The  Piraie:"  a  Song.  The  Poetry  by  the  Rkv.  J.  Methkll  Wrbford, 
F.  S.  A.  The  Music  composed  by  Thomas  Tallis  Trimnbll. — 
D'Almaine  and  Co. 

No  subject  for  song  has  been  so  much  worked  to  death  by  the 
poet  as  this  self-same  "  Vagabond  of  the  Seas."  and  no  subject  has 
taxed  more  fie^uently  tho  pens  of  composers.  Mr.  Thomas  Tallis 
Trimnell's  music  is  not  outrageously  original,  but  it  is  characterised 
bv  a  flow  of  ideas  consonant  to  the  spirit  of  the  words,  which  the 
Rev.  Mr.  Wreiord  has  written  like  a  practical  rhymer.  Wherefore 
is  the  ballad  a  good  one. 

MISCELLANEOUS. 

Philharmonic  Socibty* — At  tbe  balf  yearly  general  meet- 
ing of  this  society  held  last  Monday  week,  Mr.  J.  Ciintou 
(flautist)  was  elected  a  member. 

Mr.  Behedict  arrived  from  Paris  on  Saturday  last.  He 
will  proceed,  in  a  few  weeks,  to  Stuttgart,  to  superintend  the 
rehearsals  of  his  opera,  The  Crusaders,  which  will  be  produced 
with  great  splendour  at  the  Royal  Theatre,  about  the  middle 
of  December. 

Olympic  Theatre* — It  is  reported  that  Mr.  James  Wal- 
lack,  the  Eminent  actor,  whose  return  from  America  we  lately 
announced,  has  become  lessee  of  the  Olympic  theatre. 

M.  George  Fabricius,  a  Crerman  violinist  and  musical 
composer,  committed  suicide  a  few  days  since  in  Brussels. 

Mr.  Thomas  Prtnn,  a  bass  singer,  well  known  at  the 
minor  theatres  in  the  metropolis,  died  on  Monday  last  in  the 
Clerkenwell  workhouse. 

Monsieur  Hector  Berlioz,  musical  director  at  Drury 
Lane  Theatre,  arrived  in  London  on  Saturday. 

Drurt  Lane. — The  rehearsals  have  already  commenced  for 
the  operatic  campaign.  The  chorus  are  busy  with  the  Lucia, 
and  a  general  rehearsal  will  take  place  as  soon  as  Madame 
Bonis  Grras  has  arrived. 

Worcester  Musical  Ffstiyal.— Active  steps  are  about 
to  be  immediately  taken  to  promote  the  success  of  the  meet- 
ing to  be  held  in  1848.  A  public  meeting  is  called  for 
on  Monday  next,  at  which  the  Lord  Bishop  will  preside,  and 
a  large  attendance  of  the  clergy  and  gentry  of  the  county 
and  city  is  expected. 

Madame  Dorus  Gras  is  expected  in  London  daily.  Mme. 
Jollien  has  provided  a  residence  for  the  accomplished  canta- 
trice  in  the  Regent's  Park. 

Mr.  Reeves. — ^We  have  heard  this  accomplished  artiste  at 
rehearsal  on  the  Drury  Lane  stage,  in  the  Lucia,  and  have 
not  the  least  doubt,  but  that  he  will  prove  the  greatest  tenor 
we  have  had  in  this  country,  since  the  best  days  of  Braham. 
The  vocalisation  of  Mr.   Reeves  is  formed  entirely  in  the 


Italian  school,  and  combines  the  natural,  and  rare  advantages 
of  sweetness  and  power.  He  will  appear,  on  the  opening 
night  in  Edgardo,  in  the  Lucia,  the  part  which  ha«  taxed  the 
highest  efforts  of  a  Rubini,  aDuprez,  a  Salvi,  and  a  Mario. 

Monument  to  Malibran.— A  statue  of  Malibran  is  about 
to  be  erected  in  the  grand  entrance  hall  of  the  Scala,  at  Milan. 
Pomp6e  Marchese,  well  known  as  one  of  the  first  sculptors 
in  Italy,  is  entrusted  with  the  execution  of  the  work. 

Some  Words  about  Music  and  the  Modern  Opera.— 
To  claim  the  truest  and  most  just  view  of  the  end  of  music 
and  all  other  arts  is  one  of  the  greatest  blessings  we  can  pray 
for  and  strive  for.  The  love  of  the  beautiful  is,  alas !  un- 
connected in  many  minds  with  the  longing  for  the  divine. 
Yet  we  may  feel  assured  that  the  longing  for  the  divine  wid 
its  final  attainment  in  a  future  world  will  be  accompanied  with 
the  beautiful  that  we  seek  now  in  the  half  light  of  a  faint 
belief.  "  Music,"  says  Beethoven,  "  is  a  higher  revelation 
than  all  their  vnsdom  and  philosophy."  This  is  one  of  those 
attractive  half-truths  that  are  more  dangerous  than  downright 
lies.  It  is  undeniably  evident  that  the  love  of  the  beautiful, 
the  poetical,  and  passionate  worship  of  the  corrupt  human 
heart  has  been  from  the  earliest  ages  the  stumbling-blocks  of 
an  idolatrous  nature.  Well  and  truly  has  Milton  said— 
*'  Songs,  garlands,  flowers. 

And  charming  symphonies  attached  the  heart 

Of  Adam,  soon  inclined  to  admit  delight. 

The  bent  of  nature." 
But  it  was  the  fallen  Adam,  not  the  unstained  original ;  and 
grand  is  the  answer  put  into  the  mouth  of  the  archangel  at  his 
side  : —  "  Judge  not  what  is  best 

By  pleasure,  though  to  nature  seeming  meet, 

Created  as  thou  art  to  noble  end, 

Holy  and  pure  conformity  divine." 
Anxious  indeed  is  the  charge  laid  on  those  who  have  the  care 
and  the  training  of  one  gifted  with  the  musical  and  poetical 
temperament.  '*  The  starry  crown  of  genius"  is  paid  for  too 
dearly  in  the  sensitive,  morbid,  and  exaggerated  views  of  life 
and  ideal  miseries  that  so  frequently  accompany  the  possession. 
It  has  been  said  by  one  of  the  great  men  of  our  day,  that 
"  Poets  shed  no  bitterer  tears  than  ordinary  men."  He  might 
have  added,  •*  should  not,"  for,  if  not  bitterer,  they  are  at 
least  much  more  frequent.  The  brightest  days  produce  the 
heaviest  dew.  They  who  dream  the  most  sweetly  will  weep 
the  more  bitterly  when  they  awake.  The  poetical  tempera- 
ment is  in  most  cases  a  distressing  and  complicated  mystery, 
frequently  coupled  with  an  imaginative  selfishness  that  sends 
its  wretched  possessor  to  and  fro  without  finding  all  the  false 
lights  that  are  most  seductive  and  destructive.  It  is  from  this 
wretched  band  that  proceed  the  exaggerated,  distorted,  hideous 
fictions  that  disgrace  our  day  under  the  name  of  French  novels. 
It  is  this  school  of  mystics  that  sends  forth  the  music  of  angels, 
devils,  hell,  and  heaven,  and  calls  the  spasmodic  and  profitless 
struggles  a  sublime  apostleship. — Eraser's  Magazine. 

Death  of  George  Wis  land. —This  well-known  panto- 
mimist  died  on  Saturday  last  of  consumption,  a  disease  under 
which  he  had  been  labouring  for  two  years.  Mr.  Wieland  had 
been  on  the  stage  since  he  was  five  years  of  age.  His  first 
appearance,  on  the  occasion  of  the  benefit  ^f  Leclerq,  at 
Sadler's  Wells.  He  was  a  member  of  the  Acfing  Committee 
of  the  Drury  Lane  Theatrical  Fund.  His  kindness  and 
charity  will  be  regretted  by  the  members  of <|ie  profession, 
as  his  best  endeavours  were  at  all  times  ^j^A^  the  benefit 
of  his  less  fortunate  brothers.  Mr.  WiWpid  was  a  real 
artiste  in  his  peculiar  vocation.  His  perforq^ce  of  Diavolo 
in  Macfarren's  popular  opera,  Tfie  DeviV8^)pera,  was  ex- 
traordinary for  its  feats  of  agility  and  grotesqueness. 


728 


THE   MUSICAL  WOELD. 


MusicA  Di  Camera.— rA  musical  publication  uuder  thi$ 
title  will  shortly  be  given  to  the  world,  from  the  pen  of 
W.  R.  Bexfield,  M.B.,  of  Oxford  The  compositions  will  com.-? 
prise  songs  for  bass,  and  treble  voices,  a  round  for  three 
trebles,  a  solo  and  quartet,  a  ground  for  the  piano-forte,  a 
waltz,  a  fragment,  and  a  morceau  for  pi^no  and  violin,  to  be 
called  The  Kitten's  Scherzo.  There  will  be  a  variety  at  least 
in  the  little  volume. 

Thr  Bath  Harmonic  Society  commenced  its  meetings  on 
Friday  the  8th  of  October,  under  favourable  prospects.  Several 
excellent  voices  (amateurs)  have  joined  the  society.  The 
Marquis  of  Thonmnd  is  President:  Lord  Ashley,  Viscount 
Dunan,  &o.,  &c..  Vice  Presidents.  The  first  public  concert 
viil  shortly  take  place.  The  meetings  are  held  at  the 
Assembly  Rooms. 

Mademoiselle  Falcon,  the  celebrated  French  eantatrioe, 
(so  says  Le  Revue  et  Gazette  Musicale)  is  engaged  at  the  Opera 
Italien,  and  will  debut  in  the  Cosi  fan  tutte  of  Mozart,  or  in 
the  Bravo  of  Mercadante.  Ronconi  will  sing,  in  the  last  work* 
tke  r6le  written  for  a  low  tenor. 

GuAsco,  the  celebratejd  tenor,  and  Madame  Freazolini,  are 
engaged  at  the  Imperial  theatre,  St.  Petersburgh,  and  will 
debut  in  Verdi's  Jitila,  Tamburini  and  Salvi  have  arrived 
at  the  capital  of  the  Czars*  The  celebrated  barytone  is, 
perhaps,  the  greatest  favourite  of  a  vocalist  that  ever  sung  in 
St.  Petersburgh,  not  even  excepting  Rubini.  The  imperial 
city  is  delighted  at  the  announcement  of  the  promised  advent 
of  Grisi  and  Mario.     A  splendid  season  is  expected. 

Mr.  Be  ALE,  with  his  usual  liberality,  has  granted  the  use 
of  Covent  Garden,  for  the  dramatic  performance  about  to  take 
place  towards  the  fund  for  the  purchase  of  Shakspere's  house. 
The  performance  will  include  the  names  of  all  the  greatest 
living  actors  and  actresses ;  and  it  is  even  whispered,  that  so 
great  an  occasion  will  ()raw  from  retirement^  Young  and 
Charles  K^mble.     Particulars  will  be  duly  announced. 

Thr  Greatest  Sinaer  in  thb  World. — La  Tadolini,  the 
celebrated  Italian  soprano,  is  engaged  by  Mr.  Lumley  to  play 
all  the  high  tragedy  parts,  Jenny  liind's  incompetence  being 
most  judiciously  recognised.  She  is,  or  rather  has  been,  a 
yer  y  splendid  dramatic  artiste  ;  but  she  is  now  upwards  of 
fifty  years  of  age,  and  her  vocal  powers*  which  were  never  of 
the  highest  order,  have  almost  deserted  her.  In  one  respect, 
she  may  with  the  most  perfect  truth  be  called  the  greatest 
singer  in  the  world.  She  is  nearly  as  large  as  Grisi  and 
A}boni  together,  so  you  may  have  some  idea  of  her  size.  She 
is^  notwithstanding,  a  very  fine  dramatic  singer,  or  rather, 
artiste,  and  was,  ^ome  twenty  years  ago,  in  high  repute  in 
certain  parts  of  Italy.  But  Pasta  jthen  usurped  almost  all 
continenti^l  fame,  and  Tadolini  was  forgotten.  She  has  never 
been  eitlier  in  London  or  Paris,  and  I  suspect,  if  she  appears 
in  either  of  these  places,  she  will  have,  with  her  broken  powers, 
but  little  chance  of  succes^. — [Extract  of  a  letter  from  a  Cor- 
respondent at  Milan.) 

A  Great  Unknown. — Some  curiosity  has  been  excited  in 
musical  circles  (Paris),  by  the  report  of  the  approaching  visit 
pf  a  new  singer  from  Russia.  She  is  said  to  have  a  most  ex- 
traordinary compasa  of  voice,  comprising  the  most  tender  and 
agile  soprano  With  the  lowest  barytone.  No  one  has  hitherto 
been  able  jto  discover  who  she  is,  or  what  the  country  whicl> 
b.^  given  has  birth.  She  has  sung  at  the  Court  of  Naples, 
and  before  the .  fimperor  of  Russia ;  in  both  cases,  however, 
stipulating  to  priHrve  her  features  concealed  by  a  mask.  It  is 
thus  she  persists  in  appearing  before  the  public.  By  some, 
slie  is  believed  to  be  a  noble  Russian  lady  who  had  hem  for 
years  confined  in  durance  vile  by  her  }iusb$nd|  who  has  niar^ 


ried  again ;  by  others,  that  she  is  an  Italian  nun,  efteaped 
from  a  religious  life  to  get  t^  peep  at  this  wicked  worl4.  Others 
have  declared  again,  that,  although  )ier  arn)s  ^nd  bosom  are 
of  the  most  snowy  whitenessi  her  face  and  head  are  those  of 
a  negress  of  Senesambia,  which  belief  is  confirmed  by  her 
persistence  in  wearing  the  domino  hood,  which  conceals  even 
the  very  form  of  her  head  and  throat  from  observation.  In 
England  she  will  immediately  be  suspected  of  being  the  no 
other  than  the  pig-faced  lady.  £he  persists  in  signing  no  other 
name  to  her  engagements  than  that  of  2)^  Mascherata,  by 
which  she  is  already  famous  in  fnany  parts  of  Italy.— -A^to. 

NOTICE  TO  CORRESPONDENTS. 

Truth  and  Justick. — ff  our  Corretpohdent  refers  to  the  columm  of  The 
Musical  World,  he  wUlJkutvre  have  ioid  Mtkingr  tohatever  tfihe  yonng 
lady  to  whom  he  alludet.  A  DiMin  paper  fitmished  us  wi^  the  article 
in  which  her  name  is  mentioned.  fVe,  nevertheless  ihmUt  our  eorret- 
pondentfor  catling  our  attention  to  the  supposed  error.  We  are  always 
open  to  conviction.  We  shall  not  fail  to  beqr  in  mind /or  fUfure  criti- 
cism the  information  of  our  correspondent. 


ADVERTISEMENTS. 


-1 j.i»i 


To  THB  Lad  IBS.— A  lady  had  the  following  letter  inserted  in  th^  TSmes  news- 
paper on  Anirust  1,  )84'S.  Reader,  remember  this  letter  wks  pat  into  the  paper  by 
the  lady  herself,  as  a  testimony  to  the  virtues  of  Qrimstooe*s  Areiaatic  Regeoentor: 

"Mrs.  Weekleyjpf  No.  8,  Swan-street,  Borough, tal^es thtsoppoiti|nity  pf  pablip- 
ly  thankinir  Mr.  W.  Grimstone,  of  the  Herbary,  Highgatf>,  Ibr  the  efacacy  pf  hfs 
Aromatic  Regenerator,  in  havin(r  completely  restored  the  hair  on  her  head,  after 
usin^  it  about  four  months,  and  the  whole  of  her  hair  is  much  stronger  and  mor« 
luxuriant  than  it  ever  was  before  the  baldness  appeared.  She  will  reel  a  pleasure 
in  answering  any  lady  of  raspectability  to  the  above  facts.— 3,  Swan-street, 
Borough." 

The  most  delicate  ladies  may  use  this  delightftd  product  of  the  most  aromatic 
herbs  and  floirers  with  confldsnce;  its  r^fresliiiig  odour  iwnoTM  head-adie  and 
makes  it  a  most  necessary  companion  to  the  toilet.  In  cases  of  nervpiis  head-aphe, 
pour  ten  or  twdve  dropspn  the  crown  of  the  head ;  if  very  bad,  repeat  it  every 
quarter  of  an  hour.  In  most  cases,  relief  is  certain  in  ten  i^iuutes.  It  prodooes 
hair  on  children's  heads  in  a  few  applications.  If  used  on  infbnts*  heads,  it 
has  such  a  peculiar  cooling  influeaoe  on  the  brain  as  to  prevent  oonwIsionB, 
as  well  as  promoting  the  growth  of  hair.— fiee  pamphlet  of  testiipooials  with 
every  bottle. 

CA8B  OF  RIKO-WORH    CURBD. 

14|  PiBvopshire-sq.,  B|shopsgate-st.,  19th  jQly,lSi7. 

"  Mr.  Frederick  Bradshaw,  having  lost  some  portion  of  ma  hair  nrom  nnv-worm, 
has  had  it  so  perfectly  and  so  wonaerfally  restored  by  only  a  abort  application  of 
Mr.  Grimstone's  '*  Aromatic  Regenerator,"  feels  thus  called  upon  gratefully  and 
publicly  to  acknowledge  it.  Mr.  F.  Bradshaw  hss  mudi  pleasAre  hlUiDS  booinir 
twtimony  to  the  efficacy  of  the  remBdr.  and  Mr.  Grimptone  is  ^t  p«iiiect  liberty  to 
make  any  use  of  tbis  communication  he  pleases. 

To  Mr.  W.  QrimstoBe.  Herbary,  Highgate,  near  Londob.*' 

Sold  by  Mrs.  J.  and  B.  Atkinson,  34.  OldBond'^treet:  Messrs.  Fisher  «nd Toller, 
Conduit-street ;  J.  Sanger,  CHiemlst,  &c.,  150,  Oxford-street ;  Messrs.  Barclay  and 
Son,  Farriiwdon-street ;  Mr.  Jpbpston,  6S,  CombUl ;  Thomas  Keating,  Chemist, 
St.  Paul's  Cnurchyard ;  Messrs.  Hannay  and  Co.,  63,  Oxford- street)  and  by  all 
ChemisU,  DrugdsU,  and  Mediciiie  Vendors.  Sold  in  triangnlar  boitlea,  at  4s., 
78.,  an  I  US.  each;  and  forwanUd  by  post  at  4s. 6d.,  7s.  Sd.,  and  las..  case  to- 
clttd  ed  ,for  money  orders  only.  Sold  only,  Wholesale,  at  the  Herbary,  Highgate. 
The  7s  .contains  two  4s.,  the  lis.  four  times  the  quantity  of  the  4s. 

PERSONAIi  aiiACi;^. 

The  Countenanoe  is  rendered  additipualljr  piecing  b^  th^weU-i 

on. 


deringi 

will  lie  in  any  direction,  producing  beautiful  flowing  flaxlfl,  and,  fa^  tfae 
transcendent  luatre  it  imparts,  rendering  tl^e  b^ad-cbresa  truhr  o|uj|&nt- 
ing.  IU>wiiAin>8*  Kaltdob  is  a  preparation  of  unparalleled  eBci^wsf 
in  improving  and  beautifying  tbe  skin  an4  complexion,  preserving  them 
from  every  vicissitude  of  the  weather ;  and  completely  eradicating  all 
Cutaneous  Eruptions,  Freckles,  and  Biscolourations  {  and  BowLAinM' 
Odoited,  or  Peabl  Dbvtbificb,  ia  alike  invaluable  for  ito  beantii^ing 
and  preservative  effect  on  the  teeth  and  gums.  ^u^*  u 

BEWARH  OP  SPURIOUS  IltlTAtlONll. 
6ome  are  offered  under  the  implied  sanction  of  Boyalty  aakd  the 
Qoverment  Departments,  with  similar  attempts  at  deception.  The 
only  Genuine  "Macassab  Oiii,"  "KalTOQE,"  »nd  "Op<»W>"  f^ 
"ROWLANDS' "  and  the  wrapper  of  eacl^  beam  the  name  of  "ROW- 
LANDS'," preceding  that  of  the  article,  with  their  signature  ai  the 
foot,  in  Red  Ink,  thus : 

A.   ROWLAND  AVD   BOftl. 
Sold  by  them  at  2^  Hatton-garden,  London,  and  by  rr^  rMMN^v 
Ch^miat  fnd  Perfumer  tUroughg^t  the  kingdon^^CrrOOv  ItT 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  CONCERT  ROOM,  MUSIC,  LITERATURE,  FINE  ARTS, 

FOREIGN  INTELLIGENCE,  &c. 

Ttrms  of  Subscription,  ptr  Annttm,  16«.  Stamped ;  Ifis.  Unstampod;  to  bo  forwarded  by  Monoy  Ordor  or  Pootaco  Stamps 

to  the  Pnbllaher^  W.  S.  Johnsony  "  Nasaaa  Steam  Press/'  60,  St.  Bllrtln's  Lane,  Charlnir  Orossi 

;@rYearl7SabsGribers  only  (whoso  names  are  registered  at  the  Ofllce)  are  entitled  to  an  Admission  to  the^Aunnal  Conctrt- 


No.  48.— Vol.  XXII. 


SATURDAY,  NOVEMBER  27,  1847. 


iPRtCB    THRBBPBNCB. 
1  STAMPED,  FOURPENCB 


LETTERS   FROM   PARIS. 

(No.  10.) 

TO   DBSMOND   RYAN,    ESQ, 

Wednesday^  Nov,  24. — My  Dear  Ryan, — I  am  pleased  to 
observe  that  Paris,  although  far  behind  London  in  apprecia- 
tion of  the  genius  of  Mendelssohn  as  in  personal  knowledge 
of  the  man,  is  not  quite  indifferent  to  the  blow  which  his 
death  has  inflicted  upon  art,  nor  wanting  in  respect  for  his 
memory.  Among  the  musicians  here  (the  pianists  especially) 
there  are  several  whom  the  intelligence  has  deeply  affected. 
Out  of  this  small  but  estimable  band  the  names  of  Stephen 
Heller,*  Charles  Hall^,  Rosenhain,  and  Panofka,  occur  to  me. 
You  will  say  that  these  are  not  Parisians,  but  of  pure 
Teutonic  extraction  ;  nevertheless  they  have  lived  long 
enough  iff^Paris  to  imbibe  the  frivolity  of  Parisian  taste,  and 
that  disr^ard  for  the  higher  mauifestations  of  art  which  is  the 
X)eculiar  attribute  of  French  musicians;  but,  true  to  their 
German  principles,  they  have^  remained  in  the  cauldron  un- 
scathed, and  are  as  sincerely  and  substantially  artists  as 
though  they  had  never  migrated  from  the  soil  of  their 
nativity. 

Among  these  gentlemen — I  believe  the  idea  originated  with 
Panofka — it  has  been  proposed  to  get  up  a  demonstration, 
signed  by  the  chief  musicians  resident  in  Paris,  conveying  to 
the  widow  of  Dr.  Mendelssohn  expressions  of  regret  for  his 
loss,  of  admiration  for  his  genius,  and  of  condolence  with  her 
affliction.  M.  Habeneck.  the  vfell'lmown  chef  d'orchestre  q{ 
the  Conservatoire  (whose  post  at  the  Opera,  lately  resigned, 
is  now  filled  by  M.  Girard,  predecessor  of  M.  Labarre  at  the 
Opera  Comique)  having  been  applied  to  for  his  aid  and  con- 
currence, has  promised  both,  and  there  is  every  prospect  that 
the  matter  will  be  accomplished  in  a  style  befitting  the  occasion. 
This  proceeding  ought  to  be  adopted  by  the  musicians  of 
London,  who  knew  Mendelssohn  so  intimately,  reverenced 
his  genius  so  highly,  and  loved  the  man  with  such  unanimous 
affection.  Talk  of  it  to  Sterndale  Bennett,  Sir  George 
Smart,  Benedict,  Costa,  Lindsay  Sloper.  Anderson,  Lucas, 
Charles  Horsley,  Dorrell,  Jewson,  &c.  &c.  They  all  were  often 
and  intimately  associated  with  Mendelssohn,  and  I  think  will 
welcome  the  proposition ;  at  all  events  do  not  let  it  drop  for 
want  of  consideration — ^it  merits  a  better  fate. 

By  the  way,  I  have  another  notion  that  may  be  worth  a 
thought :~  as  there  is  to  be  some  kind  of  monument  to  the 
memory  of  the  illustrious  composer,  what  think  you  of 
Hanover  Square  for  the  site  ?  This  was  the  arena  of  iXs  first 
and  most  frequent  triumphs  in  England;  and  there  could 
hardly  be  a  more  appropriate  tribute  than  a  memento  of  them 
on  the  very  spot — as  near  as  possible  to  the  Concert  Rooms  ? 

*  This  accomplUhed  mntician  has  jmt  reliinied  to  Paris  after  aq  absence  of 
nearly  three  months. 


A  Statue  of  Mendelssohn  in  Hanover  Square  !  It  would 
be  a  triumph  for  the  art !  We  have  statues  of  warriors,  of 
sailors,  of  statesmen,  of  kings ;  but  we  have  no  statue  of  what 
is  above  them  all — a  great  artist.  If  every  amateur  and 
every  musician  were  to  subsctibc  a  trifling  sum,  the  thing 
might  be  easily  accomplished.  It  would  advance  music  a 
whole  century.  An  honorable  testimony  of  England's  appre- 
ciation of  a  mighty  genius,  it  would  be  also  a  magnificent 
means  of  stimulating  endeavour ;  by  elevating  the  musician  in 
his  self-esteem,  and  inciting  him  to  do  his  best,  so  that,  if  God 
were  willing,  he  might  ultimately  be  found  worthy — if  not  of 
the  same  high  distinction,  at  least,  of  his  country's  gratitude. 
Musicians!  put  your  shoulders  to  the  wheel;  here  is  an 
opportunity  of  proclaiming  your  value,  and  realntaiBing  tlie 
dignity  of  your  beloved  art,  without  the  assistance  of  parlia- 
ment or  the  necessity  of  petitions.  There  is  nothing  whatever 
hyperbolical  in  the  suggestion.  No  one  who  truly  under- 
stands and  loves  music  will  jeer  at  roe  for  saying  that 
Shdkspere  has  (or  had  /)  his  statue  in  Covent  Garden  fheatre 
and  why  should  not  Mendelssohn  have  his  statue  in  Hanover 
Square  ?  The  author  of  Elijah  is.  worthy  of  any  honors  that 
a  grateful  nation  can  pay — and  Elijah  was  written  for  England, 
and  first  performed  in  Ergland.  Meanwhile  this  will  not 
prevent  Birmingham,  which  has  had  so  much  to  do  with  Men- 
delssohn's fame,  and  Exeter  Hall,  which  has  £ad  scarcely 
less,  from  exhibiting  their  own  enthusiasm  for  his  memory 
in  any  way  they  may  consider  becoming ;  the  more  and  the 
loftier  the  honors  paid  to  such  a  man  the  greater  the  credit  to 
the  country  that  pays  them.  I  shall  return  to  this  matter, 
and  rely  upon  your  sympathy  and  your  aid  in  furthering  the 
probability  and  the  practicability  of  its  eonsummation.  Not 
that  I  have  the  least  fear  of  our  musicians  being  backward  in 
such  a  cause,  or  that  there  will  be  any  necessity  for  an 
English  Liszt,  to  come  forward  with  the  whole  of  his  earnings, 
and  make  up  the  amount  required ;  but  unless  the  question 
be  agitated  it  will  be  likely  to  die  for  want  of  nourishment. 
Therefore,  agitate,  and  you  will  be  rendering  a  service  to  that 
noble  art  of  which  you  are  so  eloquent  an  advocate,  and  whose 
followers,  unhappily,  are  so  lowly  placed  in  the  scale  of  that 
civilization  which  their  efforts,  nevertheless,  tend  so  much  to 
promote.  The  important  question  of  who  shall  make  the 
statue  may  be  discussed  when  we  have  raised  the  money. 

To  give  you  a  notion  of  how  far  the  French  musicians  are 
behind  our  own  in  knowledge  and  appreciation  of  the  highest 

forms  of  art— I  was  speaking  to ,  the  composer  of  twelve 

or  thirteen  operas,  an  artist  by  no  means  without  serious  merit 
and  solid  acquirement ;  the  theme  was  the  art  and  its  pro- 
fessors ;  the  name  of  Mendelssohn  escaped  my  lips : — **  Ah, 

by  the  way,"  said  ,  •♦  is  that  Mendelssohn,  who  died, 

Mendelssohn  the  pianoforte-player?"    Somewhat  astonished 


76!f 


THE  MUSICAL  WORLD. 


Messrs.  Bobt.  Cocks's  New  MusicalPublioations. 

MABBBOK'S    BOOK    OF    COMMONT    PBAYBBi 

for  voicei  in  unison,  arranged  for  Modem  use,  with  an  ad  libitum  Oriran 
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VIOI.IN    MUSIC. 

SPOHR's  GREAT  SCHOOL  for  the  VIOLIN,  translated  by  John 
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noli's  Qwt  School  for  ditto,  dedicated  to  his  feoyal  Highness  the  Dukebf 
Cambr^ge.  translated  by  Jolm  Bishop,  26s. ;  Paganini's  Method  for  the  Violin, 
12s.;  Rode  Baillot's  and  Kreutzer's  Method,  lOs.  6d.;  Dubourg  on  the 
Vjojui,  5s. ;  and  Rousselofs  complete  Edition  of  Beethoven's  Seventeen 
Viohn  Qnartett,  ^6  6f.  London,  Robert  Cocks  and  Co. 
0BAT0BX08. 

JOHN  BISHOP'S  admired  edition  of  the  MESSIAH,  from  Handel's  score. 
15s  ;  the  four  Coronation  AntliMns,  12s. ;  and  the  Dettingen  Te  Deum,  12s  : 
g*ydp»^/«*^'?n» '>Z  J?l^n  B'»?W»  15s.;  the  Seasons,  by  dementi,  21s.; 
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ditto ;  Warren's  edition  of  Beethoven's  Mount  of  Olives,  1 2s  ;  ditto  Rossini's 
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a  very  large  paper  copy,  ^%  8s.  London,  Robert  Cocks  and  Co. 
SBPTBTT    MUSIC. 

ALL  BEETHOVEN'S  nine  Symphonies,  all  his  Overtures;  all  Moaart's 
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Aubcr,  Boiledieu.  Herold,  Paer,  Bellini,  Onslow,  Gluck,  Weigl,  and  Weber 
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ditto  by  Haydn,  ^6  Ss.  London,  Robert  Cocks  and  Co.  N.B.  Catalogues 
gratis  and  postage  free.  «"«Kuw 

CHAMBBR  MUSIC. 
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the  flute.  London,  published  only  by  Messrs.  Cocks  and  Co.  N.B.  A 
^talogue  of  flute  and  piano  music  gratia,  and  postage  free.  Pianos  and 
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John  Bishop,  36s.;  Campagnoli's  Violm  School,  by  John  Bishop,  26s.; 
Handel  s  Messi^,  by  John  Bishop,  ISs. ;  the  Four  Coronation  Anthems,  by 


by  ditto,  12s. 

BOBBBT    COCKS  and  Co's   FIANO-FOBTBS 

in  Mahogany  and  Rosewood.  It  has  been  observed  by  the  most  eminent 
professors,  amateurs,  and  merchants,  that  their  instruments  claim  a  decided 
prelerence  over  those  by  other  makers.  The  touch,  tone,  and  beauty  are 
remarkably  superior.  A  list  of  prices  of  their  piccolos  and  cottages,  with 
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turers, Mttsrs.  R.  COCKS,  and  Co.  N.B.  iSrelve  Harps  for  Sale,  and  30 
Piccolos  a  httle  used.  '^  ' 

MUBic-cAurriokY. 

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O^iihialL^I  'n  ^*iV?T'  *"*  ALBUM  OF  FOREIGN  DANCE  MUSIci 
VlK^cSn^^T^^^^'JUl'A^^^''''  ALBUM  OF  VOCAL  AND 
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WESSEL    AND    CO.'S 

NEW    PUBLICATIONSs 

HEW   PIXTTE   MXrSIC. 

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Book  1 ,  ded.  to  Mr.  A.  C.  Johnson  (of  Glasgow),  price      6   0 

■  2, to  Mr.  W.  C.  Hodgkinson         ..       ..       SO 

8, to  Mr.  John  Clinton,        5   0 

4, to  Mr.  Richardson,  6    0 

%*  These  studies  (Copyright  of  Wkssel  and  Co.)  ibrm  a  most  valoaUe  addition 
to  the  student's  library;  the  celebrity  of  the  composer  is  a  suiBcientgoanuitee 
for  their  excellence. 

HEW   TIOIOHCEILO    KTTSIC: 

ntscerald  (Lord  Gerald),  '<  First  Nottumo,*'  for  Violoncello  and 

Piano  (dedicated  to  the  Marchioness  of  Hastings),        4   0 

Oarrisban  (Terentlus),  '<  Andante  and  Variations  on  a  cdebrated 

German  Air,'' with  piano  accompaniment Op.S.       4   0 

■  "  Introduction,  Varfationa,  and  Finale,  on  an  original  theme," 

with  piano  accompaniment        Op.  4.       5   0 

"Second  Fantasia,"  with  piano  sccompanhnent  . .       Op.  5.       46 

« An  Arpeggio"  for  Violoncello  Solo,         ..       ..       Op.  6.       16 

'*  Tbk  increased  attention  now  bestowed  upon  the  violoncello,  and  the  piro- 
lldency  attained  by  many  of  our  amateurs  on  this  noble  and  beautiftal  instrument, 
are  among  the  many  proofli  that  the  mtuieat  art  is  in  a  progressive  sUte  in  this 
country.  Lord  Gerald  Fitzgerald's  Nottumo  is  a  composition  which  would  do  no 
discredit  to  any  professional  artitt.  It  consists  of  a  single  roovement-an  OMdante 
—and  is  calculated,  firom  its  moderate  dimensions,  as  well  ss  the  grace  and  ete- 

?;ance  of  its  style,  to  add  to  the  plessnre  of  a  social  musical  evening.  It  is  exceed- 
ngly  melodious,  with  much  tenderness  of  expression ;  and  tboorh  it  does  not  tax 
very  heavily  the  executive  power  of  the  performer,  it  demands  a  smooth  and 
vocal  tone,  refinement,  and  feeling.  Though  the  violoncello  bas  tbe  principal 
part,  yet  the  piece  Is  partly  concertante;  and  the  piano-forte  is  rich  in  harmony 
and  very  effective."—  Musical  Worlo. 

WESSEl"  and    CO., 
229,      REGENT     STREET, 

CORNER  OF  HANOTBR  STREET,  LONDON. 

ra-NCW  PUBLISHZNG, 

A   WORD  WITH    "PUNCH," 

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WRONQREAD,     SIi&BKRBAD,     mad    THIOKHBAD, 

With  strong  Family  likenesses,  firom  the  pencil  of  an  eminent  artist, 

BY    ALFRED     BUNN. 

Priea  3d. 

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THE  LATE  MB.  R00k£ 

MR.  ROOKB,  Composer  of  the  Operu  of « Amille,'  *  Henrique,'  <  Cagliostro,' 
&c..  after  being  more  tban  six  months  stretched  on  a  bed  of  slcknew,  during 
which  he  suffered  much  bodily  pain  and  mental  anguish,  died  on  the  14th  m 
October,  leaving  a  widow  and  seven  children  totally  unprovided  for, 

A  OBABO  ooacBav, 

For  the  BENEFIT  of  the  FAMILY. 
Under  the  Speeial  Patronage  of  HER  MAJB8TY  the  QUBBN. 

will  take  place  in  the  HANOVER  SQUARE  ROOMS,  on  Thuesoat  Evening, 
the  2nd  December,  that  being  the  tenth  anniversary  of  the  prodnction  of  ttooWu 
highly  popular  opera  of  *  Amilie.' 

CtmAuaHn'M    I^IR  HENRY  R.  BISHOP. 
i^onawnoTM,  \^  ^  baLFE,  Emi. 

Ticket,  7«. ;  Reserved  Seat,  10s.  M.  Ticketo  may  be  had  of  the  Members  ot 
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(PUBLISHED    evCRY    SATURDAY     AT    NOON.) 

A  RECORD  OF  THE  THEATRES,  C6NCERT  ROOM,  MUSIC,  LITERATURE,  FINE  ARTS, 

FOREIGN  INTELLIGENCE,  &c. 

Terms  of  Snbserlptioii,  per  Aimiiiii,  16a.  Stamped ;  18s.  Unstamped;  to  be  forwarded  by  Monty  Order  or  Postage  Stamps  ' 
to  the  PvbUsber,  W.  S.  Johnson,  ''Kassan  Steam  Press/'  60,  St.  Martin's  Irftne,  Cbarlns  Crossi 
I^TTearlySabscrlbers  only  (whose  names  are  registered  at  the  Ofllce)  are  entitled  to  an  Admission  to  the  Annual  Oonctrt 


No.  49.— V0L.XXIL 


SATURDAY,  DECEMBER  4,  1847. 


C  PRICK 


_    ___    THRBEPKNCE. 
STAMPED,  FOURPBNCB* 


LETTERS   FROM   PARIS. 

TO   DESMOND   RYAN,    ESQ, 

Wednesday^  Dee,  1. — My  Dear  Ryan, — In  my  apostrophe 
fo  the  sentiment  and  good  taste  of  the  French  mnsicians,  I 
reckoned,  it  appears,  \irithout  my  ho^t.  The  address  to  Dr. 
Mendelssohn's  widow  proceeds  solely  from  the  German  musi- 
cians resident  in  Paris;  the  *'natiires"  have  nothing  to  do 
with  it.  Still,  to  the  credit  of  M.  Hahenach,  he  it  recorded, 
that,  in  accordance  with  his  desire,  the  first  concert  of  the 
Conservatoire  will  consist  wholly  of  the  works  of  Mendelssohn. 
A  hetter  compliment  could  hardly  he  paid  to .  the  memory 
of  the  illustrious  dead,  and  there  can  be  little  doubt  that  your 
London  Philharmonic  will  emulate  so  good  an  example. 
Meanwhile  the  follow^ig  is  an  English  version  of  the  memo- 
rial addressed  to  Madame.  Mendelssohn  by  the  German  musi- 
ciansy  for  a  French  translation  of  which  I  am  indebted  to  M. 
Panofka  :— 

^  tie  aBi&oiD  of  ;fft\ix  innt&dssoj^  )8artfioIl)is. 

"The  death  of  Feluc  Mendelssohn  Bartholdy  is  an  irreparable  loss  to 
the  musical  art,  of  which  he  was  the  most  worthy  representative ;  for  its 
younger  followers,  of  whom  he  was  the  safest  guide ;  for  Germany,  of 
which  he  was  one  of  the  most  illustrious  children ;  and  for  humanity 
itself,  which  he  honored,  by  his  worth  as  by  his  genius.  All  his  actions, 
In  private  life  as  in  artistic  endeavour,  were  stamped  with  a  rare  purity, 
a  lofty  aim,  worthy  of  his  admirable  genius,  worthy  of  the  sublime  models 
which  he  found  In  his  beloved  country  generally,  and  in  his  own  family 
in  particular.  As  his  youth  was  nourished  in  a  pious  veneration  for  the 
sanctity  of  art,  so  all  his  life  was  consecrated  to  the  worship  of  that 
which  to  him  was  naoat  dear,  and  all  his  efforts,  all  his  creations  were 
dedicated  to  its  glory. 

"  It  is  for  this  that  the  tears  which  fall  npon  his  tomb  are  not  only  the 
tears  of  a  family  in  desolation,  of  friends  in  despair  I  His  memory  lives 
and  will  live  in  all  hearts  that  beat,  with  holy  rapture,  for  the  beautiful, 
the  noble,  and  the  true. 

"  It  is  for  this  that  the  cry  of  mourning  for  his  lots,  so  immense,  so 
irretrievable,  is  uttered  with  as  much  anguish,  with  as  much  sincerity, 
from  the  Thames  to  the  Danube,  from  the  Seine  to  the  Volga,  in  every 
part  of  civilized  Europe,  as  in  the  little  town  of  Leipsic  which  he  so 
often  and  so  long  honored  and  made  happy  by  his  immediate  pretence. 

"  May  It,  then,  be  permitted  to  us,  German  artists,  far  from  our  own 
country,  to  offer  to  the  much-beloved  master  the  last  acknowledgments 
of  our  gratitude  and  our  grief,  and  to  place  respectfully  in  your  hands, 
Madame,  the  expretsion  of  our  sentiments  for  the  illustrious  defunct. 

Parii,  2Sth  Nw.  1847. 

In  the  name  of  the  German  musicians  resident  in  Paris  :«• 

J.  ROSINHAIN. 

G.  Kalkbbimnsr. 
H.  Pamovka. 
8.  Hkllir. 
C.  Halli. 
F.  P.  Pixis. 
E.  WoLvr. 

The  ftbove  are  the  worthy  representatives  of  the  Oerman 
nraaieians  in  Paris.    The  nuipber  of  signatures  was  proposed 


to  have  been  eight  hut  you  will  perceive  there  are  here  but 
seven.  This  was  the  result  of  an  error.  A  Polish  piano- forte 
player,  M.  Frederic  Chopin,  who  has,  I  believe,  composed 
some  rondos  and  dance-tunes  (mazurkas)  for  the  instrument, 
was  applied  to.  by  mistake,  I  presume,  on  the  part  of  the 
German  musicians,  for  his  signature.  M.  Chopin,  however, 
declined  to  give  it.     The  following  was  his  reply  : — 

"  La  Utitrevenant  des  AUemandt,  comment  vsulesvous,  queje  m'arroge 
Is  droit  de  la  signer  ?" 

["  The  letter  coming  from  the  Germans,  how  can  I  arrogate  to  myself 
the  right  of  signing  it  r] 

It  is  true  that  the  signature  of  M.  Chopin,  affixed  to  a 
manifesto  from  the  German  musicians,  might  strictly  have 
been  considered  an  arrogation  of  a  right  not  invested  in  his 
specialty;  yet  the  Germans  are  very  clever  in  composing 
waltzes,  and  here  M'ould  have  been  a  sympathy  of  talent  if 
not  of  blood  between  M.  Chopin  and  the  representatives  of 
Germany  ;  but  then,  on  the  other  hand,  Mendelssohn  never 
wrote  either  waltzes  or  mazurkas,  which,  doubtless,  acted  as 
a  stimulus  to  M.  Chopin  in  refusing  to  aiiix  his  signature — 
for  he  might  reasonably  say  to  the  departed  musician  : — **  Si 
Moi,  je  suis  musicien,  qu'est  ce  que  tu  es,  toi  ?"  The  reso- 
lution of  the  question  would  be  as  difficult  as  {Euclid's  most 
abstruse  problem — its  consideration  as  perplexing  as  the  fons 
asinorum,     Solomon  said,  *'  Even  this  also  is  vanity  !** 

However,  the  want  of  M.  Chopin's  signature  has  not  yet 
decided  the  German  musicians  upon  withdrawing  the  memo- 
rial to  Madame  Mendelssohn.  1  question,  indeed,  whether 
the  question  of  withdrawal  will  be  raised.  What  a  pity  that 
Musard  is  not  a  German:  he  would  consent  to  affix  his 
signature  without  difficulty  ;  for,  in  his  way,  he  is  an  artist. 
There  is  M.  Alkan  too,  a  Oerman  pianist — ^why  was  he  not 
applied  to  ? 
*  •    ^       m  «  •  •  •  « 

I  have  seen  Meyerbeer  on  several  occasions,  and  by  what 
I  can  gather  from  him  I  am  led  to  conclude  that  there  is 
little  hope  of  his  coming  to  any  arrangement  with  the 
directors  of  the  Opera.  Of  the  PropKkte  or  the  Ajricaine, 
I  believe,  no  one  entertained  the  slightest  notion,  the  present 
means  of  the  Academie  rendering  the  possibility  of  producing 
works  of  such  great  musical  importance  quite  out  of  the 
question.  But  there  certainly  was  an  idea  of  the  Camp  of 
Silesia,  which,  although  it  enjoys  a  brilliant  reputation  at 
Berlin  and  Vienna,  and  has  long  been  engraved,  Meyerbeer 
will  not  allow  to  be  published  until  it  has  been  brought  out 
4n  Paris.  I  need  hardly  say  that  this  is  a  serious  loss  to 
the  music-publisher,  who  has  purchased  the  copyright  for 
Germany;  since  while  he  might  have  sold  thousands  of  copies 
of  the  vocal  pieces  (rendered  doubly  attractive  by  the  union 
of  the  names  of  Meyerbeer  and  jjl[||Q>[^.Iiind),  he  has  only 


78*4 


THE   MUSICAL  WORLD. 


engrossed  tl^  unanimous  interest  of  the  house.  Grisi  came 
on — the  magnificent  Grisi — and  was  received  with  a  burst  of 
applause  ;  %tit  it  was  not  Grisi  that  monopolized  the  eager 
curiosity  of  the  crowd,  and  albeit  many  connoisseurs  could  not 
help  remarBngJiow  finely  Grisi  was  singing,  how  gorgeous 
and  handsome  Grisi  was  looking,  and  how  superbly  Grisi  was 
acting,  it  took  some  time  to  captivate  the  attention  of  the 
major  part  of  the  spectators.  At  length  a  sudden  and  un- 
broken silence  wrapped  the  entire  assembly  in  its  unseen  em- 
brace, and  indicated  that  the  all-desired  moment  was  at  hand  ; 
the  band  played  the  long  symphony  which  precedes  the  con- 
iralio  air,  **Eccomi  al  fin  in  IBabilonia,"  and,  with  a  tranquil 
step  and  modest  look,  Alboni  issued  from  the  coulisses,  and 
slowly  walked  up  to  the  footlights.  There  was  a  sudden 
pause ;  a  feather  might  have  beca  hoard  to  move ;  the 
orchestra,  the  symphony  finished,  refrained  from  proceeding, 
as  though  to  give  time  for  the  enthusiastic  reception  which 
was  Alboni's  right,  and  which  it  was  natural  to  suppose 
Alboni  would  receive.  But  you  may  imagine  my  surprise,  and 
the  feelings  of  the  renowned  contralto,  when  not  a  hand  or  a 
voice  was  raised  to  acknowledge  her,  the  dead  silence  continu- 
ing, as  in  mockery  !  I  could  see  Alboni  tremble— but  it  was 
only  for  an  instant.  What  was  the  reason  of  this  unanimous 
disdain,  or  this  unanimous  doubt ?•— call  it  which  you  will. 
She  might  perhaps  guess,  but  she  did  not  sufier  it  to  perplex 
her  for  more  than  the  time  during  which  you  might,  in  mode- 
rately quick  time,  count  twenty.  Throwing  aside  the  extreme 
difl^dence  that  marked  her  entree,  and  the  perturbation  that 
resulted  from  the  frigidity  of  the  spectators,  she  wound  her- 
self up  to  the  condition  of  fearless  independence  for  which  she 
is  constitutionally  and  morally  remarkable,  and  with  a  look  of 
superb  indifference  and  conscious  power,  she  commenced  the 
opening  of  her  air.  In  one  minute,  the  crowd,  that  but  an 
instant  before  disdained  her,  was  at  her  feet !  The  effect  of 
those  luscious  tones  had  never  yet  failed  to  touch  the  heart 
androus6  the  ardour  of  an  audience,  educated  or  uneducated. 
Nature  herself  made  Alboni's  mouth  her  trumpet,  and  when 
Nature  speaks,  who  can  listen  and  not  be  moved  ?  Not 
the  audience  of  the  Ilalicns,  Parisians,  though  they  be — not 
they,  as  was  evidenced  by  the  tumult  of  approbation  that 
succeeded  the  dumbness  of  disdain,  with  the  interval 
of  some  dozen  notes  of  recitative,  that  gushed  from  Alboni's 
lips  like  water  from  a  natural  spring,  and  filled  the  atmo- 
sphere-with  sweet  sound,  which,  as  the  fragrance  of  young 
flowers,  made  the  pulse  beat,  the  sense  quake,  and  the  heart 
open  as  a  rose  that  swallows  up  the  dew  of  heaven.  Alboni's 
triumph  was  instantaneous  and  complete ;  it  was  the  greater 
from  the  moment  of  anxious  uncertainty  that  prefaced  it  and 
made  the  certainty  which  succeeded  more  welcome  and 
delightful.  It  was  as  the  sudden  conversion  of  a  whole 
populace  by  some  saint  whose  words  are  as  a  miracle !  I  own 
that  the  burst  of  applause  was  to  my  ears  as  the  sweetest 
music,  to  my  heart  as  a  draught  of  fresh  water  to  the  thirsty 
Arab  of  the  desert.  I  felt  for  Alboni,  knowing  the  particu- 
lars of  her  case,  and  was  enchanted  to  find  all  my  surmises 
of  opposition  to  her  success  vanish  away  like  smoke  in  the 
blue  sky,  as  it  were  by  the  influence  of  her  very  breath. 
From  this  instant  to  the  end  of  the  opera,  Alboni's  success 
grew  and  grew  in  magnitude,  until  it  expanded  into  the 
veritable  triumph  of  a  conqueror.  During  the  first  act  she 
was  twice  re-called  ;  during  the  second  act,  thrice  ;  she  was 
encored  in  the  air,  '*  In  si  barbara,"  which  she  delivered  with 
angelic  pathos,  and  in  the  cahalctta  of  the  second  duet  with 
Semiramide.  But,  I  shall  not  tire  you  with  details  that  are 
unnecessary,  and  which,  moreover,  you  will  find  at  length  in 


the  feuiUetons  of  the  Dehais,  S^c*  Suffice  it  that  Alboni's 
best  friend^ — nay,  that  Alboni  herself,  could  not  have  wished 
for  Alboni  a  more  entire,  more  dazzling,  or  more  legitimate 
success. 

In  respect  to  Grisi,  what  can  I  say  that  shall  convey  to  you 
my  admiration  of  her  immense  talent,  never  more  brilliantly 
exhibited  than  on  this  occasion.  It  is  not  to  say,  she  was  as 
young  as  she  was  twelve  years  ago,  for  she  is  always  young, 
and  has  many  many  years  of  youth  before  her  ;  it  is  not  to 
say,  she  reminded  us  of  Grisi  in  the  meridian  of  Grisi's  powers, 
for  Grisi  is  but  now  in  the  meridian  of  her  tal6nt,  as  of  her 
beauty  and  her  womanhood ;  the  only  way  in  which  I  can 
hope  to  make  myself  understood  is  by  simply  stating  that 
Grisi's  Semiramide.  on  the  night  of  Alboni's  debut,  was  one 
of  the  most  wonderful  exhibitions  of  dramatic  and  vocal 
excellence  I  ever  witnessed  in  my  life.  I  never  can  forget 
her  queenly  dignity,  her  flashing  eye,  her  passionate  mouth, 
her  irojestic  gestures ;  it  was  a  picture  worthy  the  pencil  of 
a  Buanorotti. 

The  excitement  of  the  audience  was  intense  and  unremitting, 
while  Grisi  and  Alboni  were  on  the  stage ;  during  the  duets 
the  interest  amounted  almost  to  a  frenzy  ;  it  was  as  though 
two  gladiators  v/ere  engaged  in  a  struggle  for  existence,  a 
Roman  crowd  looking  on,  applauding  each  display  of  skill  or 
cunning,  encouraging  and  exhilarating  the  combatants  by  their 
cheers.  When  the  two  queens  had  left  the  scene,  not  a  note 
of  the  music  could  be  heard ;  the  audience  to  a  man,  were 
busy,  extolling  and  discerning  the  merits  of  the  rival  mistresses 
of  song ;  but  ns  one  or  both  of  them  appeared  again,  the 
hum  of  two  thousand  voices  was  gradually  hushed  into  a 
sigh,  which  soon  died  away  in  the  embrace  of  silence — and 
then  every  eye  was  fixed  upon  the  stage,  and  every  ear  drank 
in  the  sounds  with  greedy  avidity.  Were  I  to  live  a  hundred 
years  the  memory  of  this  evening  would  be  as  strong  and 
clear  as  now  ;  and  yet,  as  you  know,  with  the  exception  of  a 
i(i\H  passages,  Semiramide  is  not  an  opera  that  greatly  moves 
or  pleases  me ;  more  is  the  honor  to  Grisi  and  Alboni,  that 
I,  as  the  whole  crowd,  could  be  so  greatly  moved  and  pleased. 
Coletti  was  energetic  and  pains- taking  in  the  part  of  Asfior, 
and  sang  the  duet  with  Arsace  (Alboni),  and  the  scena  in  the 
second  act  very  cleverly  ;  but  his  acting  was  conventional  and 
stiff,  and  there  is  something  in  his  voice,  which  in  spite  of 
its  power  and  volume,  1  cannot  like.  I  am  aware  that 
M.  IDelecluzc-j-  of  the  Dehafs  is  not  of  my  opinion — but  I 
adhere  to  it  notwithstanding.  A  tenor,  Cellini,  moved  the 
risible  organs  of  the  audience  to  manifestations  of  ungentle 
hilarity,  and  the  costumes  and  mise-en'Sceue  were  justly  con- 
demned, as  shabby,  and  for  the  most  part  inappropriate.  I 
must  mention  with  praise,  however,  that  useful  and  zealous 
artist,  Tagliafico,  who,  in  the  second  bass  part,  was  everything 
that  the  most  punctilious  connoisseur  could  have  desired.  The 
band  was  in  better  force  than  usual,  and  the  chorus  a  little 
more  steady  and  somewhat  le«?s  frequently  at  fiiult  in  respect 
of  time  and  intonation  ;  M.  Tilmant  (formerly  the  second  to 
Habeneck  at  the  Conservatoire  and  the  Academic  Rcyale  de 
Musique)  is  an  excellent  conductor,  and  saved  the  choral  and 
instrumental  band  from  committing  a  world  of  blunders,  that 
without  him,  or  a  chef  of  equal  talent  and  experience,  would 
have  been  inevitable,  in  such  an  army  of  musical  Huns  flbd 


•  We  have  received  some  of  them,  and  liavc  rendered  them  into  Englisb, 
for  the  edification  of  our  readers.— D.  R. 

t  M.  Ddecliue  has  supplied  the  feuiUetons  on  the  Theatre  dee  JiaUens 
in  the  Journal  des  Debats,  far  the  last  twenty-five  years,  I  am  told  ;^  he  also, 
occasionally  holds  forth  upon  pictures,  and  is  a  consdendous,  M|^b|l^.«iid 


cautious,  though  neither  a  briUiant  nor  a  forcible  writer. 


THE  MUSICAL  WORLD. 


•185 


Visigoths  ;  but  he  cannot  get  a  good  tone  out  of  an  indifferent 
band,  any  more  than  he  can  make  a  silk  purse  out  of  a  sow's 
ear.  I  beg  pardon — but  I  think  1  have  used  this  simile  on 
some  previous  occasion,  in  speaking  of  some  other  operatic 
band  nearer  home  ;  but  I  can  not  recal  the  occasion,  or  the 
apropos  de  quoi;  perhaps  you  can  jog  my  memory  ?* 

Among  the  audience  were  scions  of  loyalty,  ministers  of 
state,  poets,  philosophers,  and  others  eminent  in  letters, 
painters,  sculptors,  musicians,  &c.  &c.— all  the  beauty,  all  the 
rank,  all  the  fashion,  all  the  wit  and  talent  and  learning  and 
genius  that  at  this  precise  period  of  the  year  could  conve- 
niently be  brought  together,  at  the  beck  of  some  unusual 
attraction,  within  th6  walls  of  the  Theatre  des  Italiens,  one  of 
the  handsomest,  most  commodious,  best  built,  architecturally 
admirable,  and  ill-cleansed  theatres  in  the  whole  metropolis. 
M.  Vatel  thinks  no  more  seriously  of  polishing  and  renovating 
this  magnificent  temple,  than  of  polishing  and  renovating  one 
of  the  pig-sties  at  his  country-house  on  the  road  to  Rouen  , 
he  forgels  that  the  Salle  de  Ventadour  is  (in  poetic  diction)  an 
aviary,  not  a  pig-house,  and  therefore  requires  cleansing  now 
and  then. 

The  result  of  Alboni's  success  has  been  that  no  places  can 
be  had  for  many  performances  to  come,  and  that  the  prices 
asked  and  given  have  been  absurd,  and  quite  unfair  to  the 
public.  However,  as  M.  Vatel  receives  no  svbvention,  now, 
from  government,  he  may  be  considered  at  liberty  to  do  as 
he  pleases,  and  make  hay  while  the  sun  shines — and  it  has 
been  chary  of  its  beams  of  late  in  his  behalf.  To  this 
argument  I  cannot  well  lay  siege,  but  I  may  remind  M.  Vatel 
that  as  he  treats  the  public  wl.i  a  :!.<-  r^'ibHc  is  at  his  feet,  so 
may  the  public  retcri  u[>on  jjI:  i  vA.iu  'S:<2  position  is  reversed. 
He  has  Alboni  v/it!/  liiiu  now,  c.nc  iLj  i.i.bilc  will  go  and  hear 
Alboni,  even  thou^L  tLey  pr.y  LiiOiig'.i  ihe  nose  for  it ;  but 
when  M.  Viatel  lias  Alboni  no  more — and  judging  from  his 
peculiar  method  of  directing  a  theatre,  such  a  diminution  of 
his  attractions  is  neither  impossible  nor  improbable — the 
public  might  take  a, pique  and  abandon  him  altogether;  nor 
could  the  retort  upon  him  be  justly  blamed — nothing  would 
be  more  natural  under  the  circumstances.  But  with  the 
Academe  Roy  ale  de  Musique  the  case  presents  a  flagrant 
injustice  that  cannot  be  defended.  MM.  Duponchel  and 
Roqueplan  receive  from  government  a  subvention  of  650,000 
francs — an  enormous  sum — the  object  of  which  subvention  is 
that  the  institution  may  be  open  all  the  year  round,  the  prices 
of  admission  remain  unchanged,  and  the  public  have  access, 
at  moderate  terms,  to  the  enjoyment  of  an  elegant  and  civilising 
relaxation.  But  the  instant  of  any  great  novelty  is  the 
signal  for  the  prices  being  raised  to  so  unreasonable  an  extent 
that  persons  of  middling  circumstances  (the  mass  of  the 
people)  cannot  afibrd  to  pay  them,  and  the  rich  and  the 
privileged  can  alone  enjoy  the  advantage.  As  examples  of 
this  indefensible  imposition,  of  which  I  have  myself  been  a 
suffering  witness,  1  may  cite  the  first  night  since  the  change 
of  management,f  the  recent  appearance  of  Alboni  at  four 
concerts,  the  debuts  of  Cerito,  and  the  first  night  of  Verdi's 
Jerusalem — on  which  occasions  unexampled  prices  were 
demanded,  and  the  intentions  of  Government,  in  granting  the 
subvention,  illegally  frustrated  and  disregarded.  This  ques- 
tion, I  am  told,  will  be  shortly  mooted  in  the  Chamber,  and 
the  subvention  be  withheld,  or  the  conditions  involved  in  its 

*  We  could  if  we  would,  but  we  will  net :  at  this  juncture  be  out  of 
place,  and  therefore  unpolite.— D.  R. 

f  The  first  night  of  MM.  Duponchel  and  Roqueplan*s management,  since 
the  abdication  of  M.  Leon  Pillct  and  the  relacnc  aevoted  to  the  renovation 
of  the  theatre. 


accordance  maintained  in  their  integrity — which  is  nothing 
more  than  should  be. 

1  have  not  much  news  to  tell  you.  The  representations  of 
Jerusalem  have  been  happily  suspended,  for  awhile,  owing  to 
the  unhappy  indisposition  of  Duprez,  who  has  been  writhing 
in  the  clutches  of  the  pitiless  grippe,  which,  at  the  present 
time  spares  nor  man,  nor  woman,  nor  child,  with  rare  ex- 
ceptions. Bettini  has  understudied  Duprez'  part,  and  has 
already  rehearsed  it ;  but  it  is  anticipated  that  Duprez  will 
not  resign  it  for  the  present.  I  should  recommend  the  great 
little  tenor  to  give  it  up  at  once  as  a  bad  job,  or  it  will 
assuredly  destroy  all  the  voice  that  he  has  left  in  him  ;  the 
music  of  young  Verdi  is  as  fatal  to  the  lungs  as  the  east  wind, 
and  much  use  of  it  is  an  invariable  provocation  to  phthysis. 
Poor  Duprez !  I  cannot  but  admire  his  gallantry  in  thus  ob- 
stinately making  head  against  so  dire  an  enemy. 

On  Friday,  Carlotta  Grisi,  crowned  with  Belgian  laurels, 
fragrant  with  Belgian  flowers,  blushing  with  Belgian  honors 
— for  her  month  in  Brussels  has  been  a  veritable  feast  of 
triumphs — once  more  delighted  the  eyes  and  the  hearts  of  her 
numberless  admirers  in  Paris.  The  Academie  is  Cailotta*s 
palace,  where.  Queen  of  Choregraphy,  she  receives  the  homage 
of  her  subjects,  and  disburses  her  smiles  and  her  favors  ;  she 
is  there  at  home  and  in  her  element ;  the  boards  upon  which 
she  moves  seem  to  court  the  pressure  of  her  feet,  as  of  some 
old  familiar  thing,  that  long  custom  has  made  loveable  ;  she 
is  the  very  spirit  of  the  place,  and  charmed,  as  it  were,  with 
the  privilege  of  being  there,  she  bounds  and  dances  in  the 
exultation  of  delight.  Nothing  better  than  Le  Diable  h 
Quatre  could  have  been  chosen  for  her  reniree,  for  there  we 
find  Carlotta  no  less  a  comedian  than  a  dancer ;  her  comedy, 
genuine  and  hearty  as  her  dancing  is  graceful  and  natural, 
and  the  perfection  of  art  apparent  in  one  as  the  other.  Her 
reception  was  enthusiastic  and  her  performance  exquisitely 
beautiful ;  the  spectators  were  enchanted,  and  Carlotta,  en- 
chanted to  enchant,  displayed  the  wonders  of  her  art  in  a 
hundred  new  lights,  accomplishing  feats  never  before  attempted, 
and  which,  if  attempted  by  any  other  dancer  than  herself,  would 
no  longer  be  the  same  thing.  In  short,  I  never  remember 
Carlotta  Grisi  more  admirable,  or  admired  her  with  moro 
sincerity;  nor  do  I  recollect,  on  any  previous  occasion,  a  moro 
thorough  appreciation  of  her  inimitable  talent,  or  more  warm 
and  unanimous  demonstrations  of  satisfaction  on  the  part  of 
any  audience  in  presence  of  which  I  have  had  the  pleasure  to 
render  homage  to  her  excellence.  And,  as  though  in  honor  of 
her  return,  the  principal  dancers,  the  coryphees,  the  supernu- 
meraries even  to  the  rats,  and  the  orchestral  performers,  with 
M.  Girard  at  their  head,  exhibited  more  than  their  ordinary 
zeal,  and  realised  an  ensemble  of  more  than  ordinary  perfection. 
It  is  worthy  of  noting,  that,  on  her  appearance,  the  orchestral 
performers  laid  down  their  instruments  and  applauded  her  as 
though  they  had  formed  a  portion  of  the  clacque — a  compli- 
ment they  repeated  at  the  end  of  her  several  pas  ;  from  which 
it  may  be  deduced  that  Carlotta  Grisi  has  the  art  of  making 
herself  esteemed  and  liked  behind  the  curtain,  as  she  has  that 
of  winning  admiration  and  applause  before  it. 

The  ballet  was  preceded  by  the  eternal  Lucie  de  Lammer- 
moor,  in  which  I  was  pleased  to  observe  the  great  progress 
made  by  Bettini,  and  was  delighted  by  the  fluency  and 
elegance  of  Mdlle.  Nau's  vocalisation. 

I  have  been  reproached  by  seme  persons  for  the  bitterness 
which  dictated  my  observations,  last  week,    apropos  of  M. 
Chopin  and  the  late  Felix  Mendelssohn   Bartholdy.      Th 
reproach  is  unjust;  no  bitterness  gave  birth  to  those  remarkS| 


(86 


THE  MUSICAL  WORLD. 


but  respect  to  the  departed  master^  in  whose  single  person  was 
the  concentrated  essence  of  all  music,  and  whose  death  is  as 
though  from  now  to  a  century  forward  were  to  be  a  blank  in 
the  progress  of  the  art.  The  musician  who  fails  in  respect 
where  respect  is  so  manifestly  due — nay,  I  will  go  further,  the 
musician  who  does  not  merely  respect,  but  revere,  worship, 
idolize  the  name  of  Mendelssohn,  I  do  not,  I  cannot  consider  a 
worthy  follower  of  his  art,  and  therefore,  owing  him  no 
respect,  I  pay  him  none.  Understand  well,  that  I  only  speak 
of  M.  Chopin,  the  musician ;  of  M.  Chopin,  tlie  man,  I  know 
nothing,  not  enjoying  the  advantage  of  his  acquaintance.  If 
not  to  admire  the  music  of  M.  Chopin  be  proof  of  a  bitter 
spirit,  let  me  be  for  ever  called  "bitter;"  I  like  it  not,  nor 
can  I  like  it — it  sins  against  all  my  notions  of  the  proprieties 
of  art.  and  presents  no  ideal  attraction  to  my  fancy.  If  to 
think  that  M.  Chopin  forgets  himself  in  not  readily  paying 
homage  to  Mendelssohn— -who  in  comparison  to  the  Polish 
pianist  is  as  the  sun  to  a  spark  flickering  in  a  tinder  box— and 
entitles  me  to  the  charge  of  bitterness,  once  more  I  am  content 
to  be  styled  "  bitter,*'  and  strong  in  faith,  exult  in  my  bitter- 
ness. l)ut,  gravely,  the  accusation  is  absurd  ;  what  I  said 
was  not  hitter,  but  sweet  to  all  rightly  constituted  minds ;' — in 
confirmation  whereof  I  appeal  to  MM.  Rosenhain,  Hall^, 
Heller,  Panofka,  Kalkbrenner  (Kalkbrenner  was  not  too 
arrogant  to  give  his  name),  Pixis,  Wolff,  and  the  German 
musicians  in  Paris  whom  they  have  the  honor  to  represent  on 
so  worthy  and  melancholy  an  occasion. 


I  find,  on  looking  over  the  copies  of  my  letters  with  which 
you  have  been  good  enough  to  favor  me,  several  promises,  as 
yet  unfulfilled.  I  owe  you,  it  appears,  full  details  about  M. 
Etienne  Arago*s  comedy,  Les  Aristocractes ;  about  Mad.  de 
Girardin's  tragedy,  Cleopatra ;  about  M.  Alfred  de  Musset's 
'*  proverb,"  Un  Caprice;  and  other  matters  connected  with  the 
Theatre  Francais.  Be  it  so — I  owe  you  them— and  when  I 
have  paid  you,  I  shall  owe  you  nothing ;  but  when  is  to  be 
that  •*  when,"  I  cannot  say  at  present ;  but  1  recommend  you 
to  get,  and  to  read  when  you  have  gotten,  the  fcuilletons  of 
the  famous  J.  J.  (Jules  Janin,  in  familiar  parlance),  whicii, 
meritorious  as  are  the  comedy,  tragedy,  and  **  proverb,"  are 
better,  and  more  readable,  and  more  witty,  and  more  poetic, 
and  more  instructive,  and  more  amusingly  philosophical  than 
the  comedy,  tragedy*  and  "  proverb"  fastened  togetiier — tria 
juncta  in  who— and  yet  I  have  no  wish  to  under-6stimale  the 
comedy,  tragedy,  and  **  proverb,"  of  M.  Arago,  Mad.de 
Girardin,  and  M.  de  Musset,  but  merely  to  rate  tiiefevilieions 
of  J.  J.  as  they  ought  to  be  rated,  i.  e.,  much  higher  than  them 
all.  Where  M.  de  Musset  says  one  good  thing,  J.  J.  says  six  ; 
whese  Mad.  de  Girardin  says  one  good  thing,  J.  J.  says  sixty ; 
and  where  M.  Arago  says  one  good  thing,  J.  J.  says  six  hun- 
dred— and  all  as  well  placed  and  apposite,  when  they  are  not 
better  placed  and  more  apposite ;  if  this  be  not  six,  sixty, 
and  six  hundred  times  as  good,  then  am  I  no  master  of  multi- 
plication, and  J.  J.  not  a  man  of  genius — q.  e.,  abwrdum — 
wherefore  my  argument  holds  "refutation-tight,"  as  poor 
Shelley  was  wont  to  say. 

Also  I  must  give  you  an  apology  in  the  place  of  anything 
more  about  M.  Maillart's  Gastibelza,  which  being  a  dull 
work  I  did  not  go  to  hear  twice,  and  so  have  foi^otten ; 
eke  must  you  take  nn  excuse  instead  of  a  review  of  Mount 
Sinai,  which  is  a  duller,  and,  though  I  never  promised,  t 
intended  to  have  analysed  for  your  edification.  Moreover, 
about  the  hotel  where  lived  and  wrote  Mozart,  while  in  Paris, 
Les  Quatre  fiU  Aymon^   which  I  have  visited;  about  the 


Morgue  which  I  have  seen  j  about  the  Theatre  Comti* 
(which  is  to  be  no  more  a  theatre  but  a  show,  by  order  of  the 
Home  Authorities),  the  last  work  of  M.  Rosellen— neither  of 
which  I  have  seen  or  sought  to  see — and  other  curious  and 
interesting  matters,  you  must  not  trouble  yourself  at  all ; 
having  nothing  to  tell,  I  shall  tell  you  as  much  and  no  more. 

When  you  receive  this  I  shall  be  far  hence,  in  quite 
another  part  of  the  musical  world ;  at  what  time,  if  ever,  you 
hear  from  me  again,  and  where,  if  anywhere,  I  am  unable 
now  to  say.  Perhaps  it  may  be  from  the  North.  I  have  only 
to  solicit  your  forgiveness  for  having  left  untold  more  than 
ninety-nine  hundredths  of  what  I  saw  and  heard  in  this  fair 
city  of  Paris,  which  I  quit  with  keen  regret,  trusting  that 
Paris  will  mourn  my  absence  in  return.  Meanwhile  Panofka 
will  occasionally  let  you  have  some  news ;  but  in  case  he 
should  fail  to  do  so  let  me  recommend  you  to  M.  Le  Brun 
jeune,  (or,  M.  Le  Jeune  brun,  1  forget  which,)  wbo,  at  a 
supper— given  at  the  Caff  near  the  Opera  National,  on  the 
Boulevard  du  Temple^  by  the  instigators,  movers,  makers, 
and  managers  of  the  Opera  ^a/toiuz/— worthily  represented 
the  Enolxsh  Press,  and  responding  to  a  toast  prepared  in 
compliment  to  that  august  body,  declared,  in  a  neat  speech, 
that  he  had  come  to  Paris  expressly  to  furnish  the  papers  of 
his  country  with  a  history  of  the  Opei-a  NationaVs  proceedings ; 
whereupon  there  ensued  much  cheering — a  cheering  I  would 
gladly  echo  but  that  I  never  heard  of  M.  Le  Brun  Jeune,  (or, 
M .  Le  Jeune  brun)  before.  If  you  want  news,  however,  and 
Panofka  neglects  to  supply  you,  apply  to  M.  Le  Brun  Jeune, 
and  I  ^'ish  you  may  get  it.  Good  bye,  until  our  next  epistolary 
shake-hand,  which  I  trust  may  not  be  on  the  other  side  of 
eternity, — till  when,  notwithstanding,  I  am  yours,  D. 

P.S.  The  account  of  M.  Le  Jeune  hrun*s  speech,  and  the 
supper,  appeared  in  the  Corsaire,  a  daily  journal,  enriched  by 
the  witty  contributions  of  M.  Fiorentino. 

*  A  small  place  of  public  entertainment  in  the  Palais  Royal,  a  kinA  oC 
olichinello  and  conjunng-sbop. 

n  ettatiM  on  t^e  ^^  9ffittitte0^^  of   do^t, 

IN    ITS  WORLD-HISTORICAL  SIOMFICANGB, 
DEVBLOPED  ACCOUDIKQ   TO    ITS    IfOSAL   A^^)   AMISTICAL  TAXVX, 

Translated  from  the  German  of  Dr.    Seinrich  Theodor  £diseker, 
Profeuor  at  the  Royal  Gymnasium  at  Bromberg. 


CHAPTER  llU-iCofUiMued  ftrem  page  771.) 

THI    ARTIPICIAL    COMPOSITION   Or    "THH    APFINITIES." 

As  the  appearance  of  the  Architect,  by  his  pure  personality, 
olefated  above  the  contradictions  of  the  heart,  producer  a  beaotiful 
sfin  life,  in  which  the  precipice  on  which  the  principal  figures  were 
standing  is,  for  a  moment,  withdrawn  from  our  view,  so  does  the 
appearance  of  Luciana,  with  all  her  swarm  awaken  in  us  the  view 
of  an  activity  directed  only  to  the  froth  of  life,  which  also  lifts  us 
above  the  breach  in  family  existence,  though  not  all  in  the  manner 
in  which  this  is  done  by  the  Architect.  By  Lnciana*s  appearance 
everything  is  drawn  into  the  whirlpool  of  life.  The  contrast  of 
this  violent  movement,  of  this  ceaseless  change  of  enjoyments  and 
gratifications  of  momentary  whims,  with  the  mind  of  Ottilia,  which, 
naturally  enough,  is  thus  painfully  affected,  and  forced  back  into 
U^eir,  is  the  more  striking,  the  less  directly  it  b  expressed  by  the 
poet,  who  has  only  shown  it  in  its  effects. 

As  the  presence  of  the  Architect  awakened  Ottilia  to  reflections, 
in  which  we  often  follow  the  thread  of  the  conversation  with  that 
sensible  man,  and  which  we  recognize  as  having  proceeded  directly 
from  a  mental  contact  with  him,  so,  also,  does  Luciana's  presence 
becoming  the  cause  for  notins^  down  thoughts  in  the  diary.  These 
have  arisen  exactly  from  the  necessity  of  collecting  the  mind, 
which  has  been  destroyed  by  the  confusion  created  by  Luciana,  and 
therefore  have  for  their  root  a  tendency  to  return  from  the  immeasure- 


THE  MUSICAL  WORLD. 


'ls^ 


ability  of  worldly  pursuits  into  the  supersensual  region  of  thought, 
and  thus  to  acquire  a  substance  and  a  counterpoise  to  the  billows  of 
the  day.  In  the  single  expressions  the  negative  relation  is  to 
be  perceiyed  definitely  enough.  Duiing  the  residence  of  Luciana 
at  the  castle,  the  Architect  is  Ottilia's  only  consolation,  and  as  he 
had  already,  for  a  short  time,  freed  her  from  her  pain  by  his  artistical 
activity,  so  now,  by  his  tender  attachment  and  attention  to  Ottilia, 
does  he  heal  the  painful  sensation  to  which  her  heart  is  hourly 
exposed  by  a  contact  with  Luciana.  *  As  for  the  peculiarity  of 
Luciana*s  character  and  inclinations,  wo  have  only  to  refer  to  the 
complete  description  in  the  second  chapter. 

Little  as  Ottilia  comes  into  the  foreground,  during  Luciana's  re. 
sidcnce  at  the  castle,  still  she  vividly  arrests  our  attention.  Wc 
again  discern  the  great  beauty  and  art  of  the  poet  in  this  fact,  that 
even  amid  the  boisterous  vivacity  of  Luciana's  pursuits,  he  always 
unobservedly  brings  our  glance  back  to  Ottilia,  who,  in  connection 
with  the  Architect,  seems  like  the  mystical  background  (f  the 
various  groups,  which  are  commingled  before  our  eyes ;  and,  as 
man  always,  from  a  lawless  confused  movement  longs,  for  a  point  of 
rest,  so  do  we,  during  the  pursuits  of  Luciana,  always  return 
joyously  to  Ottilia,  who  again  conducts  us  to  clearness,  and  at  the 
sight  of  whom  we  a^ain  collect  our  scattered  senses. 

The  Architect,  who  lived  for  Ottilia,  took  leave  of  the  house  in 
which  be  had  passed  such  happy  hours,  by  the  tableau,  in  which 
Ottilia,  raised  to  a  queen  of  heaven  by  her  beauty  and  soulful  ex- 
pression, was  to  shine  in  this  form,  and  spread  her  beams  on  all 
around.  The  description  of  this  living  picture  and  of  this  festal 
moment,  has  a  special  charm  in  the  development,  beyond  the 
manner  in  which  it  is  set  forth  by  the  poet.  At  the  sight  of 
Ottilia  as  the  Madonna,  the  thought  of  a  contradiction  between 
her  appearance  and  her  state  of  inind,  is  awakened  both  in  herself 
and  in  ua.  Ottilia  unconsciously  entangled  in  tiio  natural  force  of 
immoral  feeling,  here  appears  as  the  pure  blessed  Virgin,  elevated 
above  all  earthly  discord.  She  herself,  if  not  in  a  developed  form, 
is  aware  of  this  contradiction,  and — which  is  highly  significant — 
just  at  the  sight  of  the  Assistant  (teacher),  who  had  educated  her, 
to  whom  her  sonl  had  always  been  open,  and  in  whose  presence 
at  this  very  moment  she  was  perfectly  conscir  us,  whilst  a  great 
growth  had  been  matured  in  her,  since  she  previously  saw  him. 
Hero  too  the  whole  sesthetical  effect  rests  upon  a  mild  contrast, 
which  connects  us  with  the  whole  past,  while,  at  the  same  time,  it 
reveals  to  us  a  foreboding  future.  The  fa*ne  opposition  of  moral 
freedom  and  necessity  is,  though  in  another  form,  again  brought 
forward,  and  the  scattered  threads  are  again  collected  in  the  most 
subtle  manner. 

On  the  occasion  of  the  Architect's  appearance  wo  remarked  that 
every  important  man,  who  appears  in  a  circle,  will  always  exert  an 
influence  upon  it.  If  it  is  a  circle  of  ladies  which  he  enters,  ho  will 
so  rule  it  as  to  call  forth  and  conduct  the  whole  course  of  conver- 
sation and  activity.  Thus  the  Architect's  appearance  gave  the 
whole  circle  an  artistical  tendency,  and  directed  all  the  attention 
to  the  region  of  art.  Thus,  on  the  occasion  of  the  Assistant's  vbit, 
tho  conversation  and  sympathies  are  directed  towards  instruction, 
education,  and  particularly  to  the  understanding  of  the  different  des- 
tination and  duties  of  the  two  sexes.  By  these  conversations,  wikteh 
lay  claim  to  a  higher  nature,  wc  are,  as  with  the  Architect,  lifted 
above  the  contradiction  and  internal  breach  of  family  life,  which 
has  gone  on  gathering  strength  in  tho  hearu  of  the  personages,  and 
wo  feel,  in  a  certain  measure,  satisfied. 

But,  while  occupied  with  this  internal  relation,  we  ought  not  to 
overlook  the  external  thread  by  which  the  appearance  of  the 
Assistant  is  connected  with  the  whole.  We  learn,  that  being  moved 
by  his  own  inclination  and  sensible  reflections,  and  urged  by  the 
Baroness,  ho  has  undertaken  the  journey  for  the  sake  of  graining 
Ottilia's  hand,  but  that  he  is  always  prevented  by  a  certain  timiditr 
from  paying  his  court*  This  timidity  does  not  lie  wholly  in  his 
natural  bashfulness,  but  in  the  deportment  of  Ottilia,  which  in. 
voluntarily  speaks  to  him,  and  in  which,  though  he  finds  her  altered 
greatly  to  her  advantage,  he  sees  impressed  the  effects  of  a  destiny, 
which  has  rendered  an  approach  on  his  part  perfectly  impossible. 
The  Assistant's  offer  to  tako  Ottilia  back  to  the  school  for  some 
time,  that  the  defects  in  licr  knowledge  may  be  supplied,  forms 
indeed  a  strong  contrast  to  the  education  which  a  heavy  calamity 
has  given  to  Ottilia.    For  faer,  the  whole  uoiverse  is  absorbed  in 


love  for  Edward,  and  all  instruction  from  any  other  source,  and 
which  is  beyond  the  power  of  her  enjoyment,  appears  but  meagre 
and  trivial.  The  desire  to  place  one  who  has  been  matured  by  the 
most  consuming  pains  of  love  in  tlie  class  of  uneducated  novices, 
appears  to  us — although  the  proposition  was  kindly  meant — as  a 
cruelty,  which  gives  no  little  pain  to  Ottilia.  Thus,  here  again  in 
a  simple  way  (the  reverse  of  far-fetched),  docs  the  poet  afford 
ui  a  glance  into  tho  deep  wound,  from  which  Ottilia  ever  bleeds, 
and  which  has  gathered  strength  amid  all  the  successive  positions 
and  changing  excitements. 

By  the  birth  of  the  child,  which  owes  its  existence  to  the  immoral 
embraces  of  that  eventful  night,  in  which  the  natural  force  of 
feeling  first  exercised  its  mastery  over  moral  freedom,  the  threads 
of  the  main  action  are  again  gathered  together.  Our  glance,  ex- 
tended by  so  many  mental  treasures  being  spread  out  is  by  this 
occurrence  again  contrasted.  The  delusion  of  Mittler,  who  sees 
in  the  event  the  removal  of  all  the  perplexities  hitherto  felt,  the 
solemnization  of  the  christening,  which  first  shows  Ottilia  the 
strangest  agreement  between  her  own  eyes,  and  those  of  the  child, 
the  death  of  tho  old  pastor,  which  immediately  follows  the  solem. 
nity,  the  suffering  of  Ottilia,  which  goes  on  increasing  *o  a 
boundless  extent,  and  in  which  she  longs  for  death  *-all  this 
together  forms  a  picture  so  full  of  foreboding,  that  wo  discover  in 
it  the  traces  of  a  glowing  fate,  which  cannot  much  longer  defer  its 
perfect  revelation. 

While  our  deeply  moved  mind  is  thus  again  directed  to  a  narrow 
circle,  and  all  the  threads  are  woven  into  a  gloomy  web,  this  is 
suddenly  illnmined  by  a  light,  which  allows  the  tundamental  colors 
to  appear  conspicuously,  and  in  which  the  spectators  objectively 
perceive  their  own  interior.  We  mean  the  episode  that  is  intro- 
duced before  the  development  of  the  catastrophe. 
(To  be  continued), 

*«*  To  prevent  misanderttandiDg,  it  may  be  stated  that  the  copyright  of  the 
translation  belongs  solely  to  the  translator. 

SONNET. 

No.  LXIII. 

Oh  woulds't  thou— woulds't  thou  have  that  time   gain. 

When  cv'ry  day  was  by  its  anguish  known ; 

Each  moment  had  a  sorrow  of  its  own, 
Diff'ring  by  greater  or  by  lesser  pain  T— 
That  time  of  aching  heart  and  maddeii'd  brain. 

When  ev'ry  energy  was  overthrown ; 

When  o'er  the  soul's  waste  transient  joys  were  stro  n  , 
Like  with'ring  flowrets  on  a  desert  plain. 
'J  hou  cairst  me  cold ;— the  anguish  that  would  creep 

Aihwartmy  brow  has  now  that  brow  forsaken; 
Thou  call'st  me  cold,  that  from  their  magic  sleep. 

The  pains  of  other  days  I  do  not  waken ; 
Thou  call'st  me  cold,  that  in  a  whirlpool  deep 

I  plung'd  thy  grief  and  mine  I — ^Thou  art  mistaken.  N.  D 


ALBONI  AT  THE  OPERA  ITALIEN. 

As  a  pendant  to  our  exracts  from  the  French  criticisms  on 
Alboni's  debut  at  the  Atademie  Royale  de  Musique  in  Parist 
we  subjoin  some  more  apropos  of  the  celebrated  contralto's 
recent  triumph  on  the  boards  of  the  Opera  Italien.  The 
following  article,  from  the  pen  of  M.  Delecluze,  a  yeteVan  of 
the  French  press,  appeared  in  the  feuilleUm  of  the  Journal 
des  Debats : — 

DEBUT  OF  MAI>I«LB«  ALBOMl  IM  '*  SBMIRA MI DB." 

There  is  something  powerful  and  tenacious  in  the  Italian  nature, 
which  supports  in  those  born  beyond  the  mountains  an  eneigetic 
ho])e,  the  kindlingwarmth  of  which  prolongs  youth  to  an  advanced 
period  of  life.  This,  which  may  be  predicated  of  individuals,  b 
applicable  also  to  the  whole  nation ;  and  of  all  countries  where 
civilization  has  deeply  penetrated,  Italy  is  the  one  in  which  a  dis- 
taste for  life  more  rarely  manifests  itself.  A  man  blas^,  or  used  up^ 
is  hardly  known  amongrt  them,  and  indeed  the  wprd  has  no  syno. 
nyme  in  the  Italian  tongue.  '    •    .^ 

The  eclat  and  puissance  of  this  eternal  youth  struck  all  who 
assisted  at  tho  splendid  performance  of  Semiramide^  in  which 
Madlle*  Alboni  debuted  in  the  Italian  Theatre  at  Paris.     Here 


788 


THE  MUSICAL  WORLD. 


one  might  observe  and  compare,  on  one  side,  the  youthful  canta- 
irice  who  had  already  joinca  the  completion  of  art  to  the  results 
of  an  organization  on  which  nature  had  lavished  all  her  wealth  ; 
and  on  the  others,  all  the  juvenile  verve  of  a  virtuoso  who  has 
obtained  universal  favoritism  for  so  many  years  in  the  same  theatre, 
and  in  the  same  city. 

Madame  Grisi  never  in  her  life  sang  more  magnificently  than 
she  did  in  Stmiramide  on  Thursday  las*.  With  that  grand  and 
gracious  manner,  which  is  peculiar  to  hn^  .3m8  better  adapted 

to  personate  roles  like  that  of  the  r^byl:..  i  Queen,  than  any 
artiste  of  our  times,  and  her  performaiire,  at  (''  times  surpassingly 
crreat,  has  never  been  surpassed  on  ll:!?  rr'asion.  Arsace,  it  is 
kno^Tn,  does  not  a]>pcar  until  thcti...::  ^r  fourth  scene  of  the 
opera,  and  it  was  nothing  more  than  natural  that  the  liveliest 
impatience  should  prevail  among  the  audieacc  for  the  entrance  of 
the  debutante :  nevertheless,  from  the  moment  that  Semiramide 
came  on  the  stage,  and  as  soon  as  Grisi  and  Coletti  commenced 
singing,  the  public,  delighted  with  the  two  artistes,  soon  perceived 
that  the  representation  was  grand  and  imposing,  and  that  it  was 
necessary  to  attend  to  it  equally  in  every  part.  In  effect,  so  early 
in  the  opera  as  this  Fceno,  the  spectators  had  been  roused  to 
enthusiasm  by  the  singing  of  Grisi  and  Coletti,  and  the  perform- 
ance in  general,  and  were  disposed  to  accord  that  profound  and 
willing  attention  which  brings  out  the  talent  of  the  artiste  to  its 
greatest  power,  and  makes  the  public  capable  of  judging. 

At  last  the  ritaitrnelle  of  the  aria  *'  Eccomi  alfin  in  Babilon!a '' 
was  heard,  all  eyes  were  anxiously  turned  towards  the  side-wing 
from  w  hence  Alboni  was  to  appear.  The  question  mooted  at 
Paris  after  the  splendid  performances  of  Alboni  at  the  concerts  of 
the  Royal  Academy  of  Music  was  soon  solved :  the  young  canta- 
trice  appeared,  and  ft  once  established  herself  as  a  great  dramatic 
artiste,  preserving  all  through  a  noble  simplicity  in  her  attitudes 
and  gestures. 

Althousrh  the  talont  of  the  debdtante  was  known  by  the  greatest 
number  of  amateurs  who  were  present  at  the  Theatre- 1  tali  ers  on 
Thiirsdtiy,  Mdlle.  Alboni  did  not  obtain  that  enthusiastic  greeting 
which  might  have  been  expected.  The  reception  was  cold  and 
cheerless,  the  op!)];\use,  vvhieh  was  little,  did  not  continue  long, 
attention  and  euriosity  seemed  to  absorb  every  other  feeling,  and 
an  absolute  silence  prevailed.  To  this  silence  succeeded  demon 
strations  if  delight  and  rapture  atu;r  the  few  first  bars  of  the  opening 
aria,  \\ hieh  encreased  to  the  end.  and  then  broke  forth  into  a 
unanimous  and  enthusiastic  shout  of  applause  which  endured  for 
several  minutes.  Alboni  had  incontrovertibly  shown  that  not  only 
could  she  entrance  her  hearers  by  singirg  in  a  concert-room,  but 
that  her  talent  was  more  importantly  developed  when  applied  to 
the  art  lyric  and  dramatic  in  conjunction. 

The  quality  of  Mdlle.  Alhoni*s  voice  is  well  knoxn  in  the  musical 
world  of  Europe ;  I  s^all  find  it  unnecessary, 'therefore,  to  enter 
minutely  into  the  peculiar  advantages  of  this  faculty,  which  the  can^ 
tatrice,  although  so  very  young,  appears  to  have  submitted  to  the 
most  arduous  exercise  and  study  demanded  by  the  art  of  singing. 
I  shall  merely  observe  that  Mdlle  Alboni's  voice,  so  pure,  so  sweet, 
and  so  resonant ;  which  includes  the  highest  notes  of  the  soprano, 
and  the  lowest  notes  of  the  contralto,  provides  in  its  effects  a  mar- 
vellous variety  which  she  uses  with  singular  effect  With  regard  to  its 
agility  and  flexibility,  it  is  such,  and  the  resulu  are  so  rapid  and  pure, 
that  one  can  have  no  idea  of  the  least  effort  on  the  part  of  the  singer. 
Agility  is  a  quality  essential  to  the  voice  of  a  vocalist,  because  the 
more  rapid  and  facile  is  the  execution,  the  more  it  evidences  capa- 
city and  largeness  of  design.  In  every  art  ornaments  are  indispen- 
sable to  give  true  value  to  large  masses :  so  that  a  song  entirely 
siript  of  jtoriature,  is  like  an  edifice  upon  ihe  surface  of  which  there 
is  not  even  imposed  a  cornice.  The  art  of -adorning  song  Mdlle. 
Alboni  possesses  in  the  highest  degree.  As  this  artiste  surmounts 
with  incredible  ease  all  the  difBcultics  of  vocalisation,  so  she  em- 
ploys them  without  any  parade  ;  for  which  reason  her  singing, 
although  extremely  ornamented,  when  one  considers  it  attentively, 
appears,  and  [is  in  reality,  of  a  large  design,  when  you  deliver 
yourself  naturally  to  the  pleasure  of  bearing  her.  As  to  her 
method,  it  is  most  admirable,  and  partakes  of  the  true  Italian 
method,  such  as  has  been  transmitted  to  us  by  Crescentini,  Fodor, 
Pasta,  Rubini,  Grisi,  Brambilla,  and  Tamburini.  By  this  method 
the  singer  is  taught  to  take  breatli  at  the  exactest  moment ;  to  be 


frugal  in  the  use  of  the  full  power  of  the  voice,  to  phrase  eloquently 
to  subordinate  the  ornaments  to  the  ensemble,  to  observe  the 
nuances  religiously,  and  by  those  moans  to  join  unity  and  harmony 
of  execution  in  a  musical  composition,  instead  of  seeking  to  draw 
attention  at  all  times  to  himself.  This  discretion,  indispensable  to 
a  true  vocalist,  which  induces  him  to  forego  the  transient  impor- 
tance which  may  be  allowed  sometimes  to  prevail  with  the  inferior 
personages  of  a  drama,  is  one  of  the  rarest  qualities  which  dbtin- 
guishes  the  great  artiste.  Mdlle.  Alboni  possesses  it  in  a  singular 
degree,  as  she  fully  and  satisfactorily  demonstrated  when  singing 
her  part  in  the  grand  morfeau  d^ensemhh  at  the  foot  of  the  queen's 
throne. 

As  the  young  cantatrice  had  heretofore  been  heard  in  Parts  at 
^he  concerts  of  the  Opera  or. V.  -e  e\cited  the  liveliest  sensation 
on  Thursday  last  by  the  man;;  in  which  she  gave  the  recitatives, 
and  by  the  expression,  I  ah.C  ^t  Fay  dramatic,  because  it  b  a 
word  of  late  sufficiently  abuseo,  :  .  true,  simple,  and  profoundly 
sympathetic,  she  infiised  into  Rossini's  exquisite  music.  This 
young  artiste,  who  attitudinizes  so  little,  seems  to  throw  her  entire 
soul  into  her  singing :  and  then  her  accents  pci.^trate  deeply  into 
the  hearts  of  those  to  whom  music  is  a  vcM  .1.     ';.n<^uage. 

It  were  fruitless  for  me  to  endeavour  to  ;  "  attention  of  the 

audience,  and  the  extreme  delight  wit!  .  iii(-!i  tii..  pera  was  heart! 
throughout ;  for  though  that  must  lo  n.  .mly  oitributed  to  the 
superiority  of  talent  exhibited  by  M..  -He.  Alboni,  it  mast  be 
acknowledged  that  the  excellence  of  the  representation  of  Thursday 
night  was  also  due  to  the  remarkable  manner  in  which  Grisi  and 
Coletti  sang  their  portions  of  the  music.  The  two  duos  (for  that 
in  the  first  act  between  Semiramid^>  auvl  Arsace  has  been  restored) 
were  received  with  uproarious  demo'jstrations,  and  were  encoicd. 
The  grand  duo  of  the  second  act,  sung  by  Grisi  and  Coletti,  and  the 
aria  before  the  tomb,  which  displayed  the  power  of  the  last  singer's 
voice  to  much  advantage,  were  given  with  great  effect.  It  was  in 
the  cavaiinas  belonging  to  the  part  of  Arsace,  that  the  public 
especially  recognised  the  talent  of  Alboni,  since  singiLg-  alone,  the 
best  opportunity  of  judging  was  given,  and  it  was  Uien  only  they 
could  lully  ap^>rcciate  the  indefinable  charm  of  her  voice,  her 
astonibi.ing  flexibility,  and  the  simple  and  large  character  she  throws 
around  her  singing. 

Italy  !s  (•eeidedly  the  country  of  vocal  music ;  throats  appear  to 
be  o  anised  there  as  they  are  nowhere  else;  the  method  of 
singi  i:  is  good,  and  has  been  for  more  than  two  centuries,  and  all 
the  piipi.  profit  thereby.  Nevertheless,  despite  the  uniformity 
which  would  seem  necessarily  to  result  from  the  same  elementary 
studies,  all  the  true  singers  who  come  from  beyond  the  mountains, 
although  belonging  to  an  identical  school,  have  each  a  distinguish- 
ing  characteristic.  Old  amateurs,  doubtless,  have  not  lost  recol- 
lection  of  Mesdames  Stranasacchi,  Barilli,  Festa,  Corrca,  Fodor, 
Pasta,  Grassini.  Monbelli,  while  they  may  yet  hear  Grisi,  Persiani, 
Brambilla,  and  others ;  but  when  one  compares  the  very  different 
impressions  produced  by  the  talent  peculiar  to  each  of  these 
vocalists,  all.  however,  issuing  from  the  same  school,  he  will  feel 
less  astonished  that  Alboni,  armed  with  the  same  traditional 
meihod.  should  suddenly  a])pcar  in  a  light  perfectly  original,  and 
replete  with  a  charm  and  a  grace  altogether  her  own.  It  is  the 
peculiar  advantage  of  schools  founded  on  the  best  principles,  that 
they  provide  unity  in  the  material  exercise  of  the  art,  without 
destroying  the  development  of  those  qualities  proper  to  the  indi- 
vidual who  practices  them,  and  that,  in  other  respects,  they  are 
favorable  to  talent  on  a  large  scale,  but  are  ruinous  to  mediocrity. 

The  engagement  of  Madlic.  Alboni  at  the  Theatre  Italien  has 
already  produced,  and  will  certainly  produce  many  serious  necessary 
revolutions,  that,  for  example,  of  reanimating  the  sacred  fire  in  the 
hearts  of  artistes,  and  of  leading  to  the  production  of  other  operas 
in  the  same  style  of  perfection  as  the  Semiramide,  Besides,  as 
one  may  easily  perceive  that  Madlle.  Alboni  produces  the  greatest 
effects  without  forcing  her  veice,  or  s' raining  her  attitudes,  the 
public  as  well  as  the  artistes  will  draw  from  thence  this  conclusion, 
that,  most  indubitably,  to  scream  is  not  to  sing,  and  that  there  is 
no  need  of  giving  tours  de  reins  upon  the  stage  to  become  dra- 
matic. Still  further,  the  presence  of  Madlle.  Alboni  will  preserve 
us  from  the  ennui  of  hearing  certain  blustering  operas,  which  tear 
to  pieces  the  singers'  voices,  and  will  restore  to  us  Works  sttoh  as 
Tancredif  La  Gazxa  Ladra^  Cenerentola,  and  La  Donna  del  Loffo. 


THE  MUSICAL  WORLD. 


789 


To  these  adyantages  in  future,  ^-hich  we  shall  owe  to  the  now 
debutante,  maj'  be  added  that  of  having^  awoke  the  atteution  of 
the  auditories  of  the  Theatre  Ventadour,  which,  as  it  were,  had 
slumbered  for  some  time.  Delecldze. 

The  humorous  Charivari^  in  a  moment  of  unusual  gravity, 
delivers  itself  in  the  following  terms : — 

DEBOT  OF  MDLLE.  ALBONI  in  "  SBMTRAMIBE." 

Eyery  thing  has  already  been  said,  that  can  be  said,  about  the 
▼oice  of  this  celebrated  singer — about  this  Rothschild,  who  pcs< 
Kesses  so  extraordinary  an  accumulKtion  of  vocal  richness.  The 
Opera  and  the  Theatre  Italicn  disputed  the  possession  of  the 
marvellous  contralto  of  Alhoni,  et  cela  congoU, 

It  was  worth  at  least  a  Sunderbund  war.  M.  Vatel  at  last  carried 
her  off.  At  the  concerts  of  La  Rue  Lepelleticr  we  had  but  the 
quality,  flexibility,  and  extraordinary  compass  of  hor  vocal  organ 
to  appreciate  ;  last  nipht  her  lyrical  dcb^it  proved  that  Alboni  has 
not  only  natural  gif\s  but  exquisite  taste,  and  an  excellent  method. 
She  inVcsted  the  part  of  Arsace  with  new  and  charming  features 
pourtrayo'i  with  an  aplomb  that  announced  a  talent  that  could 
rely  on  its  own  merits ;  dramatic  excellcn  c  she  possesses  in  a 
rcuidrka))le  degree.  The  duel  of  the  Barbicre,  and  •*  La  Brindisi," 
from  Lticrezia  Borgia,  liowevcr,  which  she  sang  -^ith  so  muchda'*h 
at  the  Opera,  makes  us  think  that  music  ol  that  class  suits  hor  even 
more  than  that  of  a  serious  character.  Her  contralto  notes  are 
splendid,  and  would  produce  even  more  effect  were  she  to  be  less 
prodigal  of  them.  The  success  of  Alboni  was  rapturous  ;  she  will 
be  the  cause  of  the  revival  of  the  old  repertoire  of  the  Theatre 
Italien* 

Madame  Grisi,  reanimated  by  the  companionsliip  of  the  dobii. 
tante,  came  out  with  all  the  splendour  and  talent  of  her  best  days. 
The  result  of  this  rivalry  between  two  superior  vocalists  on  the 
ground  of  the  divine  score  of  the  maitre  des  mnUres^  was  one  of 
those  rare  evenings  that  will  remain  for  a  long  time  in  the  memo- 
ries of  the  dilettanti. 

The  not  less  humorous  rival  of  the  humorous  Charivari, 
Le  Corsair  By  equally  in  a  moment  of  gravity,  expresses  itself 
thus : — 

ITALIENS— SEMIRAMlDE.      DEBUT   OF   MADLLB     ALBONI. 

We  will  give  an  act;ount  in  a  few  words  of  this  brilliant  event. 
Alboni  was  admirable  from  beginning  to  the  end  of  the  part  of 
Arsace.  She  was  received  with  immense  enthusiasm  ;  the  air  In 
si  barbara  Sciagura  was  encored,  and  certainly  we  never  heard 
anything  in  France  so  exquisite  and  splendid  as  the  duo  in  the 
Becond  act  between  Alboni  and  Grisi.  Grbi  sung  wondrously, 
and  appeared  as  if  she  was  singing  at  the  Italiens  for  the  first 
time.  How  beautiful,  grand,  and  terrible  she  was  in  the  magnifi- 
cent character  of  the  Mother  and  the  Queen.  What  brilliancy, 
freshness,  grace  and  energy  she  displayed.  She  was  interrupted 
nearly  every  moment — at  every  phrase  by  the  bursts  of  admiration 
that  escaped  from  the  audience ;  Grisi  will  never  forget  that 
evening.  Never  did  she  appear  younger — never  more  uiagniHcent. 
What  efforts  have  there  not  b(*en  made  to  drag  La  Dtva  from 
her  starry  throne.  Neither  rivals,  intrigues,  dark  plots,  gross 
falsehoods — indeed  nothing  has  been  left  undone  to  effect  it :  but 
let  them  work  and  let  them  talk,  La  Grisi  will  al^vays  be  La  Gri:ii ; 
one  look,  one  gesture,  one  glance  from  her  and  the  public  are  at 
her  feet.  Colcttl  was  worthy  of  being  associated  with  Grisi  and 
Alboni,  we  can  say  nothing  more  flattering  to  this  excellent  artiste. 
There  must,  however,  always  be  something  to  mar  the  efforts  of 
the  unfortunate  theatre.  The  tenor  was  laughed  at ;  the  chorus- 
singers  were  laughed  at ;  the  immense  coquetiers  worn  by  the 
grotesque  Assyrians,  caused  roars  of  laughter.  But  the  public  were 
so  contented,  so  enchanted,  that  they  did  not  make  themselves 
unhappy  about  it,  and  wo  will  do  as  the  public  did. 

One  of  the  oldest  of  the  Parisian  musical  journals,  Le 
Menestrei,  oflfers  the  following  appropriate  apostrophe  on  the 
occasion : — 

ALBONI    AT  THK   ITALIENS. 

If,  as  wicked  tongues  affirm,  it  be  true  that  M.  Vat(  1,  after  the 
example  of  good  old  Homer,  has  slept  sometimes  since  the  opening 
of  the  teason,  it  must  be  allowed  that  he  has^  been  roused  from  his 


somnolency  by  a  coup  ct eclat.  At  the  moment  when  it  was  matter 
of  the  most  violent  disputation,  whether  Alboni  would  or  would 
not  appear  on  the  stage  of  the  Operd,  the  report  was  spread  abroad 
that  she  had  been  engaged  at  the  Italiens  ;  some  days  afterwards 
the  testimony  of  the  nffiche  made  a  reality  of  the  report ;  and 
finally,  on  the  day  appointed,  the  great  cantatricc  debated  at  the 
Ventadour  in  the  role  of  Arsaco  in  Semiramide,  Received  on  her 
entrance  with  an  anxious  silence,  Alboni  had  no  sooner  uttered  the 
first  notes  of  the  recitative,  "  Kccomi  al  fin  in  Babilonia,"  than  the 
whole  theatre  resounded  \\ilh  applauses,  and  the  success  of  the 
artiste  increased  from  thence  to  the  end  of  the  representation. 

Although  we  have  previously  made  mention  of  Alboni  in  this 
journal,  on  the  occasion  of  her  first  appearance  at  the  Royal 
Academy  of  Music,  we  must  take  leave  to  return  to  the  subject  a 
second  time,  since  so  great  a  talent  cannot  be  studied  with  too 
much  attention,  nor  made  known  in  too  much  detail. 

Mademoiselle  Alboni,  is,  perhaps,  the  most  rarely  and  richly- 
gifted  singer  we  have  ever  heard.  She  sings  with  so  much  facility, 
so  much  abstraction,  so  much  pleasure,  that  melody  seems  her 
natural  element,  as  to  each  one  of  us  the  air  which  he  respires.  In 
listening  to  her,  one  mii^ht  be  tempted  to  believe  that  study  had 
nothing  whatever  to  do  with  the  manajicnient  ul  her  organ  and  that 
she  came  into  the  worl'^  I  rilling,  cooing,  and  rossiijnoliiig  like  a 
bird.  The  voice  of  Alboni  cnihrdoes  an  extent  ol  note*  of  two 
ociave^  and  a  hail,  from  K  flat  to  C  sharp.  She  nnites,  then,  the 
two  registers  of  contralto  and  soprano.  Nevertheless,  b_v  the  nature 
of  the  qvttlity  of  the  voice,  by  the  position  of  the  cantilene,  and, 
above  all.  bv  the  fullness  of  the  lower  notes,  it  enters  more  particu- 
larly into  the  Cdtcirory  of  thecontrnito  ;  ii  is  there  it  hoi  .«  its  true 
dom^iin,  its  centre  of  ett'ects.  arsd  its  po'^er  of  action.  How  is  it 
possible,  by  any  word?,  to  dcseiihe  this  organ,  ^o  pure,  so  vibriuing, 
so  limpid,  so  full  oi  eelat  and  emotion,  uhich  has  the  freshness  and 
softness  of  youth,  which  insinuates  itself  into  the  heart  by  accents 
of  a  delicious  teinlerncss,  'vhieh  speaks  to  the  soul  a  lunsuaire 
fraught  with  the  noblest  and  loftiest  sentiments.  And  then  her 
met.  o'i  and  her  style, — was  ever  anythintj  more  perfect  or  n.ore 
exquisite  ?  Here  you  perceive  neither  atleciation,  nor  baciifices  to 
bad  tasto,  nor  jugglery,  nor  any  of  those /?rc//e  whi<  h  i.  oder<ao 
singers  call  to  tneir  ai.l,  but,  on  the  ci>ntrary,  a  frankness,  and  as 
it  were,  an  ideal  h  yalty  ;  an  compression  by  turns  dignified  urid 
gracious  ;  a  firmness  of  artieulation  and  a  roundne.^s  of  finish 
which  one  might  co!iii)arc  to  a  steel  engraving  ;  an  a/dity  and  a 
flexibility  of  voearn;ing  which  makes  one  dream  of  pearls  of  gold 
roiling  in  a  cry.*tal  basin. 

And  yet  is  not  this  dazzling  sun  free  from  spots.  The  imper- 
fection of  all  thing?  earthly  i.s  not  exceptional  in  Alboni's  case. 
To  a  countenance  extremely  sweet  and  interesting,  she  presents  a 
figure  brusque  and  somewhat  inclined  to  the  embonpoint ;  but  in  her 
acting  she  rarely  fails  in  energy,  and  does  not  fsil  to  be  able 
to  realise  the  spontaneous  cries,  those  elans  of  passion  whieh  move 
and  electrify  an  entire  audience.  It  is  by  means  of  these  also  that 
Grisi  can  advantageously  struggle  against  her  now  rival,  and 
maintain,  even  alongside  of  her,  the  same  proud  height  in  the 
sympathies  of  the  public.  The  inimitable  Queen  of  Babylon, 
moreover,  sang  with  a  care,  and  willingness,  and  a  facility  which 
entitled  her  to  the  greatest  praises,  all  other  species  of  merit  apart. 

Alboni  was  quite  perfect  in  her  first  cavatina  :  she  was  scarcely 
less  efiectivo  in  her  duo  with  Assur.  This  was  not  altogether  her 
style.  The  magnificent  duo  between  Semiramide  and  Arsaco 
(usually  omitted)  afforded  each  of  the  vocalists  an  occasion  for  a 
splentlid  triumph  ;  the  scena  in  the  crowning  scene  was  given  in  a 
most  wonderful  manner  by  Alboni,  and  finally  the  second  duo  with 
Grisi,  *•  Ebben  a  tc  Fcii^cc,"  presented  a  chef-cCoiuvre  of  delicacy 
and  perfection  in  cu'^cmDle  sinking — ?uch  as  has  rarely  been  heard  : 
you  might  have  faijcied  that  a  suiglo  voice  had  interpreted  these 
ijiextricable  musical  arabesques.  The  last  part  of  this  duo,  and 
the  cantabile  of  the  second  air  were  encored  with  the  greaest 
enthusiasm.  Alboni  was  recalled  at  the  fall  of  the  curtai»^  and 
cheered  immensely  from  all  parts  of  the  house.  We  must  not 
forget  Coletti,  who,  in  the  part  of  Assur  received  considerable 
apjdausc  from  his  large  manner  of  acting,  and  his  dramatic  style. 

The  management,  it  is  said,  intends  giving  four  representationi 
ol  Semiramide^  and  afterwards— what  a  ferule  mine  for  the  direcotr 
to   work  in— to  bring  out  La  Donna  del  Iciqo,    Cenerentola 


790 


THE  MUSICAL  WORLD. 


Vltaliana,  &c.  &c.,  the  most  dazzling  jewels  mhich  form  the  daz. 
zling  crown  of  Alboni.  £.  Ytel. 

Next  week  we  shall  parsue  our  extracts ;  meanwhile,  for 
further  particulars  we  must  refer  the  reader  to  the  letter  of  our 
Paris  correspondent. 

OPERATIC  STARS. 

NO.  IV. TAMBURINX. 

In  the  year  1833,  Antonio  Tamhurini,  preceded  by  a  great 
continental  reputotion,  debuted  as  Dandini  in  CeneretUola^  and 
established  himself  at  once  as  one  of  the  finest  florid 
barytones  ever  heard  in  this  country,  and  one  of  the  most 
delightful  comic  actors  ever  seen  on  any  stage.  His  recep- 
tion was  tremendous.  He  was  called  at  the  end  of  the  first 
act,  and  at  the  fall  of  the  curtain  was  led  on  by  Donzelli, 
who  played  Ramirio,  to  receive  the  uproarious  manifestations 
of  the  audience.  It  caused  no  small  merriment  among  the 
spectators  at  witnessing  one  gentleman  leading  on  another ; 
but  the  ruse  was  admissible,  as  Tamburini  was  a  debutante^ 
young,  and  had  been  playing  in  comedy.  The  extraordinary 
flexibility  of  the  new  artist's  voice  was,  however,  not  its  chief 
recommendation ;  the  quality  was  rich,  round,  and  sympa- 
thetic, and  the  tones  were  exquisitely  modulated  to  every 
variety  of  feeling.  Tamburini's  appearance  was  immensely 
in  his  favour.  His  face  immediately  attracted  the  beholder  as 
possessing  great  manly  beauty,  together  with  much  expres- 
siveness. His  hair,  worn  short,  almost  in  a  crop,  showed  his 
well-shaped  forehead  to  peculiar  advantage,  and  gave  a  clas- 
sical appearance  to  the  head.  The  ease  and  grace  of  his  ges- 
tures were  no  less  admired,  while  his  figure  was  universally 
pronounced  well-proportioned  and  elegant.  With  such  at- 
tractions and  accomplishments,  Tamburini  could  not  fail  of 
rising  immediately  into  the  greatest  favoritism.  But  the 
public  had  as  yet  only  witnessed  the  artist  in  his  lightest 
colours.  So  great  a  comic  actor  could  hardly  be  supposed  to 
be  equally  the  great  tragedian.  No  sooner,  however,  had 
Tamburini  appeared  in  a  serious  part,  than  that  line  of  acting 
was  pronounced  to  be  his  forte.  His  fame  was  henceforward 
firmly  established,  and  he  was  elevated  to  the  highest  niche 
in  the  temple  of  art.  From  1833  to  1841.  he  maintained  his 
position  ut  the  London  Italian  Opera  without  a  rival,  in- 
'  creasing  yearly  in  popularity,  and  was  only  superseded  by  the 
ill-considered  policy  of  the  management,  joined  to  the  now 
well-known  malicious  workings  of  certain  members  of  the 
establishment,  who,  for  their  own  private  ends,  and  envying 
him  his  proud  position,  after  ceaseless  efforts,  at  length  under- 
mined him,  and  had  him  dismissed  from  the  company  of 
which- he  constituted,  for  so  many  years,  one  of  its  most  signal 
ornaments.  But  this  did  not  occur  without  the  most 
strenuous  interference  on  the  part  of  the  public.  In  1840, 
Tamburini  came  to  London  without  an  engagement  at  the 
Opera.  Signor  Coletti,  the  celebrated  barytone,  who  last 
season  occupied  the  highest  position  at  Her  Majesty's 
Theatre,  supplied  his  place.  The  artist  was  favorably  re- 
ceived, but  was  found  so  much  the  inferior  of  his  predecessor 
in  every  respect,  that  the  subscribers  and  the  public  in  general 
took  umbrage,  and  loudly  demanded  the  reinstatement  of 
their  favorite.  The  Tamburini  row  is  matter  of  operatic  his- 
tory. The  manager  could  n6t  contend  against  so  much  una- 
nimity and  determination  on  the  part  of  his  audience,  and, 
after  a  struggle  which  endured  for  several  nights,  he  came 
forward,  and  announced  the  re-engagement  of  Tamburini. 
Never  shall  we  forget  the  scene  we  witnessed  on  that  night. 
I  fwe  mistake  not,  the  opera  was  Puritani,  and  Coletti,  who 


assumed  Tamburini's  celebrated  part,  Ricciardo,  was  listened 
to,  throughout  his  performance,  with  the  greatest  respect,  but 
also  with  the  greatest  coldness.  But  no  sooner  had  the  car- 
tain  fallen  ou  the  opera,  than  loud  voices  were  heard  from  all 
parts  of  the  theatre  calling  for  "  Tamburini."  There  could  be 
no  mistake  about  the  feeling  of  the  house.  Boxes,  stalls,  pit, 
and  gallery  were  all  on  one  side.  The  tumult  continued  to 
increase  for  upwards  of  a  quarter  of  an  hour,  till  at  last  the 
noise  became  deafening.  At  length,  Laporte  appeared,  and 
was  received  with  yells,  hisses,  threats,  and  every  possible 
demonstration  of  disapproval  an  excited  multitude  could  dis- 
play. The  manager  bowed  before  the  storm,  and  stood  ex- 
posed to  the  elemental  din  for  several  minutes,  endeavouring 
in  vain  to  make  his  voice  audible  anoid  the  roar  of  the  human 
tempest.  An  opportunity  of  being  heard  was  at  last  afforded 
him,  and  in  a  lull  of  the  hurricane,  he  shouted  out  at  the  top 
of  his  voice :— '*  Ladies  and  gentlemen,  Signor  Tamburini  U 
engaged,  and  will  appear  on  Thursday."  Instantaneously 
from  the  mouths  of  the  immense  assemblage,  as  if  by  word  of 
command,  there  issued  a  shriek  of  triumph  that  scared  the 
very  cab-horses  in  the  Haymarket,  and  threatened  dilapidation 
to  the  walls  of  Her  Majesty's  Theatre.  Boar  after  roar  suc- 
ceeded, broken  like  waves,  to  be  created  again  from  their  own 
disruption ;  on  every  side  was 

A  wide  set  of  waving  kerchiefs  seen, 
Hats  flung  aloft,  and  hands  la  transport  keen; 

in  short,  a  more  maddened  audience  was  never  before  witnessed 
inside  a  theatre.  But  the  demonstration  did  not  rest  with 
shouts  of  triumph,  and  such  common  manifestations  of  enthu- 
siasm. No  sooner  had  the  manager  announced  the  unex- 
pected engagement  of  Tamburini,  than  the  two  omnibus  boxes, 
the  occupants  of  which  had  been  among  the  most  indefatigable 
supporters  of  the  ex-artiste,  disgorged  their  royal  and  noble 
contents  upon  the  stage,  and  these <  being  joined  by  others 
from  the  neighbouring  boxes  and  stalls,  they  all  threw  up 
their  hats,  and  cried,  '*  Viva,  Tamburini ;"  tlius,  as  it  were, 
taking  the  managerial  position  by  storm,  and  planting  their 
stanchtrd  on  the  citadel.  Tamburini  f&a«  engaged,  and  Coletti 
appeared  no  more  during  the  season.  It  must  be  owned  that 
this  was  hardly  fair  to  the  latter  very  clever  artist ;  but  the 
manager  was  entirely  to  blame  for  engaging  one  quite  incom- 
petent to  fill  the  high  place  left  vacant  by  Tamburini,  whosie 
immense  and  splendid  triumphs  were  so  fresh  in  the  minds  of 
the  public.  Not  wishing  to  imbroil  himself  in  further  dispu* 
tations,  and  seeing,  perhaps,  that  the  manager  was  not  very 
amicably  disposed  towards  him,  Tamburini  kept  away  from 
England,  and  did  not  return  to  this  country,  until  recalled  by 
last  year's  engagement  to  the  Royal  Italian  Opera.  But  the 
public  had  not  forgotten  their  old  and  time-honored  favorite. 
The  reception  accorded  to  him  on  his  first  appearance  last 
season,  was  so  great  as  almost  to  move  him  to  tears  ;  and 
though  his  voice  had  lost  a  portion  of  its  fluidity  and  some  of 
its  quality,  enough  of  the  splendid  vocalist  and  great  artist 
remained  to  render  his  season  one  of  the  brightest  in  his  brU* 
liant  career. 

It  is  worth  while  examining  the  causes  that  led  to  Tam- 
burini's great  popularity — a  popularity  unapproached  since 
the  days  of  Ambrogetti— and  which  certainly  no  other  bary- 
tone obtained  since  his  time.  Tamburini's  voice,  independent 
of  his  powers  as  an  actor,  could  hardly  have  won  for  him  a 
great  reputation.  It  is  confined  in  the  upper  register,  that  is 
in  comparison  with  many  modern  barytones,  and  all  the  high 
notes  are  formed  from  the  head.  A  want  of  power  is  also 
manifest  beyond  the  D.   The  middle  voice  is  round,  sonorous. 


THE  MUSICAL  WORLD. 


791 


and  sympathetic-^the  latter  term  seeming  to  us  admirably 
adapted  to  express  the  peculiar  quality  of  Tamburini's  voice. 
The  lower  toes  are  also  round  and  full,  but  not  very  powerful. 
The  flexibility  of  the  artist's  organ  is  proverbial,  and  there  is 
hardly  a  passage  written  for  an  instrument  which  it  could  not 
master  with  ease.  This  remarkable  facility  of  executing  is  of 
the  greatest  utility  in  comic  opera,  especially  to  a  barytone, 
and  is  absolutely  indispensable  in  the  interpretation  of  Rossini's 
music.  It  was  in  Rossini's  operas  that  Tamburini  first  made 
his  reputation,  and  in  the  delineation  of  the  chief  parts  of 
these  to  the  present  moment  he  stands  unrivalled.  Among 
his  principal  characters  in  this  master's  works  we  may  name 
Figaro  in  Barhiere^  Dandini  in  Cenerentola,  the  father  in  the 
Gazza  Ladra,  Asstir  in  Semiramide,  Maometto  in  Maometto 
SecondOy  Jago  in  OUllo,  &c.  Tamburini's  reputation  was 
established  in  Italy  while  a  mere  boy.  Before  his  voice  broke 
it  was  a  treble  of  marvellous  quality,  power,  and  flexibility ; 
and  he  frequently  appeared  in  female  characters  on  the  stage  at 
Naples.  Sicily,  and  other  places  with  the  greatest  effects.  It  was 
thus  that  he  imbibed  a  love  for  his  art  from  his  very  infancy,  and 
by  such  early  indoctrination  arrived  at  that  perfection  which  sub- 
sequently elevated  him  among  the  greatest  vocalists  of  the  day. 
But  not  in  Rossini's  music  alone,  or  in  that  of  the  florid  school, 
has  Tamburini  proved  himself  the  consummate  artists.  Without 
one  moment's  hesitation  we  pronounce  him  the  most  con- 
scientious interpreter  of  Mozart's  music  of  any  Italian  singer 
we  ever  heard.  Though  possessed  of  that  marvellous  flexi- 
bility, which  seems  eternally  tempting  the  vocalist  to  play  the 
truant,  and  though  he  does  indeed  play  the  truant  with  the 
scores  of  other  composers  at  times,  Tamburini  never  alters  a 
note  of  Mozart's,  and  never  interpolates  a  note  more  than 
the  composer  sets  down.  This  is  very  high  merit,  and  exhibits 
the  great  taste  and  great  judgment  of  the  singer.  As  he  is 
the  most  conscientious  interpreter  of  Mozart's  music,  so  also 
is  he  the  most  admirable  delineator  of  some  of  the  principal 
personages  in  the  works  of  that  composer.  His  Don  Giovanni 
is  undoubtedly  his  greatest  part,  and  may  stand  comparison 
with  any  performance  ever  seen  on  the  Italian  stage.  Of  his 
serious  characters,  if  we  were  to  judge  by  the  effect  produced 
on  the  audience,  we  should  pronounce  his  Father,  in  Paer's 
Agnese  to  be  his  best.  His  performance  in  the  mad  scene  in 
this  opera*  when  it  was  produced  in  the  first,  or  second  year 
of  Ills  London  engagement,  was  so  fearfully  real,  that  several 
ladies  were  carried  out  fainting  every  night  it  was  played,  and 
the  representation  was  withdrawn  because  the  artist  was  too 
successful.  This  is  within  the  recollection  of  all  the  old  Opera 
frequenters.  Several  composers  have  written  operas,  and 
special  parts  in  operas  for  Tamburini,  among  others  Bellini, 
Donizetti,  Mercadante,  Pacini,  Balfe,  Costa,  &c.,  &c.  We 
have  only  to  add  that  in  his  private  career  no  vocalist  was 
ever  more  beloved  and  respected  than  Tamburini,  and  that  if 
his  high  abilities  entitled  him  to  be  called  a  GREAT 
ARTIST,  his  unquestionable  worth  entitles  him  to  the 
prouder  appellation  of  a  GOOD  MAN. 

MISS  BIRCH  AND  THE  ACADEMIE  ROYALE. 

The  foUowir^  letter  has  reached  us  from  our  Paris  Corres- 
pondent ;  we  hasten  to  publish  it,  as  a  matter  of  justice  to 
cur  readers  and  ourselves,  no  less  than  to  him : — 
To  the  Editor  of  the  Musical  World. 

Sin, — I  was  greatly  astonished  at  reading  in  Galignanffs  Messenger  a 
letter  (which  I  enclose)  signed  C.  A.  Birch.  As  the  subject  cannot  be 
agreeable  to  the  young  lady,  and  I  do  not  wish  to  hurt  her  feelings,  I 
shall  confine  my  observations  to  the  following : — ^The  contents  of  the 
letter  are— to  lue  a  French  term  from  the  vocabulary  of  pollteste^ 


inexact ;  every  word  I  wrote  to  you  on  the  subject  was  perfectly  true ; 
the  correspondent  of  the  Illustrated  London  News  and  The  Britannia 
wrote  to  those  journals,  to  the  same  purport,  in  terms  s  ill  more  forcib'.e 
than  mine.  The  conrlusion  I  arrive  at  is  that  the  letter  signed  C.  A. 
Birch  is  a  hoax,  or  that  Miss  Birch  shows  very  little  gratitude  for  persons 
who  readily  sacrificed  themselves  in  her  quarrel,  and  interfered  for  her 
sake,  and  to  their  own  loss,  in  matters  which  did  not  concern  them.  I 
cannot  believe  that  the  letter,  supposing  it  nof  to  be  a  hoax,  came  from 
Miss  Birch  spontaneously;  but  whoever  advised  her  to  write  it,  admitting 
that  she  did  write  it,  was  a  very  unwise  counsellor,  and  whoever  wrote 
the  letter  was  a  very  iU  letter  writer.  I  need  say  no  more  to  you  on  the 
matter ;  you  know  me  well  enough  to  have  the  fullest  confidence  in  the 
truth  and  sincerity  of  what  I  write  to  you.  And  here  let  the  subject 
drop,  ^ith  a  proviso  that  if  it  be  further  mooted  I  shall  not  hesitate  to 
publish  the  whole  particulars,  without  deference  to  anybody.  My  honour 
is  at  stake  in  this  matter,  and  you  will  not  be  backward  in  affording  me 
(if  occasion  demand  it)  the  means  of  vindicating. 
Paris,  Dec,  5,  1847.  Your  Paris  Corrvsponskmt. 

We  place  the  fullest  confidence  in  our  correspondent,  and 
have  reason  to  know  that  his  statement  is  in  every  particular 
correct.  In  publishing  the  letter  signed  C.  A.  Birch,  we 
leave  it  to  the  strength  of  its  own  argument,  the  most 
unkindly  ofRce  we  could  render  it.  Meantime,  we  entertain  the 
highest  respect  for  Miss  Birch,  and  regret  to  find  her  placed 
by  injudicious,  though,  perhaps,  well-meaning  friends,  in  a 
false  position.     Below  is  the  letter  from  Galignani  :— 

Sir, — ^Will  you  allow  me  to  offer  some  explanation  to  the  public  on 
the  subject  of  my  journey  to  France,  and  of  my  sudden  return  to  London, 
without  having  made  my  debut  at  I'Academie  Royale,  I  have  no  com- 
plaint to  make  of  the  directors  of  that  theatre,  as  your  readers  may  have 
been  led  to  believe.  On  the  contrary,  they  did  their  utmost  to  assist 
roe  to  a  success,  and  to  encourage  me  in  the  hope  that  I  should  obtain 
one.  They  pUced  me  under  the  care  of  the  best  masters  for  accent,  &c. 
I  need  but  mention  MM.  Duprez«  Michelot,  and  Emniiuel  Garcia.  I  had 
a  full  reliearsal  of  the  part  of  Mathilde,  in  Guilktume  Tell,  with  orchestra 
and  chorus,  after  which  I  received  the  most  flattering  encouragements, 
and  my  debut  was  fixed  for  the  22d  of  this  month,  of  which  1  received 
ofiScial  notification.  It  was  on  the  receipt  of  this,  that  yielding  to  the 
fear  of  which  1  am  about  to  explain  the  cause,  I  took  the  resolution  of 
coming  suddenly  to  London,  instead  of  staying  to  make  my  debui.  An 
insurmountable  terror  had  taken  possession  of  me  on  account  of  the 
imperfection  of  my  French  pronunciation.  I  had  been  aware,  at  the, 
general  rehearsal  of  Guillaume  Tell,  of  smiles  and  jamt  de  mots  at  certain 
passages;  at  that,  fur  instance,  which  I  thought  I  had  pronounced 
accurately,  "Mon  coeur  n'a  pas  tromp€  mes  yeux,"  there  was  open 
laughter,  and  1  heard  people  repeating  the  phrase  made  into  a  parody  by 
my  defective  pronunciation-—"  Mon  cceur  n'a  pas  troropd  Messieurs.'/ 
You  can  imagine  with  what  alarm  I  was  seized  on  finding  how  easy  it 
was  for  a  public,  so  fond  of  a  jolce  as  the  public  of  Paris,  which  maizes 
game  of  everything,  including  itself,  to  find  in  my  accent  a  perpetual 
subject  of  pleasantry.  1  then  felt  the  enormous  difirculty  of  my  task, 
and  I  have  shrunk  back  from  it,  as,  indeed,  Mdlle.  Jenny  Lind  (to  whom, 
certainly,  I  have  not  the  pretension  of  comparing  myself)  did,  when  she 
refused  the  engagement  offered  her  in  London  by  M.  Duponchel«  and, 
more  recently,  Madlle.  Alboni.  The  latter  lady  has  sung  four  times  in 
Italian  on  the  stage  of  I'Academie  Royale  with  extraordinary  success,  ]>ut 
in  spite  of  this  advantage,  no  temptation  could  induce  her  to  sing  thei  e 
in  French.  Under  .these  circumstances,  1  have  renounced  the  attempt 
to  do  what  MadUe.  Jenny  Lind  and  Madlle.  Alboni  believed  to  be  beyond 
their  powers.  I  think  in  so  doing  I  have  acted  with  prudence,  and  I 
hope  that  MM.  the  directors  of  the  French  Opera,  giving  me  credit  for 
my  motives,  will  hold  me  excused  from  the  promise  I  had  given  them. 
Such,  Sir,  is  the  reason  of  my  refusing  to  debuter  at  the  French  Opera, 
when  the  formal  notification  was  sent  to  me,  rendering  it  incumbent  on 
my  part  to  beg  you  to  correct  the  statements  which  have  appeared  In 
some  English  papers,  where  it  has  been  said  that  the  Parisian  directors 
had  not  treated  me  in  a  generous  or  courteous  manner.  I  venture  to 
hope  that,  after  this  simple  explanation,  the  public  of  London,  no  less 
than  that  of  Paris,  will  find  what  I  have  done  only  reasonable  and 
natural.— I  am,  sir,  your  obedient,  &c.,  C.  A.  Birch. 

We  abstain  with  pleasure  from  farther  comment,  but  cannot 
help  adding  that  the  letter  is  without  exception  the  funniest 
we  ever  read.  ^  ^ 

P.S.  The  letter  is  published  in  Galignanfs  as  ''Trom  the 
London  journals ;"  but  the  only  papers  it  appeared  in  were 


792 


THE  MUSICAL  WORLD. 


the  Morning  Post  and  the  Observer  1 1  la  the  latter  some 
remarks  were  added  by  the  editor,  oa  which  we  shall,  perhaps, 
find  it  necessary  to  comment  by  and  bye.  It  may  not  be 
generally  known  that  the  managers,  who  treated  Miss  Birch 
so  very  handsomely,  hare  issued  proceedings  against  her  in  the 
French  courts,  and  recovered  damages  to  the  amount  of 
30,000  francs. 

DRURY    LANE   THEATRE. 

M.  JuLLiEN  commenced  his  first  campaign  as  manager  of 
a  theatre,  on  Monday  night,  under  highly  favourable  auspices. 
The  first  conditions  of  opera,  strictly  interpreted — a  complete 
and  brilliant  orchestra,  a  numerous  and  efficient  chorus,  an 
accomplished  chef  d^orcheslre^  and  good  principal  singers — 
were  all  supplied,  whereby  the  pledges  involved  in  the  di- 
rector's prospectus  were  honourably  fulfilled.  The  absence  of 
novelty  in  the  opera  selected  for  performance  was  balanced  by 
the  almost  entire  novelty  of  the  performers,  the  chief  of  whom 
were  wholly  unknown  previously  on  the  English  stage.  The 
priwa  donna^  Madame  Dorus  Gras,  had  never  before  sung  in 
English  opera,  or  in  the  English  tongue,  and  had  only  studied 
our  language  within  the  last  few  months  to  render  her  fit  ior 
the  Grand  Opera  at  Dniry  Lane.  ^Mr.  Sims  Reeves  was  un- 
known, or  more  properly,  unremembered  on  the  English  stage, 
and  those  who  did  recal  the  novice  of  1842  bhook  their 
heads,  and  doubted  his  continental  reputation,  Mr.  H.  AVhit- 
worth  was  in  the  hke  predicament  as  Mr.  Reeves,  and  was 
entirely  unknown  to  more  than  nine-tenths  of  the  audience. 
Besidfe^  these,  there  were  other  unknowns,  and  in  short,  with 
the  exception  of  Mr.  Weiss,  all  the  principal  artists  were 
strangers  to  the  boards  of  Drury  Lane.  Thus  the  greatest 
curiosity  was  excited  respecting  M.  Jullien's  company,  and 
various  were  the  opinions  murmured  as  to  the  future  position 
of  the  new  English  Opera.  Let  us  now  say  a  few  words  of 
the  principal  artists  separately. 

Madame  Dorus  Gras  had  for  many  years  been  one  of  our 
most  celebrated  concert  singers,  and  had  won  for  herself,  in 
tliat  line  of  the  musical  profession,  a  considerable  reputation. 
The  part  chosen  by  the  fair  caniatrice  for  her  debul  was 
Liicia,  in  Donizetti's  Bride  of  Lammermoor,  a  character 
written'  for  Persiani,  and  one  which  did  not  tax  any  great 
histrionic  eiforts  on  the  part  of  the  performer.  The  high  vocal 
powers  of  Madame  Dorus  Gras  had  been  acknowledged  both 
in  France  and  England,  and  a  great  success  was  expected  in 
consequence,  though  the  fact  of  her  having  to  sing  in  a  new 
language,  it  was  feared,  would  seriously  militate  against  the 
best  efforts  of  the  artist.  The  debut  of  Madame  Dorus 
Gras  approached  nearer  to  a  great  triumph  than  her  best 
friends  had  hoped  for.  The  difficulties,  of  the  English 
language  were  certainly  not  entirely  overcome,  but  enough 
was  mastered  to  show  that  immense  progress  had  been 
made  by  the  artist,  and  that  ere  long,  with  further  care  and 
study,  she  would  become  a  proficient  in  our  tongue  sufficient  for 
the  purposes  of  music.  The  acting  of  Madame  Dorus  Grras 
does  not  belong  to  the  loftiest  school ;  it  was,  however,  cha- 
racterised by  much  simplicity  and  ease,  a  deportment  natural 
and  graceful,  and  she  showed  herself  perfect  mistress  of  the 
business  of  tlie  stage.  In  the  last  scene  she  was  highly 
effective,  and  elicited  loud  applause  from  all  parts  of  the  house. 
Whatever  exceptions  we  may  have  taken  to  Madame  Dorus 
Gras*  acting,  we  have  none  whatever  to  make  to  her  singing. 
She  was  in  most  delightful  voice  and  sung  with  great  brilliancy 
aud  effect.  Her  first  cavatina  quite  astonished  the  audience 
by  its  perfect  execution,  aud  the  almost  marvellous  way  in 
which  the  vocalist  accomplished  the  greatest  difficulties.    The 


flexibility  of  Madame  Dorus  Gras'  voice  is  proverbial,  and 
perhaps  this  wondrous  mechanical  facility  was  never  evidenced 
more  completely  than  on  Monday  night.  In  the  recitative 
and  the  declamatory  music  she  was  not  so  happy,  doubtless  from 
having  to  contend  with  the  pronunciation  of  a  foreign  language, 
an  almost  insurmountable  obstruction.  Madame  Dorus  Gras 
was  received  throughout  the  opera  in  the  most  enthusiastic 
manner,  and  obtained  several  recalls  during  the  evening. 

The  new  tenor,  Mr.  Sims  Reeves,  achieved,  and  most  de- 
servedly ach  ieved,  the  most  unequivocal  success  we  have  w  itnessed 
on  the  English  stage  for  a  quarter  of  a  century.  It  may  be  in 
the  recollection  of  our  readers  that  in  our  review  of  a  concert 
in  which  Mr.  Reeves  sung  last  year  at  Drury  Lane,  we  spoke 
of  him  in  the  highest  terms,  and  prognosticated  a  great 
success  for  him  in  dramatic  singing.  We  must  own,  however, 
that  on  the  stage  he  has  far  surpassed  our  utmost  expectations. 
Mr.  Reeves's  voice  is  a  pure  high  tenor  of  delicious  quality, 
the  tones  vibrating,  and  equal  throughout.  The  manage- 
ment of  this  exquisite  organ  displays  considerable  skill,  and 
proves  the  artist  must  have  studied  deeply  and  laboured  hard 
in  his  early  youth.  We  have  heard  no  voice  out  of  Italy  so 
decidedly  Italian  as  Mr.  Reeves's.  It  is  Italian  in  character 
in  timbre ;  and  there  is  the  Italian  feeling  in  his  style.  The 
artist  has  been  instructed  in  the  best  school,  and  a  fii.e 
natural  capacity  has  done  wonders  in  a  few  short  years.  It 
is  almost  impossible  to  believe  that  within  so  short  a  space 
so  astonishing  an  improvement  could  have  taken  place  in  a 
singer,  as  that  we  have  found  in  Mr.  Reeves,  since  we  heard 
him  with  litile  pleasure,  and  little  hope,  in  1842.  He  is  now 
an  accomplished,  indeed  we  may  add,  a  great  singer,  and  it 
will  be  his  own  fault  if  he  be  not  one  of  the  very  greatest 
artists  on  the  modern  stage.  As  an  actor  Mr.  Reeves  is  also 
entitled  to  the  highest  praise.  His  deportment  is  natural  and 
easy,  his  action  manly  and  to  the  purpose,  and  without 
having  recourse  to  veliement  ranting,  he  exhibits  both  passion 
and  power.  In  his  first  scene,  on  Monday  night,  he  was, 
perhaps,  a  little  cold,  doubtless  from  the  anxiety  consequent 
on  his  first  appearance,  but  in  the  second  act  he  came  out 
immensely,  and  created  quite  &  furore.  His  malediction  was 
extremely  fine,  and  the  famous  death  scene  was  both  sung 
and  acted  in  the  most  artistic  and  effective  manner.  Mr. 
Reeves  was  called  for  after  the  first  act,  twice  after  the  second, 
and  again  at  the  end,  when  the  whole  house  cheered  him  for 
several  minutes.  Mr.  Reeves's  debut,  we  repeat,  was  a  great 
triumph. 

Mr.  H.  Whitworth,  the  new  barytone,  created  a  very 
favourable  sensation  in  the  part  of  Henry,  the  Enrico  of  the 
Italian  opera.  He  has  a  fine,  capable  voice,  and  manages  it 
with  much  skill.  His  upper  notes  are  clear  and  strong,  and 
his  delivery  is  particularly  good.  He  has  scarcely  passion 
enough  for  a  part  like  this  which  has  taxed  the  powers  of  a 
Tamburini  and  a  Ronconi ;  nevertheless,  he  is  deserving 
of  much  praise,  and  will  be  a  great  addition  to  the  new 
operatic  corps. 

The  orchestra  was  magnificent,  and  the  chorus  nearly  as 
fine.  A  more  splendid  band  M.  Jullien  could  not  have 
selected,  and  such  a  band,  under  such  a  conductor  as  Berlioz, 
was  never  heard  within  the  walls  of  Drury  Lane,  or  any 
theatre  in  London,  if  we  except  the  Royal  Italian  Opera,  from 
which  and  Her  Majesty's  Theatre*  M.  Jullien  has  taken  his 
leading  men.  The  orchestra  was  heard  to  great  advantage  in 
Beethoven's  overture  to  Leonora,  which,  wherefore  we  could 
not  discover,  preceded  Donizetti's  opera.  M.  Berlioz, 
deeply  versed  in  the  scores  of  Beethoven,  directing  it 
with   wonderful   animation.      We  must  enter   our    protest 


THE  MUSICAL  WORLD, 


793 


against  a'minuet  interpolated  in  the  last  act,  which  was  worth- 
less in  itself,  entirely  out  of  place,  and  which  merited  the 
tokens  of  disapproval  it  obtained  from  the  audience.  We  are 
sorry  to  he  compelled  to  notice  any  defects  in  a  performance 
so  excellent  in  every  other  respect.  The  chorus  was  admirably 
trained  and  was  quite  perfect  throughout  the  performance,  the 
pianos  njid  fortes  being  taken  with  exceeding  care  and  pre- 
cision. The  new  conductor,  M.  Hector  Berlioz,  established 
on  Monday  night  his  continental  fame,  as  one  of  the  greatest 
living  chef s-d'orchesire.  The  highly  efficient  and  artistic 
manner  in  which  he  ruled  the  mass  of  instrumentalists  under 
his  baton  was  deserving  of  all  praise.  His  conducting  was  marked 
with  great  decision  and  energy,  and  he  exhibited  that  spirit 
and  animation  which  proved  hira  a  true  enthusiast  in  his  art. 
It  was  hardly  possible  for  M.  Jullien  to  have  selected  a  more 
able  and  competent  chef  than  M.  Hector  Berlioz. 

M.  Jullien  has  fulfilled  the  promises  of  his  prospectus  in 
every  item.  He  has  provided  one  of  the  very  finest  bands 
in  the  world  ;  a  complete  and  powerful  chorus ;  the  best 
performers  he  could  possibly  obtain,  and  a  conductor  whose 
name  is  European.  That  M.  Jullien  may  succeed  to  his  ut- 
most expectations  this  year  is  our  earnest  wish ;  his  outlay 
has  been  enormous. 

The  Drury  Lane  management  seems  to  have  eschewed,  and 
perhaps  discreetly  so,  the  ballbt  proper,  if  we  may  judge  from 
the  choregraphic  entertainments  supplied  on  Monday  after  the 
opera.  The  divertissement  is  entitled  Le  Genie  du  Globe, 
The  chief  dancers  were  Mesdames  Giubelei,  Louise,  and 
Melanie  Duval,  and  Mr.  Harvey,  and  all  acquitted  them- 
selves capitally.  The  music  is  written  by  M.  Maretzek.  The 
dances  are  composed  and  the  hallrt  arranged,  with  much 
ingenuity  and  taste.     The  author  is  Mr.  Benjamin  Barnett. 

The  scenery,  painted  by  ^lessrs.  Grieve  and  Tclbin,  was 
very  beautiful ;  and  the  dresses  were  splendid  and  appropriate. 
The  Highland  costume,  heretofore  used,  was  most  properly 
rejected,  and  the  dress  of  the  pciiod  of  the  story  assumed.. 
A  new  drop  curtain,  painted  to  represent  white  satin  and 
light  blue  velvet,  looped  with  gold,  has  been  supplied. 

After  the  opera  the  National  Anthem  was  sung  in  full 
chorus.  Subsequently  M.  Jullien  was  called  for,  and  on  his 
appearance  was  received  with  immense  applause.         D.  R. 

DRAMATIC   INTELLIGENCE. 

The  Shaksfeue  Night. — Covent  Garden  never,  in  its 
palmiest  days,  presented  a  more  imposing  spectacle  than  it 
did  on  Tuesday  evening,  on  the  occasion  of  the  performance 
instituted  in  aid  of  the  fund  to  purchase  Shakspere's  house. 
Every  seat  in  the  theatre  was  taken  for  several  days  previously, 
and  as  much  as  ten  pounds  was  offered  for  a  small  box  on  the 
Monday,  The  novelty  of  the  performance,  no  doubt,  was 
the  main  attraction,  all  the  leading  Shaksperian  actors  in  the 
metropolis  having  volunteered  their  services.  The  first  scene 
introduced  Macready  in  his  great  character  of  the  king  in 
the  second  part  of  Henry  the  Fourth,  the  tragedian  having 
most  judiciously  selected  the  death  scene,  in  which  he  exhibited 
his  great  art  and  judgment  to  the  infinite  delight  of  the  audience. 
A  more  splendid  piece  of  acting  we  have  seldom  witnessed. 
Mr.  Macready  was  ably  supported  by  Mr.  Leigh  Murray  as 
Prince  Hal.  Mrs.  Butler  appeared  in  the  death  scene  of 
Queen  Katharine  in  Henry  the  Eighth,  In  the  Two  Omtle^ 
men  of  Verona^  Harley  and  Buckstone  supported  the  whim- 
sicalities of  Lance  and  Speed  with  much  spirit  and  humor. 
The  scene  of  Falstaffs  recruits,  before  Justice  Shallow,  in 
the  second  part  of  King  Henry  the  Fourth,  introduced  Mr. 


W.  Farren  as  Justice  Shallow,  Mr.  Granby  as  FalstaflT. 
Juliet's  Marriage  Day,  from  Romeo  and  Juliet^  introduced 
Miss  Helen  Faucit  as  Juliet,  and  Mrs.  Glover  as  the  Nurse 
need  we  say  how  admirably  sustained  by  both  these  great 
actresses.  Mrs.  Nisbett  and  Mr.  Webster  won  immense  ap- 
plause in  scenes  from  The  Taming  of  the  Shrew,  as  Katharine 
and  Petruchio,  Keeley  coming  in  for  his  full  share  as  Grumio. 
The  scene  of  the  Buck  Basket,  and  Slender's  Courtship,  were 
selected  from  The  Merry  Wives  of  Windsor^  to  introduce 
Madame  Vestris  as  Mrs.  Page,  Mrs.  Stirling  as  Mrs.  Ford, 
Miss  Marshall  as  Ann  Page,  Mr.  Granby  as  Falstaff,  Mr.  F. 
Matthews  as  Shallow,  Mr.  Charles  Mathews  as  Slender,  and 
others — a  strong  cast.  Mr.  Phelps  as  Prospero,  and  Miss 
Laura  Addison  as  Miranda,  were  favorably  received  in  a  scene 
from  The  Tempest ;  and  Mrs.  Warner,  supported  by  Messrs. 
Graham,  J.  H.  Johnston,  G.  Vining,  &c.,  wound  up  splen- 
didly with  the  Statue  Scene  from  A  Winter  s  Tale»  Macready, 
Webster,  Keeley,  and  the  ladies  Nisbett,  H.  Faucit,  and 
Glover,  were  severally  honored  with  a  recall,  and  received 
with  great  enthusiasm.  The  receipts  amounted  to  upwards  of 
^900. 

SuuREY  Theatre. — Mrs.  D.  W.  King  appeared,  for  the 
first  time,  on  the  London  boards  on  Wednesday,  in  T/ie 
Bride  of  Lammermoor,  and,  as  we  learn  from  all  who  heard  her, 
created  a  very  great  sensation.  We  have  not  heard  Mrs. 
King,  but  shall  take  the  first  opportimity  of  seeing  her  and 
judging  for  ourselves.  Mr.  Bunn  is  the  most  indefatigable 
of  managers,  and  is  always  ^seeking  and  providing  something 
novel  for  his  audience.  On  Thursday  Macbeth  was  played 
and  introduced  H.  Phillips  as  Hecate,  who  was  received  with 
thunders  of  applause.  The  celebrated  barytone  is  announced 
shortly  to  appear  in  The   Jfaid  of  Artoh. 

French  Plays. — On  Monday  last  this  theatre  opened  its 
doors  for  the  season,  rather  later  than  has  been  usual  these 
last  few  years,  and  with  a  company,  if  we  may  judge  by  the 
sample  hitherto  given,  not  at  all  inferior  to  what  we  had 
expected  of  Mr.  Mitchell.  It  is  of  course  understood  that 
the  present  company  is  meant  merely  to  form  what  may  be 
called  the  groundwork  of  the  edifice,  the  stars  to  appear  "^t 
different  intervals  after  Christmas.  Considered  as  such,  tliey 
are  open  to  no  objections,  except  perhaps  a  want  of  ensemble, 
and  we  may  attribute  some  share  of  this  fault  to  the  fact  that 
they  are  new  to  an  English  public,  unused  to  act  together,  a 
great  desideratum  in  theatricals,  and  suffering  evidently  in 
many  instances  from  the  effects  of  the  prevailing  epidemic. 
Le  Jeunc  Mart  was  the  first  piece  produced,  known  in  England 
by  the  title  of  Spring  and  Autumn ;  it  was  respectably  done. 
As  M.  Montaland  was  suffering  from  severe  hoarseness,  we 
cannot  with  any  justice  pronounce  a  decided  opinion  on 
this  gentleman's  merits.  M.  St.  Marie  was  decidedly 
too  old  for  the  part  he  impersonated.  The  ladies  were 
Mesdames  Valmy,  Saint- Ange  and  Davenay,  the  latter  play- 
ing the  part  of  the  niece,  Clara,  with  much  judgment 
and  discretion.  The  second  piece  is  an  importation  from  the 
Theatre  Francais,  and  is  entitled  La  Cigue,  The  scene  is 
laid  at  Athens,  and  turns  upon  the  disgust  which  Clinias 
(M.  Fechtcr)  evinces  for  a  life  of  dissolute  idleness  and  pro- 
fligacy, his  contempt  for  his  old  comi5anions  of  debauchery 
and  his  resolve  to  put  an  end  to  his  life  by  taking  hemlock. 
He  leaves  his  two  friends,  Paris  and  Cl^on,  to  dispute  his 
inheritance,  the  decision  to  depend  on  the  arbitrage  of  a 
young  slave  of  great  personal  beauty,  whom  he  has  just 
bought.  The  slave,  however,  refuses  both  the  suitors,  and 
the  affair  terminates  by  a  marriage  between  her  and  Clinias, 
in  whose  heart  she  has  aroused  sentiments  of  dignity  and 


794 


THE  MUSICAL  WORLD. 


honour  which  he  had  conceived  lost  for  ever.  The  plot  of 
this  play  is  simple  to  a  fault,  and  recalls  to  roind  the  satires 
in  dialogue  of  the  schools  of  Aristophanes  and  Plautus.  There 
is  much  of  caustic  irony  about  it ;  the  repartees  are  good  and 
salient,  and  it  is  enlivened  by  much  wit,  which  never 
degenerates  into  the  common  -place,  of  that  sort  which  creates 
a  smile  on  the  countenance,  and  leaves  behind  it  no  qualms 
or  doubts  as  to  its  being  genuine.  It  is  written  in  verse,  and 
is  decidedly  of  the  good  school  of  French  comedy,  although 
we  are  inclined  to  think  that  much  of  the  point  is  lost  on 
account  of  the  locality  chosen  by  the  author,  which  would 
have  been  more  appropriately  situate  in  Paris  than  in  Athens. 
M.  Fechter  did  his  part  carefully,  and  evinces  capabilities  of  a 
high  order;  we  shall  watch  his  progress  with  pleasure. 
M.  Cartigny  was  quite  out  of  his  element,  and  M .  Tourrillon 
not  at  all  up  to  the  mark.  Madlle.  Baptiste  looked  exceed- 
ingly pretty  and  played  her  part  with  much  feeling.  In  the 
Vicomte  de  Giroflte  we  shook  hands  with  an  old  friend  of  the 
Princess's,  the  part  being  played  at  that  theatre  by  Mr. 
Compton.  We  really  think  there  should  be  a  law  to  compel 
managers  to  acknowledge  the  source  from  which  they  derive 
their  dramatic  pilferings  ;  as  no  law  of  international  copyright 
exists,  common  courtesy,  tlie  only  payment  the  miserable 
author  gets,  should  induce  the  plagiarist  to  make  honorable 
mention  of  his  name  at  any  rate.  ;But  to  return  to  the 
St.  James's.  Girofl^  was  played  with  much  talent  and 
humor  by  M.  Josset.  This  gentleman  has  had  no  trumpeter 
to  announce  his  arrival ;  he  has  never  played  in  Paris,  but 
comes  from  Nantes,  to  which  town  he  will  certainly  never 
return.  He  is  the  best  niais  we  have  had  in  Liondon  since 
Arnal  was  here  ;  he  sings  his  couplets  much  better  than  we 
have  hitherto  heard  them  sung  in  this  theatre;  he  was 
deservedly  applauded,  and  will  become  a  favorite.  We  shall 
speak  next  week  with  moie  confidence  of  the  merits  of  the 
artistes.  We  look  forward  with  pleasure  to  the  arrival  of 
M.  Bocage,  who  is  to  play  the  part  of  Cr^on  in  Antigone^ 
the  entire  music  of  Mendelssohn  to  be  given  under  the 
conduct  of  the  celebrated  Benedict ;  let  us  hope  that  the  pa- 
tronage of  the  public  will  be  such  as  to  induce  Mr.  Mitchell 
to  follow  it  up  by  Racine's  Athaliet  with  the  choruses  set 
to^usic  by  the  same  great  composer.  J.  db  C . 


ORIGINAL    CORRESPONDENCE. 

{To  the  Editor  of  the  Muneal  World.) 

8TATX7B  TO  MENDELSSOHN. 

Sin, — I  remme  again,  on  thit  important  subject,  a«  my  last  commu- 
nication was  unavoidably  short,  in  the  fear  of  losing  your  publishing 
hour,  but  1  thought  I  would  not  k>se  e\cn  ihe  smallest  opportunity  of 
mooting  for  the  furtherance  of  this  desirable  question  to  a  successful 
attainment,  and  the  sooner,  sir,  we  anive  al  this  termination  the  greater 
the  amount  of  credit  will  be  due  to  us  as^devotees  enthusiastically 
kneeling  at  the  shrine  of  genius—as,  acting  quickly  and  spontaneously, 
and,  from  impulses  that  proceed  at  once  from  the  heart — hearts !  that 
ought  to  o*erflow  with  grateful  aspirations  for  the  parentage  and  birth  of 
such  a  bright ^nd  beauteous  orb,  such  divine  emanations  of  intellects- 
such  spiritual  inspiration,  that  can  only  thint  once  before  us,  in  our  short 
career ;  therefore  ought  wc  to  make  much  of  what  lies  in  our  power,  by 
being  instant  in  our  efforts  in  rendering  this,  our  "  Last  Tribute."  In 
my  last,  sir,  there  was  an  expression  of  fact  lest  there  should  not  be  that 
union  of  purpose  which  ought  to  reign  paramount  in  such  a  theme  as 
the  present,  but  happily,  1  an  inclined  to  think  that  this  may  be  allayed, 
from  ciicumstances  that  have  transpired  since.  But  I  st  11  emphatically 
and  fervently  ,hope  with  your  Paris  correspondent,  that  the  question 
of  Bust  will  be  merged  into  that  of  Statue,  I  hope  this,  as,  ought  we 
to  be.*-atisfied  with  the  placing;  the  mere  placing  a  imatl^'^unpretending 
— piec-j  of  masonry  like  a  bust,  in  some  out  of  the  way  building  to  be 
placed  i  a  some  obscure  and  out  of  the  way  corner,  and  for  persons  to  go 
out  ol  the  way  to  catch  a  glimpse  of  the  same?  In  my  idea  'twill  be 
just  sc  auch  subscribed  money  thrown  away,  for  as  soon  as  the  inaugu- 


ration is  over,  it  will  be  forgotten  and  neglected,  and  we  shall  need  re- 
minding, that  we  possess  such  a  "  small  memento"  to  bind  us  to  the 
memory  of  such  •*  large"  worth.  I  hope,  sir,  for  the  take  of  our 
character,— -for  the  sake  of  our  teste,  for  the  sake  of  surriving  friends, 
for  the  sake  of  the  departed  himself,  that  this  will  not  be  done.  You 
must  yourself,  sir,  take  a  great  interest  in  this  affair !  Do  then,  for 
genius's  sake,  throw  your  interest  into  the  scale ;— take  up  your  pen,  sir, 
and  second  what  your  friend  and  correspondent  has  so  well  suggested, 
strike  at  once  while  the  subject  is  young  and  fresh,  lest  it  go  too  far,  lest, 
sir,  that  a  long  list  and  a  large  amount  would  be  the  result,  and  you  have 
only  to  take  it  in  hand  to  command  this.  1  wished  to  have  hinted  this 
to  you  in  my  last,  but  was  prevented  by  pressure  of  time,  I  therefore 
hope  now,  that  what  you  do  you  will  do  quickly,  and  I  feel  not  the 
least  anxiety  about  raising  funds  necessary  "  even**  for  a  statue,  for 
the  wusical  wortd  has  only  to  be  appealed  to,  I  am  sure  on  this  occasio.i 
for  the  immediate  and  prompt  response  of  large  subscriptions.  Hoping, 
next  week,  to  see  a  long  list  of  goodly  amounts,  together  with  the  latest 
detail  and  on  diit  in  your  columns,  touching  this  affair. 

I  remain,  yours  truly,     6,  W.  F. 

To  the  EdUor  of  the  MMiical  fVerld, 
Sir,— Having  no  opportunity  of  studying  thorough  bass,  I  should  be 
much  obliged  if  you  would  give  me  ihe  rules  for  accidental  sharps 
and  flats  in  writing  music,  as  I  am  often  at  a  loss  to  know  whether  for 
instance  to  write  F  sharp  or  Q  flat.  An  answer  to  this  question  wiU,  air. 
greatly  oblige,  your  constant  reader.  M.  T. 

[We  refer  our  Correspondent  to  Dr.  Day's  System  of  Harmony,  where 
he  will  find  the  best  instruction  on  NoUtion.— Ed.  M.  W.] 


To  the  Editor  of  the  Mutical  World, 
Sir,— Should  you  in  your  paper  of  this  week  criticise  the  Gimnd  Opera 
at  Drury  Lane,  on  the  opening  night  (Monday  last),  I  beg  to  call  your 
kind  attention  to  a  mistake  in  the  name  of  an  individual  severely  criticised 
by  the  Mwrnvng  Chronicle,  also  their  vindication  by  Mr.  Clifford,  as 
appeared  in  the  same  paper  of  Thursday  last,  that  you  might  not  foil  into 
the  same  error.  I  will  here  submit  to  your  notice  my  letter,  or  what  la 
nearly  the  same,  their  version  of  it.  "  Grand  Opera,  Drury  Lane.— In 
our  notice  of  the  opening  performance  at  this  theatre  on  Monday  night, 
the  character  of  Bucklaw  was  criticised  as  performed  by  Mr.  Clifford ; 
that  gentleman  having  been  suffering  fiom  Indisposition,  the  part 
allotted  to  him  was  supported  by  another,  a  Mr.  Garst^n,  as  appears 
now  in  the  Drury  Lane  bills  of  the  day.  But  the  misUke  arose  from  the 
circumstance  of  his  Mr.  Clifford's  name  remaining  in  the  bills,  and  no 
mention  being  made  of  his  absence."  Trusting  you  will  give  your  kind 
attention  to  this  should  you  speak  of  the  Opera. 

I  remain,  &c.,  yours  truly,  Gborgc  ClipforD. 

PROVINCIAL. 

Livvrpool."-Satdbdat  Evening  CoNCBRTs.^TVom  our  Correspon- 
dent,J— The»e  popular  concerts,  that  have  been  csTablished  for  the  working 
class,  by  the  committee  of  the  Northern  Mechanics'  Institution,  continue 
to  keep  up  their  high  character,  for  which,  they  have  so  long  been  distin- 
guished. The  entertainments  of  this  season,  commenced  with  Herr 
Staudigl ;  and  have  been  followed  by  Mr.  H.  Uussell  Mr.  Wilson,  the 
celebrated  Mrs.  Wood,  late  Miss  Paton,  the  Misses  Smith,  ''The  Distln 
Family/*  and  on  tSaturday  evening  last,  a  concert  was  given,  at  which 
appeared  Miss  Whitnall,  Mr.  John  Parry.  Mr.  Blagrove,  (Concertina) 
Mr.  G.  Weiss  and  Mr.  Robinson.  Unfortunately  the  weather  was  unfa- 
vourable, and  we  are  sorry  to  say,  the  concert  vpas  the  most  unsuccessful 
of  the  season. 

Paisley.— >Mr.  Hbnet  Russell. — On  Thursday  evening  last,  this 
popular  vocalist  and  composer  appeared  in  the  Exchange  Rooms.  The 
high  repute  in  which  Mr.  Russell  is  deservedly  held  in  this  quarter  may 
be  gathered  from  the  fact,  that,  notwithstanding  the  unfavourable  atate 
of  the  weather,  and  the  present  severe  depression  of  trade,  his  audience 
was  one  of  the  largest  and  most  respectable  which  has  congregated  in 
Paisley,  on  a  similar  occasion,  for  a  considerable  period  back.  Mr.  Rus- 
sell appeared  in  excellent  voice,  and  gave  a  number  of  his  popoiar 
melodies  in  his  own  pleasing  and  attractive  style.  "  Why  don't  the  men 
propose  T"  was  admirably  sung,  and  called  forth  peals  of  laughter,  and 
thundcri  of  applause.  "The  Gin  Fiend"  was  a  perfonnance  which 
conjured  up  to  the  audience  all  the  horrors  of  strong  drink,  and  inspired 
the  mind,  as  it  were,  with  an  instinctive  abhorrence  of  the  dreadful 
abandonment  of  the  drunkard.  The  "  Pauper's  Drive"  followed,  and  was 
given  with  that  deep  pathos  which  Russell  alone  can  impart  to  such  per- 
formances; this  piece  was  rapturously  received.  The  next  performance 
was,  however,  one  of  the  best  musical  com  men  tariffs  on  the  morale 
of  capital  punishments.  Music  is  a  very  desirable  auxiliary  to  the 
cause  of  morality,  and  in  the  hands  of  one  Uke  RusseU*  it  cannot  bat 


THE  MUSICAL  WORLD. 


795 


prove  ft  most  effective  one.  He  is  therefore  deierving  of  the  best 
encouragement  of  all,  whether  they  be  admirers  of  song  or  lovers  of 
morality.  It  not  frequently  occurs  that  public  support  is  withheld  wliere 
it  should  be  awarded.  Vft  are,  however,  glad  to  know,  that  with  Mr. 
Russell  the  case  is  different.  He  is,  indeed,  amongst  the  most  popular  of 
the  most  popular  of  all  our  vocalists  and  he  is  deservedly  so,  and  the 
more  he  is  known,  the  more  popular,  we  feel  assured,  will  he  become. 
From  the  rapturous  manner  in  which  his  entertainment  was  received,  we 
trust  that  he  may  be  induced  to  favour  a  Paisley  audience  with  another 
evening  soon. — Paisley  Journal, 

MISCELLANEOUS. 

ExBTXR  Hall. —Mendelssohn's  114th  Psalm,  one  of  the 
most  exquisite  of  modern  sacred  works,  and  Handel's  Acis 
and  Galatea,  the  most  divine  of  all  musical  pastorals,  was 
performed  on  Monday  evening  by  members  of  Mr.  HuHah's 
First  Upper  Singing  School,  together  with  the  following  prin- 
cipal vocal  performers : — Mr.  Lockey,  Mr,  Williams,  Mr.  H. 
Phillips,  and  the  Misses  Stewart  and  Oill.  The  performance 
of  Mendelssohn's  Psalm  reflects  tlie  greatest  credit  on  Mr. 
HuUah's  pupils.  The  chorus  went  remarkably  well,  and  the 
band,  under  Mr.  Willy's  leadership,  composed  of  some  of 
the  best  instrumentalists  of  the  day,  was  highly  efficient.  The 
pastoral  of  Handel  was  also  rendered  in  a  most  praiseworthy 
manner,  all  the  principals  acquitting  themselves  in  the  most 
creditable  manner.  In  brief  the  perfonnance  was  one  of  the 
best  we  have  heard  under  the  management  of  the  talented  director, 
Mr.  Hullah.  We  have  not  been  hitherto  able  to  afford  that 
room  to  the  notice  of  the  performances,  under  the  direction  of 
Mr.  Hullah,  which  their  importance  in  themselves  as  efforts  of 
art,  and  as  proceeding  from  one  of  the  most  rising  institutions 
of  the  day  would  seem  to  warrant ;  but  we  shall  take  the 
earliest  opportunity  of  devoting  a  leading  column  to  their 
consideration. 

RoTAL  Italian  Opera. — We  learn  from  the  best  authority 
that  Mr.  Beale,  in  consequence  of  a  delicate  state  of  health, 
which  disinclines  him  from  very  arduous  duties,  joined  to  his 
numerous  avocations  connected  with  the  great  establish- 
ment in  Regent  Street,  has  withdrawn  from  the  management 
of  this  theatre.  Mr.  Beale's  loss,  as  a  manager,  will  be  univer- 
sally regretted,  but  we  are  happy  to  state  that  his  immense 
influence  and  interest  will  continue  to  be  exerted  in  behalf  of 
the  new  Italian  Opera. 

Ma.  Brikley  Richards  has  returned  to  town  from  a  tour 
in  Wales,  whither  he  had  gone  for  the  benefit  of  his  health, 
and  has  now  resumed  his  professional  duties. 

John  Whitaksr  the  composer  died  on  Saturday  last, 
aged  71. 

Madame  Mendelssohn  Bartboldy  has  received  letters 
of  condolence  from  three  crowned  heads : — ^The  Queen  of  Great 
Britain,  the  King  of  Prussia  and  the  King  of  Saxony. — 
Journal  des  Debats. 

Bunn  and  Lind — This  action  is  expected  shortly  to  be 
tried.  On  Monday  the  special  jury  nominated  a  few  days  back, 
was,  in  legal  phraseology,  "reduced"  to  twenty  four,  by  the 
solicitors  on  both  sides.  It  appears  that  the  cause  stands  the 
second  in  the  paper  for  Monday  week,  and  its  position  for 
hearing  on  that  day  will  depend  on  the  causes  previously 
heard,  seven  being  allotted  for  each  day.  It  is  understood 
that  the  demurrer  in  the  action  will  be  tried  before  the  20th 
instant. — Morning  Post, 

Mr.  Rooke's  Concert. — In  our  last  week's  notice  we 
omitted  several  particulars  connected  with  the  above  con- 
cert, which  should  have  found  a  place  in  our  notice.  For 
instance  we  should  not  have  passed  over  the  valuable  aid 
rendered  by  Stcrndale  Bennett,  nor  that  of  Messrs.  Balsir  Chatter- 
ton  and  Richardflon.    We  are  pleased  to  learn  that  the  Fund 


for  the  widow  and  Children  of  Mr.  Rooke  progresses  favorably, 
and  we  beg  to  call  especial  attention  to  the  subscription  lists, 
which  will  still  be  open  at  all  the  principal  music  sellers,  and 
are  forwarded  to  Mr.  Wilson,  Treasurer  to  the  Committee. 

The  Sacred  Harmonic  Society. — Last  night  The 
Messiah  was  performed  for  the  first  time  this  season.  The 
great  oratorio  was  ably  interpreted  by  the  executants  of  this 
society,  and  favorably  received  by  a  crowded  audience.  The 
principals  were  Made.  Caradori  and  Miss  Steele,  Messrs.  J. 
Bennett,  and  H.  Phillips.  Encores  and  applauses  were 
almost  wholly  abstained  from. 

Philharmonic. — The  concerts  next  season  will  take  place 
as  follows:  Monday  March  13,  27;  April  10;  May  1,  15, 
29  ;  June  12,  26. — The  rehearsals  will  take  place  as  hereto- 
fore, on  the  Saturdays  preceding  the  concerts. 

Ancient  Concerts, — It  is  expected  that  the  concerts  of 
ancient  music  will  commence  the  third  week  in  March. 
The  Bishop  of  Bath  and  Wells  has  succeeded  the  Archbishop 
of  York,  as  one  of  the  directors. 

Amateur  Society. — The  concerts  of  this  Society,  will 
take  place  at  the  Hanover  Square  Rooms,  next  season,  as 
follows  :  February  24  ;  March  10,  '24  ;  April  7,  21 ;  May  12, 
29,  and  June  9.  The  rehearsals  will  take  place  a  week 
preceding  the  performances. 

The  Noblemen's  and  Gentlemen's  Catch  Club,  will  com- 
mence its  eighty-sixth  season,  on  the  4th  of  March. 

The  Glee  Club  will  commence  its  monthly  meetings  on 
the  18th  inst.,  at  the  Crown  and  Anchor  Tavern,  and  conclude 
in  May. 

The  Madrigal  Society  will  celebrate  its  107th  anniversary 
the  third  week  in  January. 

The  Melodists'  Club  will  resume  its  monthly  meetings  on 
the  25tli  of  January,  at  the  Freemasons'  Tavern,  and  con- 
clude in  June.  H.  R.  H.  The  Duke  of  Cambridge  patron 
and  president  of  the  Club,  will  give  a  prize  for  a  song,  to  be 
sung  by  Mr.  Lockey,  with  a  harmonized  melody  for  four 
equal  voices. 

The  Western  Madrigal  Society  will  hold  its  ani)u^ 
festival,  early  in  March.  ^ 

A  New  Opera,  we  hear,  is  about  to  be  produced  at  Drury 
Lane,  the  music  by  Bamett,  the  libretto  by  the  succeifeful 
author  of  **  Flying  Colours."  |/ 

The  Messrs.  Distins  have  returned  to  Town,  having 
given  concerts  with  immense  success  in  the  following  Towns. 
Boulogne,  Dover,  Lewes,  Chichester,  Jersey,  Guernsey,  Guil- 
ford, Scarboro'y  "Whitby,  Stockton,  Newcastle,  Sunderland, 
North  aod  South  Shields,  Carlisle,  Maryport,  Cockermouth, 
Keswick,  Penrith,  Dumfries,  KHmamoch,  Greenock,  Glasgow, 
Edinburgh,  Perth,  Dundee,  Capar,  Dunbar,  Berwick,  Durham, 
Liverpool,  Manchester,  Bolton,  Chester,  Hull,  Leicester, 
Ashby,  Cambridge,  and  Ashford. 

TO   CORRESPONDENTS. 

H.  D — It  informed  thttt  the  recitatives  in  the  opera  of  The  Bride  of 
Lammermoor,  at  tungat  Drury  Lane,  are  itlentieal  with  therecitativet, 
at  performed  in  the  opera  at  Her  Mqjetty^t  Theatre. 

ADVERTISEMENTS. 


Messieurs  DISTIN 

Bes  to  inform  their  Friendi  and  the  Public,  they  have  arrived  in  TOWN  FOR 
THE  SEASON.  Distin's  Musical  Instrument  Repobitory,  SI,  Cranbourne 
Street,  Leicester  Square ;  the  only  House  in  Enfi^landfor  Distin's  Patent  Sax 
HoRNa  and  Sax  Tubas,  as  used  by  themselves.  Courtois  Cqrnkts,  Eight 
Guineas.  Distin'sCouzteiaJkAodel,  .^6  5s.  Nowready,  Distin's  Sax  Hokn 
and  CoRNKT  Tutor,  Price  Ss.,  the  beat  ever  pablishedl  Pnwinga  and  Explana- 
tioiisofaUIikstnimeata  tnuumltted  for  Two  Staoipa. 


796 


THE  MUSICAL  WORLD. 


THEATBE  ROTAL,  DRITRT  LANE. 

LAST  THREE  NIGHTS  OF  "THE  BRIDE  OF  LJMMERMOOR." 

000 

M.  JULLIEN  baa  the  honor  to  announce,  that  in  consequence  of  the  produc 
tion  of  M.  Balfk's  NEW  OPERA,  "THB  MAID  OF  HONOR,  on  Monday, 
December  20tb,  the  Last  Three  Perlormances  of  "THK  HRIDE  OF  LAMMKR. 
MOOR,  will  take  place  on  MONDAY,  WEDNESDAY.  &  FRIDAY  NEXT. 
These  will  be  the  last  occasions  on  which  Mr.  Rkbvbs,  Mr.  Weiss,  Mr.WHiT- 
voHTH,  and  Madame  Dorus  G&as  can  appear  in  the  same  Opera. 

000 

MONDAY,  December  I3th,  1847,  Her  Majesty's  Ser\'ants  will  perform 

**  The  Bride  of  Lammermoor." 

(Foonded  on  Sir  Walter  Scott's  celebrated  Novel.) 
The  Music  by  Donizbtti. 

Edffar  (Master  of  Bavenswood) Mr.  S.  REEVES. 

Colonel  Ashton, Mr.  H.  WHITWORTH. 

Raymond^ Mr  WEISS, 

Liie7  Ashton,  Madame   DORUS  GRAS. 

The  Conduct  of  the  Orchestra  is  confided  to  Mi  HECTOR  BERIalOZ. 

After  which  will  be  represented  the  entirely  new  Allegorical  Divertissement, 
entitled 

"LE    QENIE    DU    GLOBE/' 

FHncipal  Dancers,  Madame  LOUISE,  MadeMe.  MBLANIE  DUVAL,  Madame 
GIUBILEI,  Madelle.  VAITE,  and  Mr.  HARVEY. 

Pric&s  op  Admission— Stalls,  lOs.  Gd.;  Pit,  3s.  Cd.;  Dress  Circle,  7s.; 
Boxes,  As. ;  First  Gallery,  2s. ;  Second  Gallery,  Is. ;  Private  Boxes,  ^l  Is.  ana 
j^2  2*. 

As  the  season  will  be  for  three  months  only,  instead  of  eight  as  hitherto,  there 
will  be  only  Fifty  Representations,  and  the  terms  to  Subscribers  reduced  accord- 
ingly,  viz.  Stalls,  13  Guineas;  Private  Boxes,  60  Guineas.  80  Guineas,  and 
?.20  Guineas. 

Doors  open  at  seven,  the  Opera  to  commence  at  holf-past  seven. 

ROCHESTER  CATHEDRAI.. 

Thkbb  is  a  Vacancy  in  the  Choir  for  a  CONTRA-TBNOR  VOICK.  None  need 
apply  as  Candidates  who  are  not  Members  of  the  Established  Chnrch,  and  willing 
to  enter  on  probation.    Age  not  to  exceed  Thirty  years. 

Further  particulars  may  be  bad  on  application  to  Mr.  J.  L.  HOPKINS,  Organis 

VALUABLE  AND  EXTENSIVE 

CREMONA  VIOIalNS  of  tumsnal  pretensions,  a 

SERAPHINEy  and  a  few  Talnable  Painting84 

PUTTICK  AND  SIMPSON, 

(Successors  to  Mr.  Flltciier)  Auctioneers  of  Music  and  Literary  Property, 
will  sell  by  Auction,  at  their  Great  Room,  191,  PICCADILLY,on  FRIDAY, 
DBCEMBEll  17tb,  and  following  day,  at  one  o'clock  most  punctually,  the 
extremely  valuable 

Library  of  a  distingaished  Professor, 

Comprising  a  very  extensive  collection  of  Theoretical  and  Historical  works,  flnom 
be  earliest  period,  many  of  which  are  of  great  variety  ;  sacred  music,  anthems, 
lotets,  masses,  &c.  *,  or^an  music ;  jpiaao-torte  music,  by  the  rreat  composers,  a 
'  aly  valuable  assemblage :  operas,  mclnding  all  the  standard  works,  &c.,  some 
'  aluablc  unpublished  scores  *,  liandePs  works,  Dr.  Arnold's  edition  complete, 
on  large  paper*  and  numerous  separate  works  ;  vocal  music  of  all  classes ;  the 
collected  works  of  Weber,  Hummel,  Bach,  Beethoven,  Srpohr,  Mendelssohn,  fcc, 
the  whole  in  unusually  fine  condition.  Also,  the  extraordinary  assemblage  of 
Violins  and  Violoncellos,  by  eminent  makers,  mostly  collected  liy  a  gentleman  in 
the  course  of  his  travels,  and  during  his  residence  on  the  Continent. 
May  be  viewed  two  days  before  the  Sale.  Catalogues  will  be  sent  on  application. 

JOSEPH  SCATBS,  Manufacturer  of 
the  Concertina,  begs  to  inform  the 
Musical  Public  that  be  has  REMOVED 
from  Frith  Street,  to  32,  NEW  BOND 
S^rREET.  where  he  continues  to  supply 
this  fasnionable  and  charming  m- 
strumcnt,  the  same  as  patronized  by 
Signer  Giulio  Regondi  fbr  the  last  two 
years.  Prices,  with  all  the  late  im. 
provements,  from  46*5  to  ^e  15  each. 

Publishers  of  Giulio  Regondi's  Rudi« 
meots,  ifecond  Edition— and  his  other 
works. 

SGAIfiSi  89,  Kew  Bond  Street, 

LONDOZr, 


New  Music  for  the  Concertina  and  Piano-Forte. 


Jnst  published,  by  Hetan.  WHEATSTONE  and  Co.,  Ptttenteet  and  Ifanafiie- 


tnrers  of  the  Concertina,  30,  Condoit  ^'treet,  Regent  Street.  a.    d. 

Gems  of  the  Italian  Opera,  by  George  Case.  each   S      tf 

No.  I.  Tu  vedral  la  sventurate,  from  " II Pirata.** 

—  3.  Bel  raggio  lusinghier,  from  '*  Semiramide." 

Fantasia  from  Lncrexia  Borgia,  by  Richard  Bla^rove  • .    S       6 

Jullien's  Bridal  Waltz,  arranged  by  Carlo  Minasi  ..  ..  ..3       tf 

No.  25  of  Select  Melodies,  containmg  Rossini's  Ode  to  Pope  Pius  IX. 

arranged  by  Joseph  Warren.  ..  «.     1       € 

CHAULIEU'S 

FAMILY  PIANO-FORTE   MAGAZINE. 

Including  Classical  and  Drawing-Room  Pieces. 
Monthly  Parts,  FlTe  BhiUinss.    Annual  Snbseriptton,  iBfl  Ss. 

Just  Published,  CHRISTMAS!  a  Characteristic  Sonata: 
1.— Christmas  Eve.    2.--The  Shepherds.     3.— The  Kin^.     4.—Christmas  Day. 

To  be  had  of  all  Mnslc-aellen  and  Stationers ;  and  at  the  Office,  3,  Alfred  Place, 
Bedford  ^uare. 

N.B.-<X)UNTRY  AGENTS  WANTED. 

GRIMSTONE'S  AROMATIC  R£GENERA1X}R,  for  Improving  and  FMmotinc 
TMK  GROWTH  OF  HUMAN   HAIR. 

To  THE  Ladies.— A  lady  had  the  following  letter  inserted  in  the  3%Mr  news- 
paper on  August  7, 1846.  uieader,  remember  this  letter  was  put  into  the  paper  by 
the  lady  herself,  as  a  t(>stimony  to  the  virtues  of  Orimstone's  Aromatic  Regenerator: 

"Mrs.  Weekley,  of  No.  S,  Swan-ttrcct,  Borough,  takes  this  opportunity  of  public- 
ly thanking  Mr.  W.  Grimstone,  of  the  Uerbary,  Highgate,  ror  the  efhcacy  of  bin 
Aromatic  Regenerator,  in  havmg  completely  restored  the  hair  on  her  head,  after 
using  it  abtmt  four  months,  and  the  whole  of  her  hair  is  much  atronger  and  more 
luxuriant  than  it  ever  was  before  the  baldness  appeared.  She  will  feel  a  pteaanre 
in  answering  any  lady  of  respectability  to  the  above  facts.— 3,  Swan-street, 
Borough." 

The  most  delicate  ladies  may  use  this  delightful  pioduct  of  the  moat  aromatic 
herbs  and  flowers  with  confidence ;  its  rcfl'eshing  odonr  removes  head*ache  and 
makes  it  a  most  necessary  companion  to  the  tciilet.  In  cases  of  nervous  headrache^ 
pour  ten  or  twelve  drops  on  the  crown  of  the  bead ;  if  very  bad,  repeat  it  every 
quarter  of  an  hour.  In  moat  cases,  relief  is  certain  in  ten  minutes.  It  prodaees 
hair  on  children's  heads  in  a  few  applications.  If  used  09  inlknts*  heads,  it 
has  such  a  peculiar  cooling  influence  on  the  brain  as  to  prevent  convuisiona, 
as  well  aa  promoting  the  growth  of  hair.— See  pamphlet  of  testimonials  with 
every  bottle. 

»        CASE   OF  RINO-WORM    CURED. 

14,  Devottshu*e  sq.,  B{shop9g;ate-st.,  19th  July,  18i7. 
'*  Mr«  Frederick  Bradshaw,  having  lost  some  portion  of  bis  hair  from  ring-worm, 
has  had  it  so  perfectly  and  so  wonderfully  restored  by  only  a  short  application  ot 
Mr.  Orimstone*s  "  Aromatic  Regenerator,"  feels  thus  called  upon  gratefully  and 
publicly  to  acknowledge  it.  Mr.  F.  Uradshaw  has  much  pleasure  in  tboa  bearinic 
testimony  to  the  efllcacy  of  the  remedy,  and  Mr.  Grimstone  is  at  perfect  liberty  to 
make  any  use  ot  this  communication  he  pleasea. 

To  Mr.  W.  Grimstone.  Herbar)',  Highgate,  near  London." 

Sold  by  Mrs.  J.  and  E.  Atkinson,  34,  Old  Bond-street ;  Messrs.  FSsher  and  Toller. 
Conduit-street;  J.  Sanger,  Chemist,  sc.,  150,  Oxford-street :  Messrs.  BarcUy  and 
Son.  Farringdon-street ;  Mr.  Johnston,  G8,  Cornhill ;  Tbomaa  Keating,  Chemist, 
St.  i'aul  s  Churchyard ;  Messrs.  Hannay  aud  Co.,  63,  Oxford-street ;  and  by  ail 
ChetTiiAts,  Drugsists,  and  Medicine  Vendors.  Sold  in  triangular  bottles,  at  4«., 
7s.,  an  1  Us.  each;  and  fonvarded  by  post  at  4s. 6d.,  7s, Sd.,  and  Its.,  case  in- 
clud  ed  ,for  monev  orders  only.  Sold  only.  Wholesale,  at  the  Herbary,  Highgate. 
The  78  .contains  two  4s.,  the  lia.  four  times  the  quantity  of  the  4a. 

The  Oreatest  Sale  of  any  Medicine  in  the  Olobe. 
HOLLOWAY'S  PILLS. 

A  Very  Wonderful  Cure  of  a  Disordered  XdTer  and  Stmnach. 

Extract  of  a  Letlcr  from  Mr.  Charles  Wilson,  BO,  Princes  Street,  Gtaagow. 
dated  February  I8lh,  1847- 
"  Si " ,— Having  taken  yonr  Pills  to  remove  a  disease  of  the  Stomach  and  liver, 
under  %ti)ich  I  had  long  suffered,  and  having  followed  your  printed  instmctlons 
I  have  regained  that  health,  which  1  had  thought  lost  for  ever.  I  had  previoasly 
had  recourse  to  several  medical  men,  who  are  celebrated  for  their  aUll*  but  inst— 11 
of  curing  my  complaint,  it  increased  to  a  most  alarming  degree.  Humanly 
speaking,  your  Pills  have  saved  my  life  I  Many  tried  to  dissuade  me  from  using 
tnem,  and  1  doubt  not  but  that  hundreds  are  deterred  from  taking  your  most  ex- 
cellent medicine,  in  consequence  of  the  impositions  pnctised  by  many  worthless 
persons ;  but  what  a  pity  it  is  that  the  deception  used  by  others,  should  be  the 
means  of  preventing  manyunliappy  persons,  under  disease,  from  regaining  health, 
by  the  use  of  your  Pills,  when  I  commenced  the  use  of  your  Hlls,  I  was  in  a  moat 
wretched  condition,  and  to  my  great  delight,  in  a  few  days  afterwards,  there  wna 
a  considerable  change  for  the  better,  and  bv  continuing  to  use  them  for  some 
weeks,  I  have  been  perfectly  restored  to  health,  to  the  surprise  of  all  who  have 
witnessed  the  state  to  which  I  had  been  reducea  by  the  disordered  state  of  the 
liver  and  Stomach ;  would  to  God,  that  every  poor  sufferer  would  avail  himself  of 
the  same  astonishing  remedy.*' 
«  To  Professor  Holloway.*'  (Signed,  «  CHARLES  WILSON.** 

These  truly  invaluable  rills  can  be  obtained  at  the  Batabliahment  of  Prafenor 
HoLLOWAY,  244,  Strand,  (near  Temple  Bar),  London ;  and  of  most  respectable 
Vendors  of  Medicines  throughout  the  civilized  World,  at  the  following  prices— 
s.  I4d..  9s.  9d.,  48. 6d.,  lis.,  aai.,  and  S8s.  eech  Box.  There  b  a  conaMmibte 
gringtytektogthelaigerl^a.  ^.^.^.^^^  by  ^^OO^ ItT 


THE  MUSICAL  WORLD. 


797 


Messrs.  Bobt.  Cocks's  New  MusiealFublications. 

MARJUBGK'S    BOOK    OF    COMMON    PRAYER. 
for  TCNces  in  umaon,  arranged  for  Modem  ute,  with  an  ad  libitum  Organ 
Bass  accompaniment,  by  R.  Janes.    Price  5s. 

VIOI.IN  MUSIC. 
SPOHR's  GREAT  SCHOOL  for  the  VIOLIN,  translated  by  John 
Bishop,  with  two  Portraits,  X^he  Author's  approved  copy),  36s.;  Campag- 
noIi*s  Great  School  for  ditto,  dedicated  to  his  Ro^al  Highness  the  Duke  of 
Cambridge,  translated  by  John  Bishop,  26s. ;  Paganmi's  Method  for  the  Violin, 
128. ;  Rode  Baillot'8  and  Kreutzer*s  Method,  lOs.  6d. ;  Dubourg  on  the 
Violin,  5s.;  and  Rousselot's  complete  Edition  of  Beethoven's  Seventeen 
Violin  Quartets,  dBQ  6«.  London,  Robert  Cocks  and  Co. 
ORATORIOS. 
JOHN  BISHOP'S  admired  edition  of  the  MESSIAH,  from  Handel's  score, 
15s  ;  the  four  Coronation  Anthems,  128. ;  and  the  Dettingen  Te  Deum,  12s. ; 
Haydn's  Creation,  by  John  Bishop,  15s. ;  the  Seasons,  by  Clementi,  21s. ; 
Tallis's  Order  of  the  Daily  Service,  a  superb  edition,  6s  ;  separate  parts  to 
ditto ;  Warren's  edition  of  Beethoven's  Alount  of  Olives,  12s  ;  ditto  Rossini's 
Subat  Mater,  1 2s.;  also,  a  very  superior  edition  of  Boyce's  Cathedral  Music, 
a  very  large  paper  copy,  j^8  83.  London,  Robert  Cccks  and  Co. 
SBPTETT  MUSIC. 
ALL  BEETHOVEN'S  nine  Symphonies,  all  his  Overtures;  all  Mozart's 
Symphonies,  all  his  Overtures ;  Rossmi's  nine  Favourite  Overtures;  the  Grand 
Symphonies  and  Overtures  by  A.  and  B.  Romberg;  Handel's  12  Grand 
Overtures,  and  his  six  Grand  Concerto's  :  all  the  best  Overtures  by  Weber, 
Auber,  Boiledieu,  Herold,  Paer,  Bellini,  Onslow,  Gluck,  VVetgl,  and  Weber  ; 
Haydn's  12  Grand  Symphonies  as  Quintets  ;  Mozart's  10  Violin  Quartets, 
42s. ;  his  six  Quintets,  42s. ;  and  Beethoven's  17  QuarteU,  ^6  ('s. ;  and  82 
ditto  by  Haydn,  £5  5s.  London,  Robert  Cocks  and  Ca  N.B.  Catalogues 
gratis  and  postage  free. 

CHAMBER  MUSIC. 
BY  FORDE,  for  PIANO,  FLUTE,  and  BASS ;  the  Uiree  Amateur  Trios 
36  books,  each  4s. ;  Social  Concerts,  48  books,  each  2s.  and  4s  ;  Forde's 
Chamber  Trios,  for  two  flutes  and  piano,  36  books,  each  4s.;  L'Anima  Trios, 
for  ditto,  r 6  books,  each  4s.;  and  12  Italian  Airs,  each  2s  Reissiger's  Trios, 
for  piano,  flute,  and  bass,  one  to  eight,  each  8s.  and  10s. ;  the  same  for 
piano,  violin,  and  bass,  each  8s.  aud  10s.;  Haydn's  12  Grand  Symphonies, 
arranged  by  Czerny,  for  piano,  flute,  violin,  and  bass,  each  4s.  and  58. ; 
Mozart's  six  Grand   Svmphonies,  for  ditto,  by  Clementi,  each  8s. 

London,  printed  only  by  Messrs.  Robert  Cocks  and  Co.,  publishers  to 
the  Queen. 

NEW  FLUTE  AND  PIANO  MUSIC 
BY  FORDE.  L'Anima  deil*  Opera,  i.e.,  25th  Set  from  Flotow's  Opera, 
Allcsandro  Stradella,  three  books,  each  3s. :  26ih  ^et  from  Verdi's  Opera, 
Nino,  three  books,  each  3s. ;  27th  Set  from  Donizetti's  Opera,  Lucresia 
Borgia,  three  books,  each  3s. ;  2b'th  Set  from  Donizetti's  Opera,  La  Favorita, 
three  books,  each  3s. ;  29th  Set  from  Verdi's  Gpera,  I  Lombard!,  three  books, 
eachSs.;  Flute  Solos,  Libretto  Musicale.  A  Series  of  Opera  and  National 
Airs,  chiefly  with  Variations,  12  books,  each  Is. ;  and  2,000  other  works  for 
the  flute.  London,  published  only  by  Messrs.  Cocks  and  Co.  N.B.  A 
catalogue  of  flute  and  piano  music  gratis,  and  postage  free.  Pianos  and 
harps  for  sale  or  hire.     Ditto,  Messrs.  Rudall  and  Rose's  flutes. 

CIiASSICAIi  MUSIC  for  Christsaas  Presents. 
Printed  only  by  ROBERT  COCKS  and  Co. :— Beethoven's  Masterpieces 
for  the  Pianoforte,  3C  of  his  Sonatas,  edited  by  his  pupil,  Charles  Czerny, 
in  5  vols.,  each  21s. ;  his  nine  Grand  Symphonies  for  the  Pianoforte,  by 
Kalkbrenner,  in  1  vol.,  638.  6d.;  Czerny  s  Royal  Pianoforte  School,  dedi- 
cated to  the  Queen,  4  vols.,  each  Sis.  6d. ;  J.  S.  Bach's  43  Preludes  and 
Fugues,  fingered  by  Czerny,  31s.  6d. ;  his  Art  of  Fugue,  21s. ;  and  five  other 
volumes  of  his  works,  fingered  by  Czeinv,  each  21s. ;  Czerny's  School  of 
Fugue  Playing,  21s. ;  Czerny's  School  of  Embellishment,  21s.;  Czerny's  School 
of  Preluding,  21s.:  Czerny's  School  of  Extemporizing,  21s.;  Rinck's  Organ 
School,  a  new  edition,  by  John  Bishop,  36s.;  Sphor's  Violin  School,  by 
Joim  Bishop,  36s.;  Campagnoli's  Violra  School,  by  John  Bishop,  26s.; 
Handel's  Messiah,  by  John  Bishop,  15s. ;  the  Four  Coronation  Anthems,  by 
ditto,  t2s.;  the  Dettingen,  by  ditto,  12s.;  Haydn  s  Creation,  by  ditto,  153.; 
Tallis's  Orders  of  the  Daily  Service,  6s. ;  Haydn's  Seasons,  by  Clementi, 
21s. ;  Rossini's  Stabat  Mater,  by  Warren,  12s.;  Beethoven's  Mount  of  Olives, 
by  ditto,  ISs. 

ROBERT  COCKS  and  Co's  FIANCFORTSS 
in  Mahogany  and  Rosewood.  It  has  been  observed  by  the  most  eminen 
professors,  amateurs,  and  merchants,  that  their  instruments  daim  a  decided 
preference  over  those  by  other  makers.  The  touch,  tone,  and  beauty  are 
remarkably  superior.  A*  list  of  prices  of  their  piccolos  and  cottages,  \i  ith 
drawings  and  other  particulars,  may  bo  had,  postage  free^  of  the  manufac- 
turers, Messrs.  R.  COCKS,  and  Co.  N.B.  Twelve  Harps  for  Sale,  and  30 
Piccolos  a  little  used. 

MUSIC-CAUTION. 
Messrs.  ROBERT  COCKS  and  Co.  respectfully  inform  the  musical  public 
that  the^  have  no  connexion  with  any  other  house  in  the  music  trade,  an 
that  their  only  establishment  is  6,  New  Burlington  Street,  London,  late  th 
mansion  of  the  Dowager  Countess  of  Cork  and  Orrery.  They  deem  it  righ 
to  make  this  announcement  as  letters  intended  for  them  have  been  misdirected 

»  Now  Ready  for  delivery,  an  ALBUM  OF  FOREIGN  DANCE  MUSIC 
illostrated  by  Brandhard,  13s.:  also,  an  ALBUM    OF   VOCAL  AND 
PUNOFOBTB  MUSIC,  fllostnited  by  tbat  same  talented  artiit,  price  ias« 


HENRY  WYLDE'S    NEW   COMPOSITIONS, 

Viz.- For  the  pianoforte— Grand  Sonata  in  E  m^or,  Fantasie  snr  un  air  favori ; 
Sketch  in  A  msjor,  Marche  Triomphante  pour  qusrtrc  mains ;  for  the  voice— 
HolTnung's  and  ich  bin  so  sehr  alleine :  forming  Nos.  4  and  5  of  Illustrations  of 
Schiller  and  Goethe;  sung  by  Herr  Pischek. 

Just  published  by  R.  MILLS,  HO,  New  Bond  Street. 


t:f-NOW  PUBUSHING, 

A   WORD   WITH    ''PUNCH," 

On  the  respective  merits  of  his  Three  Puppets, 
WRONOHEAD,     SLEBKHEAD^     and    THICKHEAD, 

With  strong  Family  likeneasas,  from  the  pencil  of  an  eminent  artist, 

BY    ALFRED     BUNN. 

Price  3d. 

To  be  had  of  W.  S.  JOHNSON,  60,  St.  Martin's  Lane,  and  of  all  Booksellers 
and  Nevrsmen  in  Town  and  Country. 


Mr.  and  Mrs.  DONALD  EDTG 

Beg  to  inibrm  their  Friends  and  Pupils,  that  they  have  returned  to  London  Aht 
the  Winter  Season,  and  will  resume  their  professional  avocations  as  usual. 
6,  Gloucester  Place*  New  Boad,  Nov.  24th,  1847. 

©ledcal,  iWeWcnt,  %c  General  ILtfe  assurance  g?oc«tj). 

In  addition  to  Assurances  on  Healthy  Lives,  this  .*=ociety  continues  to  fp-ant 
Policies  on  the  Lives  of  Persons  subject  to  Goat,  Asthma,  Rupture,  and  other 
diseases,  on  the  payment  of  a  Premium  proportioned  to  the  increased  risk.  The 
plan  of  granting  Assurances  on  Invalid  Lives  originated  with  this  office  in  the 
beginning  of  1824.  Kvery  description  of  Assurance  may  be  effected  with  this 
Society,  and  Policies  are  granted  on  the  Lives  of  Persona  in  any  station,  and  of 
every  age.  BONUSES. 

The  two  first  Divisions  averaged  j^92  per  cent,  on  the  Premiums  paid ;  the  third, 
£7»  per  cent.  The  fourth  bonus,  declared  Jan.  1847,  averaged  rather  more  than 
£Z6  percent.;  and  from  the  large  amount  of  Profit  reserved  for  future  appropria- 
tion and  other  causes,  the  Bonuses  hereafter  are  expected  to  exceed  that  amount. 

Tables  of  Rates,  with  a  full  Report  (recently  printed;,  can  be  obtained  at  tlie 
Society's  Agents,  or  by  addressing  a  letter  to 

GEO.  H.  PINCKA.RD,  ActnaxTy 

No.  09,  Great  Russell  Street,  Bloonisbury,  London. 


CARLISLE   CATHEDRAL. 

Wanted,  a  COUNTER-TENOR,  andaTKNOR  SINGER,  for  Carlisle  Cathe- 
dral. .Salary,  Fifty  Pounds  a  year  each.  Attendance  daily.  Apply  to  S.  SAUL, 
Esq.,  Chapter  Clerk,  Carlisle. 

None  nc-ed  apply  who  are  not  conversant  with  Cathedral  Music. 


Britannia  Life  Assurance  Company, 

I,  Princes  Street,  Bank,  London. 

Empowered  by  Special  Act  of  Parliament ,  IV,  Vict,  cap.  IX, 

Capital  XIO^OO^OOO  SterUnr. 

ADVANTAGES    OP    THIS    INSTITUTION. 

Mutual  Assokancb  Branch. 

Complete  Security  affbrded  to  the  Assured  by  means  of  an  ample  subscribed 

capital,  and  the  large  fhud  accumulated  from  the  premiums  on  upwards  of  6000 

Policies. 

Half  the  amount  only  of  the  annual  premium  required  during  the  first  five 
^ears,  the  remaining  half  premiums  being  paid  out  of  the  profits,  which,  after 
five  years,  will  be  annually  divided  among  the  Assured. 
Proprietary  Branch. 
The  lowest  rates  consistent  with  security  to  the  Assured. 
An  increasing  scale  of  premiums  pecnhnrly  adnpted  to  cases  where  assurances 
are  effected  for  the  purpose  of  securing  Loans  or  Debts. 

Half-credit  rates  of  Premium,  whereby  credit  is  given  for  half  the  amount  of 
r-reraium  for  seven  years,  to  be  then  paid  off,  or  remain  a  charge  upon  the  Policy, 
at  the  option  of  the  holder. 

EXTRACTS  FROM  THE  TABLES. 


Annual  Premiums  required  for  an  Assurance  of  jf  100  for  the  whole  Term  of  Life  | 

MUTU 

AL  A8SURANC1 

Half  Premium 

S  BRANCH. 

PROPBIBTARY    BRANCH.                | 

Whole  Pre- 

Half Premium 

Whole  Pre- 

Age. 

first  five 

mium    after 

Age. 

first  seven 

mium   after 

years. 

five  years. 

years. 

seven  years. 

Ji    e,     d. 

rf  *    rf. 

^  «.    a. 

^    9.    d. 

ao 

1    0    0 

2    0    0 

20 

0  18    0 

1  16    0 

25 

1    2    2 

2    4    4 

25 

0  19    7 

I  19    2 

80 

1    4  11 

2    9  10 

30 

1    1    9 

2    8    6 

35 

1    8    6 

2  17    0 

35 

1    4  U 

2    9  10 

40 

1  18    3 

3    6    6 

40 

19    2 

2  18    4 

45 

1  19    6 

3  19    0 

45 

1  14  10 

3    9    8 

50 

2    7    0 

4  15    6 

50 

2    2    6 

4    5    0 

65 

S18  10 

6  17    8 

55 

2  12    9 

6    5    6 

PBTBR 

MORBia 

ONj  Rmidxki 

r  DISXGTOIU 

€3&eatre  3^opl,    Mms.     ©ntrg  iLam* 

GRAND     O  P  ERA. -PROS  P  ECTUS. 

It  is  a  circamt tance  aa  unaccountable  as  extraordinary  that  in  an  a^e  when  Music  has  made  such  rapid  progress  among  Civilized  Nations,  as  not  only  to  become 
one  of  our  chief  Recreations  and  Amusements,  but  to  form  part  of  almost  all  ceremonials,  whether  military,  civil,  or  religions,  and  when  every  (Sty  of  any  importance 
lu  Germany,  France,  or  Italy,  possesses  i's  own  Musical  Institution,  that  London,  the  Metropolis  of  the  world,  should  still  t>e  without  an^  acknowledged  Eatabliab- 
ment  for  the  protection  and  advancement  of  the  Lyrical  Drama.  It  cannot  be  urged  that  the  English  arc  not  a  Musical  Nation,  or  how  is  it  that,  for  a  considerable 
portion  of  the  year,  London  becomes  the  universal  rendezvous  of  the  greatest  Artistes  of  which  Europe  can  boast,  who  here  find  the  British  Public  ready  to  bestow  an 
almost  unbounded  patrona<>fe,  as  well  as  that  more  substantial  mark  of  approval— «  princely  remuneration.  It  is  believed  by  some  that  the  support  allowed  by  Foreign 
Governments  to  their  National  Operas  is  absolutely  necessary  to  the  maintenance  of  a  like  institution  in  England ;  but  on  the  Continent,  nearly  all  extensive  under- 
takings, of  whatever  character,  are  carried  out  by  the  Governments;  while  it  is  well  known  that  in  England  private  enterprise  and  public  patronage  are  sufficient  to 
create  and  perfect  works  of  the  greatest  magnitude  without  any  such  assistance.  M.  Jullib  v,  during  many  years  residence  in  this  Country,  has  often  been  forcibly 
struck  with  this  apparent  anomaly,  and  from  all  the  information  he  has  been  enabled  to  collect,  and  from  his  own  observation,  he  believes  most  firmly  that  the  simple 
reason  is  to  be  foond  in  the  fact,  that  while  French,  Italian,  and  German  Operas  have  been  occasionally  produced  in  London,  with  more  or  less  perfection,  yet  no 
Lyrical  Work  has  ever  been  placed  on  the  English  Stage,  with  that  excellence  and  completeness  in  all  its  branches,  as  would  be  even  likely  to  ensure  the  approbation 
of  the  Musical  Amateur,  or  to  command  the  Patronage  of  the  Nobility  of  the  Land.  Emboldened  by  the  Encouragement  which  has  been  accorded  to  him  m  hia 
several  Musical  Undertekings,  M.  J  ulltbx  has  ventured  on  the  task  of  attempting  the  Establishment  of  a  National  English  Opera.  It  must  not  be  understood  frohi 
thistitletliatanHpera,  supported  exclusively  by  Natives'of  England,  is  meant,  but  a  Musical  Establishment  open  to  Genius  and  Talent,  from  wherever  it  may 
emanate.  This  is  essentially  the  character  of  the  Musical  Institutions  of  the  Continent ;  aud  M.  Jullibn  trusts,  with  the  support  of  the  Public,  the  countenance  or 
the  Nobility,  and  the  goodwill  of  the  Profession,  to  be  enabled,  at  all  events,  to  lay  a  Foundation  Stone  of  a  like  Establishment  in  the  British  Metropolis. 
With  this  slight  introduction,  M.  Jullixn  begs  respectfiilly  to  submit  the  fbllowing  List  of  his  Engagements  : 

PRIME   DONNE: 
.   Madame   DORUS     GRAS^    (from  the   Royal  Academy  of  Paris),  and  Miss    B  I  R  O  H  ^  (her  First  Appearance  on  the  Stage  in  England). 
Mrs.    J.    laBA,     MIssMSSSENT^      Mrs.  WBISS^     Miss   MIRAN^    and    Miss   SMITH80N. 

TENORS : 
Mr.   SZM8    RBEVfiS,  (from  La  Scala  of  Milan,)    Mr.  AIiFRED   !■  A  K  B^  (his  First  Appearance,)   and    Mr.  C  !■!  F  FO  R  D. 

BASSI : 
Mr.  HStfRY  WHXTWORTR,  (from  theTheetres  Royal  of  Venice,  Verona,  and  Genoa,)  Mr.  WEISS,  Mr.J.IaEA;  Si«.  GAXiI.Z,  and  Mr.  aUBIO. 

Arrangements  are  pending  with  HERR  PISCHEK,  as  also  with  several  other  Artistes  of  Eminence  whose  names  will  be  duly  announced. 

ORCHESTRA: 

Messn-  Sainton,  Tolbecque,'  Nadaud,  Blagrove,  Mellon,  Case,  Mori,  Collins,  V.,  Baker,  T.,  Payton,  Jay,  Jacquin,  Dawson,  Pluys,  Watkins,  Kreutzor,  E.  J., 
Goffrie,  Krentzer,  Band,  Eisenbaum,  Collins,  Barrett,  C,  Hill,  Dubriol,  Thompson,  O.,  Westrop,  Schmidt,  Thompson,  Trust,  Piatti,  Rousselot,  Collins,  G , 
Hausmann,  Lavenu,  Loder,  W.,  Chapman,  Howeil,  Casolanl,  Anglois,  Rowland,  Pratten,  Castell,  Alsept,  Waua,  Winterbottom,  Richardson,  De  FMj, 
Godfrey,  D.,  Barret,  Jennings,  Lazarus,  Sonnenberg,  Baumann,  Larkin,  Piatt,  Harper,  U.,  Jarrett,  Hooper,  Koenig,  Davis,  W.j  CiofH,  Antoine,  Horton, 
Prospere,  Hughes,  Baker. 

It  will  be  seen  that  the  above  list  embraces  the  chief  Members  of  the  Orchestra  of  the  rival  Italian  Operas  of  last  season,  to  which  M.  Jullien  has 
been  enabled  to  add  the  names  of  several  talented  and  popular  Artistes,  forming  an  "  Orchcstre  cT  Opera"  never  Vet  heard  in  London. 

The  Conduct  of  the  Orchestra  is  confided  to  Monsieur  HECTOR  BBRIiXOZ,  the  celebrated  Composer,  who  was  chosen  by  the  Frendi 
Government  toComposeand  Direct  the  Musicof  the  National  F^tes.andis  acknowledged  to  be  oneof  the  most  distinguished  chefs  d'Orchettre  of  the  present  day. 

CHORUS : 

First  Sopranos— UndRmea  Boden,  R.,  Byers,  Chambers.  Dubois,  Q.,  Dubois,  L.,  GalH,  Harris,  Nye,  Herbert,  Gill,  Howard,  Norman,  Renaad« 
Wilkinson,  Martindale,  Murray,  Ward,  Henley,  Salabert,  St  George,  Browning,  Schwiese,  Barret,  Hammond,  &c.  &c 

Second  Sopranot—Metdamata  Ashton,  L.,  Ashton,  R.,  Boden,  H.,  Brannan,  Diether,  Frost,  Goldsmith,  Alfred,  Wolfe,  Evans,  Shankland,  Allen,  MapleMo, 
Barnett,  Crouch,  Hewett,  Henley,  Miller,  Tweed!,  Heward,  &c.  &c 

First  Tenor*— Messrs.  Ashton,  Connell,  Giffin,  Lewis,  Lomax,  Price,  W.,  Price,  T.,  Walsh,  Herbert,  Hayes,  Horton,  New,  Salabert,  Ruttens, 
Hampnond,  G.,  &c  &c. 

Second  TVnort— Messrs.  Gricc,  Jones,  Morgan,  Nye,  Price,  J.,  Rakes,  Sharp,  Tett,  S.,  Tett,  C,  Walker,  Alderson,  House,  Taylor,  C,  Taylor,  J., 
Chierici,  Shaw,  &c  &c. 

First  Bass' s—Uessrs.  Boltura,  GledblU,  Hodges,  Morgan,  J.,  Macartby,  D^  Santrv,  Slroms,  Bath,  Corri,Hehl,  Zezi,  Bry,  Norman,  &c  &c 

Second  Bass* s— Messrs.  Beale,  Buller,  Carro,  Frost,  Lawler,  Macarthyi  ^'i  Williamson,  Ball,  Hensler,  Holgate,  Handley,  Galli,  Mattaks,  Conlrick, 
Pawsey,  Villascusa,  &c.  &c. 

Maitre  de  Chanty  .  •  -  M.  MARBTZEK. 

The  above  Chorus  is  also  selected  from  those  of  the  two  Italian  Operas,  neither  of  which  was  so  effective  as  could  be  desired,  the  one  possessing  the 
best  Soprani  and  Contralti ;  the  other,  the  best  Bassi  and  Tenori. 

PRINCIPAL  DANCERS : 
MadUe.  FUOOO,       Made.  IiOUZSB,       MadUe.MELANIE    DUVAZ.,      Made.  GIUBIIiBI,     MadUe.  VAITfi,     Mr.  BARVfiY. 

CORPS  DE  BALLET. 
Mademoiselles  Mott,  Greene,  F.,  Rose.  Turner,  J.,  Weston,  Weston,  J.,  Gilbert,  Coleman,  Kirby,  Moseley,  Low,  Chester,  Wiltshire,  Presdie,  Barton, 
Martinez,  Paris,  Page,  Fenton,  Green,  Weymouih,  Browne,  Walkins,  Watson,  Gray,  K.,  Marsano,  Ellis,  Mttehinson,  Home,  Ryan,  M*Ewen,  Moves, 

Charles,  Lee,  Schmidt,  E.,  Schmidt,  M.,  Valler,  Auguste,  U.,  &c.  &c Messrs.  Roffey,  Roffey,  H.,  Douglas,  Edwards,  Taylor,  Firth,  &c  &c 

Extra  Ladies— Meadames  Marston,  Marston,  F.,  Grubins,  Grubins,  E.,  Sheridan,  Edgar,  Desborough,Taylor,  Wallstein,  Dale,  Martinez,  Ennis,  Sec. 

Children— MsLdemoiaeWes  Ryan,  R.,  Morris,  F«,  Martinez,  I.,  Turtle,  Hammond,  E.,  Mendez,  Whitmore,  Desborough,  Oldfield,  Wallstein,  M. 

Masters  Wait  and  Sloman,  &c.  ore. 

Maitre  de  BaUet,  M.  BENJ.  BARNETT.  Chef  d'Orchestre,  Monslevr  NADAVD. 

M.  JuLLiSN  has  the  great  satisfaction  also  to  state,  that  the  following  Gentlemen  are  also  attached  to  the  Establishment,  and  will  superintend  those  several 
departments  for  which  th^r  talents  so  admirably  qualify  them,  viz. : 

Sir  HENRT   BISHOP,  Mr.  PIiANCRE,  Mr.  A.  FORRESTER,        and        Messrs.  aRXEVE  Bt  TSIiBIlV. 

M.  JuLLiBN  believes  that  the  above  Programme  represents  an  ensemble  not  as  yet  combined  in  the  arrangements  of  any  Theatre  in  England,  aod  notwithstand- 
ing the  very  great  outlay,  as  well  as  the  extraordinary  current  expense  necesarily  incurred,  he  does  not  intend  to  increase  the  Prices  of  Admission  above  those  which 
have  been  usually  charged  to  an  English  Opera.— Prices  of  Admission: 

Stalls,  lOs.  6d.  j     Pit,  3s.  6d.  |     Dress  Circle,  7s.  j     Boxes,  6s.  |     First  Oallery,  Bs.  j     Second  Gallenr,  Is. 

Private  Boxes,  £1  lOs.  6d„  £ft  2s.,  £3  Ss.,  a&d  upwards. 

As  the  Season  will  be  for  3  Months  only,  instead  of  8,  as  hitherto,  there  will  be  only  50  Representations,  and  the  Terms  to  Subscribers  reduced  accordingly,  Tiz.f 
Stalls,  16  Gtdneas  :    Prirate  Boxes,  60  Gnineas,  80  Guineas,  and  lao  Guineas. 

AKRAiTGBHKirTs  FOR  THE  APPROACHING  Sbason.— The  Theatre  opened  on  Monday,  December  6th,  1817,  with  DowizsTTt's  Opera,  "  THS  BRIDE 
op  LAIMMCRMOOA,"  the  principal  characters  heiaf^  sustained  by  Madame  Dorus  Gras,  Mr.  Rbivbs,  Mr.  Whitworth,  Mr.  Weiss,  Sig.  Oalli,  ftc  flee.— 
The  performance  met  with  the  approbation  of  the  Nobility  and  the  Public  present  on  that  occasion< 

Early  in  the  Season  will  be  produced  an  entirely  NEW  OPERA,  composed  expressly  by  Mr.  M.  W.  DALFE.  entitled  '<THe  MAIO  OF  HONOR." 
At  Christmas,  in  addition  to  the  Opera,  and  in  accordance  with  the  long  standing  custom  of  the  Patent  Theatres,  A  GRAND  COMIC  PANTOMIME,  by  ALFRED 
CROWQUILL  and  ALBERT  SMirH,  will  be  produced.— During  the  month  of  JANUARY,  two  other  Original  Operas  will  be  brought  forward,  and  the  Season  will 
be  concluded  at  the  end  of  FEBRUARY  with  GLUCK'S  Classical  Work, ''  IPHICENIA  IN  TAURIS,"  together  with  an  entirely  New  Grand  Ballet  d'Action. 

The  Theatre  will  be  open  THREE  TIMES  IN  EACH  WEEK,  previous  to  Christmas,  after  which  time  the  Performances  will  be  given  EVERY  NIGHT  uiitil 
the  termination  of  the  PANTOMIME,  when  they  will  be  again  limited  to  Three  times  per  Week  until  the  close  of  the  Season. 

Terms  of  Subscription,  Tickets,  dkc,  to  be  had  at  the  BosuOfflce  of  the  Theatre,  at  the  Musical  Conservatory  and  Musical 

Itibrary^  B14,  Recent  Street,  and  all  the  principal  Iiibraries.  ^^ 

Printed  and  Pnblishetl,  for  the  Proprietors,  at  the  <*  Nassau  Steam  Press,"  by  Wiiliav  Spencer  Johnson,  60,  St.  Martin's  Lane,  In  the  paririi  of  St. 
Martin's  in  the  Fields,  in  the  County  of  Middlesex;  where  all  communications  for  the  Editor  are  to  be  addressed,  postpaid.  To  be  had  of  G.  Porkess,  Dean 
Street, Sofao;  8tnmge,PatenioaterRowi  Yicken,  HolyweU  Street;  aadall  Book-iellen;  CityAgent, Mr.G.F.Denning,  2,BacUersbnry,— Saturday,  Decemberll ,  1847 


(PUBLISHED    EVERY    SATURDAY     AT    NOON.)^ 

A  RECORD  OP  THE  THEATRES,  CONCERT  ROOM,  MUSIC,  LITERATURE,  FINE  ARTS, 

FOREIGN  INTELLIGENCE,  &c. 

Ttrms  of  fittbserlptloii,  per  Aimtim,  16s.  Stamped ;  Ifls.  Unatanped  j  to  be  forwarded  liy  Money  Order  or  Pootaife  Stamps 
to  the  Pnblioher,  W<  8.  Johmon,  "  Naosan  Steam  Press,"  60,  St.  Martin's  Ziane,  Cbarlns  Grosst 
91^  Yearly  Soboeribers  only  (whose  names  are  reslstered  at  the  Office)  are  entitled  to  an  AdmUsion  to  the  Annnal  Coneert 


No.  61.— Vol.  XXII. 


SATURDAY,  DECEMBER  18,  1847. 


{ 


STAMPED,  FOURPBNCE 


THE   TWO   ITALIAN   OPERAS. 

Thb  time  38  drawing  near  when  the  public  may  reasonably 
expect  a  prospectus  of  the  ensuing  season's  arrangements  at 
the  hands  of  each  of  these  great  establishments.  Although 
little  of  positive  is  known  of  what  the  managers  and  agents 
of  either  theatre  have  been  doing  since  the  recess,  there  is 
enough  of  rumour  and  on  dit  to  authorise  a  chat  with  the 
reader  on  the  subject,  which  promises  to  engross  even  more  of 
public  attention  in  1848  than  it  did  in  1847. 

The  proceedings  of  the  director  of  Her  Majesty's  Theatre 
have,  as  usual,  been  enveloped  in  a  cloud  of  diplomatic 
mystery.  Travellers  in  far  countries  testify,  to  the  fact  of 
having  seen  Mr,  Lumley  here,  there,  and  everywhere ;  bat  his 
precise  whereabout,  like  his  actual  whatabout,  has  been 
almost  uniformly  a  matter  of  conjecture.  Some  assert  that 
Mr.  Lumley  was  at  Berlin  when  Madlle.  Jenny  Lind  was  at 
Berlin  ;  that  Mr.  Lumley  was  at  Vienna  when  Madlle.  Jenny 
Lind  was  at  Vienna;  and  that  ultimately,  when  the  Swedish 
Nightingale  rested  her  weaiy  wings,  and  closed  her  pretty 
lips  at  Stockholm,  Mr.  Lumley  also  put  a  temporary 
period  to  his  travels,  and  laid  up,  for  a  while,  his  carpet-bag. 
Others  state  that  Mr.  Lumley  was  seen  in  Paris,  one  fine 
Octpber  night,  on  the  Pont  Neuf,  with  a  dark  lantern  in  his 
hand,  looking  out  for  a  primo  tenore.  But  of  course  this  is 
a  piece  of  pleasantry,  only  worth  citing  as  such.  The  reports 
of  .Mr.  Lumley's  doings  have  been  numerous  enough,  but  no 
certainty  is  attached  to  any  of;  them.  First,  a  one-act  opera  for 
Jenny  Lind  was  secured  from  Meyerbeer ;  but  this  Meyerbeer 
has  himself  denied,  if  we  are  to  believe  our  Paris  correspondent. 
Next  we  were  to  >avc  had  the  Camp  of  Silesia ;  but  it 
appears  that  the  author  of  the  Huguenots  insisted  upon  certain 
guarantees  about,  the  orchestral,  choral,  and  other  arrange- 
ments, which  the  spirited  director  of  Her  Majesty's  Theatre 
was  not  ready  to  grant ;  the  consequence  would  seem  to  be 
the  sudden  rupture  of  the  treaty  in  the  midst  of  the  pre- 
liminaries. We  are  informed,  however,  but  will  not  pledge 
ourselves  to  the  fact,  that  Mr.  Lumley  intends  to  do  the 
Camp  of  Silesia  in  spite  of  the  composer,  who  may  grumble 
as  he  likes,  and  make  the  beat  of  it.  In  self-defence,  perhaps, 
Meyerbeer  will  direct  the  same, opera  at  another  theatre. 
where  his  foible  in  respect  of  orchestral  and  choral  complete- 
ness will  be  gratified ;  but  against  the  Swedish  Nightingale,  the 
finest  orchestra,  and  the  finest  chorus,  and  the  most  complete 
cast,  and  the  most  gorgeous  and  characteristic  mise  en  scene, 
and  military  bands  upon  the  stage,  and  the  superintendence 
of  TBB  Mbtbrbeer  In  person,  will  (who  can  gainsay  it  ?) 
avail  nothing.  As  we  have  heard  some  staunch  supporters  of 
Mr.  Lumley's  diplomacy  assert,  over  and  over  again,  during 
fhe  course  of  the  last  absorbing  season— -Jenny  Lind  and,  four 
fiddlers  in  the  orchestra,  would  be  quite  enough  to  draw  the 


multitude  to  Her  Majesty's  Theatre,  and  make  the  fortune  of 
the  manager.  To  which  we  respond  **  Amen,"  without  a 
wince.  Jenny  Lind,  in  her  own  person,  is  prima  denna^ 
orchestra,  chorus,  scenes,  conductor,  music  and  all ;  and 
then,  as  we  have  heard  aptly  suggested,  the  pre-eminence  of 
her  talent  is  enhanced  by  the  charms  of  her  person,  and 
capped  by  the  purity  of  her  morals.  What  can  resist  such 
an  ensemble  ?     Surely  nothing  ! 

All  we  can  precisely  ascertain  of  the  programme  of  Her 
Majesty's  Theatre  touches  the  personnel.  That  we  are  to 
have  Jenny  Lind  is  certain  ;  that  we  are  to  have  Lablache  is 
sure ;  that  we  are  to  have  Gardoni  is  undeniable. ;  that  we 
are  to  have  Coletti  is  unquestionable  ;  that  we  are  to  have 
Superchi  is  incontrovertible  ;  that  we  are  to  have  Bouch^  is 
inevitable.  Add  to  these,  Tadolini,.wTio  was  &mous  before 
Grisi  was  known ;  and  a  rumour — only  a  runaour— of  Frezzo- 
lini  Poggi.  We  shall  not  have  Fraschini,  and  we  cannot  rely 
upon  the  assistance  of  Made.  Solari  and  Dai  f'iori.  The 
ballet  will  be  as  grand  as  ever.  Cento,  Rosati,  Marie 
Taglioni,  and  last  and  best,  Carlotta  Gatsi,  will  again  be 
with  lis.  Taglioni  is  very  doubtful,  and  Luctle  Grahn  out  of 
the  question,  since  Rosati  has  usurped  her  place — which  we 
state  with  anything  but  satisfaction.  About  the  male  dancers, 
except  Perrot.  we  know  nothing,  and  care  less ;  suffice  it  that 
Perrot  will  once  more,  and  for  the  last  time,  direct  the  ballet; 
and  as  was  the  case  last  year,  will  be  preceded  by  Paul 
Taglioni,  whose  merit  is  to  be  the  father  of  his  daughter, 
pretty  pouting  little  Marie.  In  the  fca//*/,- therefore,  rivalry  is 
altogether  impossible.  The  band,  with  some  few  exceptions, 
will  be  entirely  new  ;  let  us  hope  that  it  may  be  better  than 
the  last.  Balfe  remains  conductor — a  fortunate  thirtg  for  the 
manager,  to  whom  he  rendered,  in  1846-7,  such  inestimable 
services.  Mr.  Lumley  remains  director,  and  M.  Maretzek 
diplomatist,  chargd  d* affair es,  and  master  of  the  choruses. 
Mr.  Marshall  rests  at  the  head  of  the  scenery  department, 
upon  which  we  may  congratulate  all  concerned ;  and  Made: 
Coupere  will  continue  to  superintend  the  costumes,  and 
organise  the  throwing  of  bouquets  to  Jenny  Lind  and  Rosati 
— upon  which  we  hardly  know  whether  we  may  congratulate 
aWjconcerned.  MM.  Escudier,  of  La  France  Musicale,  vfWl 
persist  in  the  assumption  of  the  Paris  agency,  and  act  as  the 
common  sign-post  for  manager  and  artiste.  M.  Fiorentinb,  of 
the  Constiiutionnel,  will  persist  in  maintaining. his  neutrality, 
and  act  as  a  sign-post  to  neither. 

The  theatre  will  be  cleaned,  because  it  wants  it ;  but  it  will 
not  be  renovated,  because  it  does  not  want  it.  Mr.  Nugent 
will  be  at  his  old  post,  which  will  be  welcome  intelligence  to 
those  who  have  experienced  his  invariable  politeness  and 
attention.  Digitized  by  V^, 

All  these  things  may   be  ^relied  upon,   albeit  we    have 


800 


THE  MUSICAL  WORLD. 


seen  no  programmei  nar  the  sliadow  of  one,  either  in  MS.  or 
in  print.  Meanwhile,  we  wish  a  prosperous  season  to  Her 
Ifcjettj^  Theatre,  and  ihall  be  always  ready  with  the  quid 
pro  quo  for  a  gallery  stall,  whenever  there  is  anything  that 
demands  our  attendance,  as  critics  and  recorders ;  on 
other  occasions,  we  shall  feel  obliged  to  any  friend  who  exults 
in  a  box,  if  he  will  give  us  a  place  in  it,  or  to  any  one  who 
has  a  stall  to  throw  away,  if  he  will  exercise  his  liberality  on 
our  persons. 

When  the  prospectus  appears,  we  shall  be  enabled  to  say 
more.  Need  we  insist  that,  like  Fiorentino,  we  maintain  that 
position  of  neutrality  which  nothing  could  shake  last  year — 
not  all  the  noise  about  Jenny  Lind,  on  one  side,  nor  all  the 
enthoaiaBin  of  our  coUaborateur,  D.  R.,  on  the  other. 

And  now  a  word  or  two  about  Covent  Garden.  The  resig- 
nation  of  Mr.  Beale  is  well  known  and  unanimously  deplored ; 
but  it  is  comfortable  to  state  that,  long  before  his  retirement, 
he  had  made  all  the  arrangements  for  the  coming  season,  the 
prospectus  of  which  will  doubtless  appear  in  due  time.  Par 
par^fUhiae'^ihe  last  step  of  Mr.  Beale,  previous  to  his  abdica- 
tion, crowned  his  retreat  with  glory ;  need  we  say,  that  we 
allude  to  the  free  loan  of  the  magnificent  theatre  and  its 
stores  of  resources  for  the  use  of  the  managers  of  the  Shaks* 
perian  fund  ?  We  have  heard  that  a  testimonial  is  getting  up, 
which  will  be  signed  by  all  the  artists  of  the  Royal  Italian 
Opera,  expressing  to  Mr.  Beale  their  strong  sense  of  his 
manly,  upright,  and  honorable  conduct—his  courteous  de- 
meanour— ^his  gentlemanly  manners — ^liis  strict  and  unswerv- 
ing justice,  without  prejudice  to  persons — his  managerial 
talents,  at  once  solid,'  brilliant,  and  useful — and  concluding 
with  expressions  of  lively,  heartfelt,  and  unanimous  regret  at 
his  retirement  from  the  direction  of  that  theatre  on  which 
his  name  had  conferred  so  much  honor,  and  for  which  his 
policy  and  general  behaviour  had  won  so  much  credit,  under 
circumstances  of  trying  difficulty  such  as  perhaps  no  manager 
of  any  theatre  had  ever  been  encumbered  veith  before.  We 
trust  and  believe  this  to  be  authentic ; — ^nothing  can  be  more 
thoroughly  deserved. 

Am<mg  those  whom  rumour  enumerates  as  likely  to  succeed 
Mr.  Beale  we  shall  only  mention  one — Mr.  Mitchell,  lessee  of 
the  St.  James's  Theatre  --who,  if  he  be  induced  to  undertake 
the  office,  will  leave  us  less  cause  to  regret  the  loss  of  his 
worthy  predecessor. 

And  now  a  word  or  two  anticipatory  of  the  prospectus  of 
the  Royal  Italian  Opera.  We  have  seen  nothing  either  in 
MS.  or  in  print ;  what  we  say,  therefore,  which  will  be  very 
little^  must  be  taken  at  its  proper  value.  Among  the  soprani 
ire  are  sure  of  Grisi,  Persian!,  Made.  Ronconi,  Steffanoni,  and 
Corbarl;  among  the  contralti  we  are  only  sure  of  Alboni — but 
Alboni  is  in  herself  a  host.  Add  to  these  Pauline  Ylaidot 
Garda,  soprano  and  contralio  in  one,  on  whose  advent  we 
may  rely  ;  and  a  certain  Madlle.  Zoya,  who  is  coming  for  the 
express  purpose  of  playing  Maria,  in  LaFiglia  del  Reggimento, 
and,  according  to  all  accounts,  is  one  of  the  most  extraordi- 
nary phenomena  of  the  modern  stage.  For  tenors,  we  may 
count  with  safety  upon  Mario  and  Salvi,  to  say  nothing  of 
Lavia  and  some  '*  sidera  minora."  Bettini  will  not  return  at 
present;  he  is  looking  out  for  the  sceptre,  which  Duprez 
must  shortly  abandon,  at  the  Academic  Boy  ale  de  JMusique ; 
let  us  hope  that  the  eleven  threatened  operas  of  *' young 
Verdi,"  of  which  one  of  our  Paris  correspondents  speaks  in 
his  letter  this  week,  may  not  prematurely  finish  his  career,  as 
was  the  case  with  the  two  tenors  of  Milan.  For  barytones 
have  we  not  Tamburini  and  Ronconi  ? — and  for  basses  Tag- 
liafieo  and  Marini  ?-— not  to  count  the  planets  that  revolve  in  the 


system  of  these  sons  of  dramatic  sons.  Bassini  is  not 
coming  next  year,  but  in  1840  we  may  esicpect  him,  widi  the 
''  pupil  of  Pasta,"  about  whose  pre-eminence  report  has  been  eo 
mysteriously  busy.  Nor  can  Roger,  the  inimitable  tenor  of 
the  Opera  Comique^  whom  rumour  has  engaged  at  the  Royal 
Italian  Opera,  be  expected  in  1848  ;  still  less  Duprez,  who, 
according  to  some  dealers  in  chit-chat^  was  to  have  played 
with  Viardot  in  the  operas  of  Meyerbeer ;  these  assertions 
were  but  guesses,  and  have  turned  out  wrong. 

The  orchestra  and  chorus  of  the  Royal  Italian  Opera — 
good  enough  last  year,  in  all  conscience,  for  any  stork  of  a 
connoisseur,  for  any  cormorant  of  the  stalls,  (Sir  Henry 
Webb  himself),  for  any  fanatic  of  Mozart — ^will  be  increased 
in  numbers,  and  improved  in  quality,  as  if  the  numbers 
wanted  reinforcement,  or  the  quality  were  capable  of  amelio- 
ration. 

Costa  will  again  direct  the  musical  proceedings  of  the 
establishment ;  comment  upon  this  would  be  superfluous* 

The  ballet^  even  more  than  last  year,  will  be  cast  into  the 
shade.  We  only  know  of  one  engagement — ^Flora  Fabbri,  for 
three  montlis.  Rumour,  however,  is  loud  in  the  praise  of 
some  young  dancer,  lately  secured  in  Paris,  remarkable  in  an 
equal  measure  on  the  score  of  talent  and  of  beauty — a  Fanny 
Ellsler  (we  are  told)  with  nineteen  summers  t  We  shall  see-— 
and  if  captivation  be  inevitable,  be  captivated ;  in  such  cases 
the  citadel  of  our  judgment,  and  the  stronghold  of  our  aflfection 
are  easily  stormed  and  tak en .  Of  the  other  ballet  arrangements 
we  know  little  or  nothing.  For  the  male  dancers,  as  we  have 
hinted,  we  do  not  care  a  straw.  •*  What  matters  it,"  ae  the 
witty  J.  J.  says,  in  allusion  to  St.  L^on,  '*  what  mattov  it, 
whether  one  male  dancer  dances  better  or  worse  than  another? 
— what  does  it  signify  to  him,  and  what  does  it  signify  to  ns  !" 
Of  one  thing  we  are  sorry— that  we  are  to  lose  Casati,  the 
excellent  maitre  de  ballet,  who  composed  Manon  LEseaut^ 
for  Ellsler,  and  (more-to-be-lamented)  his  lovely  wife,  who 
appeared  in  Mr.  Lumley's  prospectus,  last  year,  as  Mdlle. 
Wauthier — the  beautiful  Mdlle.  Wauthier,  for  whose  apparition 
aireyes  were  glistening,  all  hearts  quaking,  with  the  antici- 
pation of  a  charming  slavery.  Madame  Casati  is,  indeed,  one 
of  the  most  ravishing  persons,  to  look  at,  that  ever  filled  mortal 
eye  with  delicious  visions,  that  ever  loaded  mortal  brain  with 
the  "  stuff  that  dreams  are  made  of,"  that  ever  made  mortal 
fancy  build  castles  in  the  air !  But  we  are  no^  to  have 
Madame  Casati  in  1848 — so  let  us  make  the  best  of  the  Aope 
of  seeing  her  again  in  1849.  Who  are  to  be  the  minor  lumi- 
naries of  the  ballet,  who  the  orchestra  conductor  (we  ahall 
be  glad  to  see  Mr.  Alfred  Mellon  at  his  post  again)*  who  the 
ballet-msLSter,  who  the  eosiumU'^e,  &c.  See,,  not  knowing,  we 
cannot  say.  We  are  not  to  have  Fuoco ;  Jullien  has  tecored 
the  lively,  little  Sophie  and  her pointes. 

Mr.  Grieve  will  remain  as  principal  scene-painter — ^than 
which  no  more  welcome  intelligence  could  be  given  to  the 
amateurs  of  well  painted,  graphic,  life-like  pictures. 

The  theatre  will  be  cleaned — ^but  will  the  Amphitheatres  be 
demolished,  and  a  spacious  gallery  spring  from  their  ashes  ? 
We  hope  yes,  but  fear  no»  Time  will  decide.  We  know 
nothing  of  whom  is  to  throw  the  bouquets,  nor  at  whom  they 
are  to  be  thrown. 

Now,  reader,  you  possess  all  we  are  in  a  condition  to  tdl 
you  at  present.  At  any  rate  there  is  matter  for  specnlatioi^, 
until  the  rival  prospectuses  are  issued  ;  and  be  assured  that  the 
earliest  information  possible  to  be  obtained  shall  be  your^s. 
We  shall  watch  the  proceedings  at  both  houses  with  an  eye 
that  can  neither  close  with  weariness  nor  wink  with  indiffeffenee. 
We  have  now  means  of  information  both  on  the  eontineot  and 


THE  MUSICAL  WORLD. 


801 


at  lloroe.  Ar^g^as  with  his  hundred  eyes,  and  Briarens  irith 
his  hundred  armSi  shall  be  the  types  of  our  watchfulness  and 
diligence. 

PAULINE  VIARDOT  GARCIA. 

(Frem  a  Correspcndent.) 

This  celebrated  vocalist  has  been  reaping  new  laurels  in 
some  of  the  Qerman  musical  towns.  After  a  triumphant 
engagement  at  Dresden,  she  took  her  adieu  on  the  3rd  Dec. 
Don  Giovanni  was  to  be  given,  but  Don  Giovanni  was  ill,  and 
the  masterpiece  of  Mozart  could  not  be  performed.  Meyer- 
beer's HuguenoU  was  then  chosen  for  the  substitute,  but  the 
tenon  Raoul,  was  seized  by  the  griff e^  and  the  HuguenoU 
also  was  put  hort  de  combat.  Finally,  we  were  compelled  to 
put  up  with  the  fourth  act  of  A)5«r^  le  Diable.mth  the  shadow 
of  a  tenor— the  third  act  of  Otelio,  ditto  ditto— and  the  last 
scene  of  Sonnambula,  Yiardot  Garcia's  success  was  tremendous ; 
every  point  was  applauded  with  enthusiasm.  The  house  was 
crowded  to  the  roof,  and  there  were  regular  battles  to  obtain 
tickets  of  admission  ;  she  was  compelled  to  repeat  the  finale, 
which  was  followed  by  showers  of  bouquets,  recalls,  and  all 
imaginable  uproar. 

On  the  9th,  Made.  Viardot  debuted  at  Hamburgh,  in  the 
BarHere,  to  an  immensely  crowded  house.  Tlie  cavatina,  "Una 
voce  poco  fc,*'  was  encored,  but  as  she  was  going  to  introduce 
■everal  moreeaux  in  the  lesson  scene,  Madame  V.  declined  to 
respond  to  the  demand ;  she  was  several  times  recalled,  however. 
Hie  duct,  **  Dunque  io  son,"  produced  a  furore.  In  the  singing 
lesson  Madame  V.  introduced  the  "Contrabandists,"  the 
"Calezera,"  «*Riqui  riqui,"  and,  to  wind  up,  the  finale  to 
CenerentoUt,  the  andante  of  which  was  redemanded,  as  were 
also  the  variations,  but  she  only  repeated  the  latter.  In  short 
a  more  complete  fiinaticism  was  never  created  by  an  artist. 
At  the  end  of  her  Hamburgh  engagement,  Viardot  Garcia 
goes  to  the  Royal  Theatre  at  Berlin,  where  she  is  engaged  for 
three  months. 


«  «w«i«  on  ttie  '*  nmnititn^^  of   Cftot|ie> 

IN   ITS  WORLT-HISTORICAL  SIGNinCANCE, 
DEVZLOPXI)  ACCOBDZKa  TO   ITS   VOBAL  AKD  iLBTISTIClIi  VlXUX, 

TramiUded  jHm  the  Qerman  of  Dr.   Seinrick  Theodor  Motteker\ 

m»ftMor  »t  the  Boyal  GynuyMimn  At  Brombeig. 

CHAFTCR  WU-^Cmainmed  firem  p9§e  W.) 

TBS    AftTIFlCTAX.    COVVOSlTiOH  0»   "THS   AVFISITIM." 

..J"*  J"*™^3^  retardiog  element  of  the  epopee,  or  the  roaaance, 
differs  from  tSe  episode  in  this—that  in  the  former,  besides  aa 
internal  connection  of  the  thought  and  view  with  the  idea  of  the 
work  of  art,  there  is  also  yisible  an  external  link  with  the  acting 
personsges  and  the  events,  whereas  in  the  episode  this  Is  altogether 
WMtiw.  The  episode  has,  therefore,  for  its  anion  with  the  whole 
oaiy  the  mt»nial  aflbity  of  the  idea,  so  that,  if  it  is  aevered  from 
Ike  rest,  we  completely  veUio  the  whole  caase  of  the  development ; 
but,  at  the  saoM  time,  if  the  episode  be  of  the  right  kind  we  deprive 
oorseives  of  the  ulemal  relations  of  thought,  which  not  uufrequentiy 
hrin^  forth  the  purest  esthetical  effects,  and  which  also  by  the 
feebngs  and  views  which  they  awaken,  contain  an   element  of 


^/*  •.Moment  when,  through  the  existence  of  the  child,  the 
brescfa^  m  domestic  lilb  seems,  to  a  superficial  observer,  to  be 
liasteanigtohsenre,wearemetbytwo  figures  in  the  persoDS  of 
tl^  Jord  and  his  companion,  who,  while  they  are  bat  littto  familiar 
with  the  internal  relations  of  tiie  fimUy,  in  die  course  of  tiieir  con- 
versation touch  unconscionsly  upon  points  which  awaken  troubled 
lecollections  snd  painful  feellnffs,  and  by  the  sUte  of  feeling  which 
^ey  call  fortii  sffunst  their  will,  force  us  to  the  painful  certointy 
mat  an  incnnible  malady  is  here  hidden  beneath  a  deceptive  vofl, 
and  tends  to  the  destiiK^tion  of  to  vessel. 


The  poet  has  not  missed  giring  us  a  lively  picture  of  the 
apptfentiy  becalmed  mind  with  which,  after  the  birta  of  the  child, 
the  individuals  appear  to  be  blessed.  Chariotto  through  this  boy 
obtains  a  new  relation  to  the  world  and  her  property,  her  old 
actirity  rarives,  and  in  this  state  of  joy  she  pictures  to  herself  a 
possible  union  between  Ottilia  and  the  Captain,  she  abandons 
nerself  to  cheerful  contemplations  on  the  vicissitudes  of  late,  in 
which  she  sees  nothing  like  a  dssmonic  power,  but  one  which 
grsnte  us  oor  wishes,  after  a  fashion  of  its  own,  to  be  able  to  give 
us  something  beyond  our  wishes.  Delighted  with  the  noble 
prospect  which  is  opened  to  her  from  the  new  building,  she  at 
once  resolves  to  accelerate  its  completion.  A  brisk  actirity 
developos  itself,  and  the  pleasure  of  this  productive  actirity  is 
enjoyed  by  Charlotte  and  Ottilia  in  common.  The  kindly  mood 
seems  heightened  by  the  arrival  of  the  lord  and  his  companion. 

Sthe  side  of  these  guests,  tiiey  stray  through  the  park,  which 
ibly  derives  advantage  from  the  lord's  remarks.  The  interest  in 
immediate  objects  is  rerived  in  the  ladies^^hey  hold  intercourse 
with  each  other,  as  though  the  most  central  mood  resided  in  their 
circle. 

But  what  a  iimsy  veil  this  is  short  cheerful  intere^  I  How  now 
do  we  perceive  beneath  it  the  deep  wound,  which  offers  to  us  a 
sight  the  more  disgusting,  because  it  has  been  loitg  withdrawn 
ftom  our  sight.  Here  also  the  sesthetic  effect  rested  on  the  con- 
tradiction (exhibited  without  effort)  between  the  external  appear- 
ance, and  uie  internal  reality,  which  is  now  fint  bronght  forward,  if 
indeed  it  is  only  in  the  remotest  degree  that  notions  are  awakened 
which  are  involuntarily  connected  with  the  peculiar  feelings  of  the 
parties  and  turn  the  glance  inwards. 

In  the  effects  accidentally  pjoduced  on  the*  two  ladies  by  the 
lord's  accidental  remarks,  the  contrast  of  their  individuality  and 
peculiar  constitution  of  mind  is  most  foreibly  exhibited,  while 
Chariotte,  partly  through  her  intercourse  with  the  great  world  has 
grown  aeenstomed  to  the  contretemps  and  accidental  wounds  that 
may  be  inflieted  in  the  courre  of  conversation,  partiy  through  the 
moral  clearness  she  has  attained  after  subdning  her  passion,  feels 
no  particular  pain  ;  Ottilia's  heart  on  the  other  hand  suffers  the 
aeutest  anguish.  To  characterize  this  it  is  an  important  feature 
that  the  apoloffy  for  *' homelessness,'*  which  we  bear  from  the 
mouth  of  the  lord,  who  pndses  that  condition  as  the  happiest, 
brings  before  the  soul  of  Ottilia  the  most  lively  image  of  Edward, 
who  Is  restlessly  contending  with  danger  and  difficulty,  and  fills 
her  with  a  pain  hitherto  unknown.  From  this  we  learn  how  the 
homdess,  wandering  friend  is  ever  floating  before  heil;  how  all  her 
riews  are  all  collected  about  this  one  centre,  and  oy  that  centre 
alone  are  attracted  and  stistained.  Such  features  produce  an  effect 
so  extraordinary,  because  by  them  the  whole  past  situation,  the 
inritibly  progicasing  passion  suddenly  becomes  illumined,  and  the 
trnrio  wound  for  the  eoUirion  is  not  a  little  heightened. 

To  heal  the  wound,  which  he  has  observed  in  the  course  of 
eonvereation,  the  lord  proceeds  to  the  narrative  of  the  novel,  which 
b  here  introduced  into  oor  work.  While  in  the  previous  convei^ 
sations  of  the  lord  and  the  ladies  only  a  retarding  element  has 
shown  itself,  in  which  the  direct  progress  of  the  action  is  Impeded, 
but  at  the  same  time  an  immediate  relation  to  the  acting  individuals 
is  retained,  so  in  the  following  episode  every  external  connection 
with  the  work  is  broke  off,  and  nothing  Is  left  as  a  result  but  the 
tone  of  mind  and  riew,  which  alone  works  upon  the  internal  sense 
and  by  that  alone  can  |be  apprehended.  He  whose  mind  cannot 
perceive  and  produce  In  himself  those  riews,  which  rest  in  the 
affinity  of  thoughts,  and  tlras  form  themselves  according  to  a 
eertmn  necessity,  might  without  offence  regard  the  filling  episode 
as  a  mere  non-etsential  addition.  Let  us  endeavour  to  d^elope,  in 
a  few  words,  the  sesthetical  effect  of  our  narrative. 

If  we  are  to  give,  in  a  word,  the  internal  connection  of  the  novel 
wHh  our  work  ^  art,  we  perceive  io  H,  that  the  thorough  victory 
of  Elective  Affinity  as  the  result  of  various  changes  and  contests  is 
made  plainly  conspicuous.  Between  two  excellent  young  creatures, 
destined  by  their  parents  fer  each  other,  at  an  esriy  age,  appears  the 
strongest  repugnsnce,  which  is  even  heightened  to  rage ;  the 
muttnl  position  separates  our  obstinate  antipodes ;  the  giri  matured 
to  a  beautiful  vhgin  is  treated  with  the  most  refined  attention  by  a 
yotrag  man,  eminent  In  every  respect  by  positiott  and  property,  and 
w  destiMu  to  be  nanitnre  wife  by  ^le  Mbit  of  tta  soetetj,  and  the 


it 


802 


THE  MUSICAL  WORLD. 


opDion  of  the  world,  which  has  often  desigrnated  her  as  the  bride 
of  so  hcipefbl  a  suitor.  A  quiet  goodwill  was  the  basis  of  the  whole 
relation,  to  whidi  she  carelessly  and  cheerfully  resigned  herself,  and 
in  this  perceiTed  a  guarantee  for  future  happiness.  The  former 
adversary  who  is  now  new-formed  into  a  handsome  youth,  comes 
back,  and  by  his  whole  appearance,  so  fetters  the  girl's  mind,  that 
her  feelings  are  soon  heignteoed  into  an  immediate  passion,  in 
which  death  is  welcome  to  her  |as  a  release  from  an  existence 
wbicb  has  missed  its  aim  and  is  completely  torn.  In  the  presence 
of  the  belored  one  the  release  from  life  is  to  talce  place,  that  the 
image  of  the  girl  destroyed  by  bis  coldness,  may  for  ever  be  im- 
pressed upon  his  soul.  The  sieht!of  the  beautiful  maiden,  who 
devotes  herself  to  a  certain  death  in  the  waves,  and  has  pointed 
bim  out  as  the  cause  of  her  desperate  resolution,  calls  forth  all  his 
strength.  With  strong  arms  he  carries  his  lovely  prey  ashore,  and 
at  that  moment,  a  passion  hitherto  concealed  in  bim  is  revealed,  and 
dispals  the  scruples  of  both.  As  he  has  rescued  her  from  the  death, 
which  she  preferred  to  a  life  without  him,  he  thinks  be  has  a  claim 
to  be  preferred  before  that  of  any  of  the  living.  A  right  so 
acquired  is  sanctioned  by  the  parents  with  their  blessing,  which 
thejr  can  hardly  refuse  to  a  pair  destined  for  each  other  by  a  bigber 
ordmation. 

Even  in  these*  individuals,  [from  the  very  beginning  of  their 
mutual  relation,  is  shown  the  power  of  an  Elective  Affinity,  which 
indeed,  in  the  childish  years  or  our  couple,  appears  in  the  disguised 
form  of  hate,  while  however,  according  to  the  poet's  fine  expression, 
a  dark  acknowledgment  of  internal  woirth  lay  at  the  founaation  of 
this  hostile  feeling.  As  there  is  no  greater  mystery  than  love  and 
bate,  so  does  this  mystery  exhibit  itself  here.  For  that  dark 
impulse  towards  an  unmeasured  recognition  of  the  kindred  being, 
which,  before  it  became  conscious  of  its  own  character,  aimed  at 
an  annihilation  of  the  subject,  afiterwards  manifests  itself  as  the 
most  unbounded  pasnon,  which  will  annihilate  itself  when  the 
possession  of  its  object  seems  denied.  This  perfect  resignation  is 
rewarded  ;  a  higher  ordination  of  things  brings  to  light  the  secret 
of  love  between  kindred  beings,  which  in  some  form  or  other,  has 
manifested  itself  from  the  beginning,  and  attains  for  it  the  most 
perfect  victory  over  the  claims  which  have  been  recognised  by 
fancy  alone. 

Here  love,  which  has  staked  even  life,  triumphs  over  every 
obstacle  and  maintains  the  majesty  of  Elective  Amnity  against  all 
other  well  acquired  rights.  A  fomalCt  being  almost  exposed  by 
many  circumstances  and  errors  to  the  sad  lot  of  a  life  which  has 
entirely  missed  its  aim,  saves  for  herself,  by  a  bold  resolution,  an 
existence  which  she  has  nearly  lost,  and  thus  secures  for  her 
beloved  an  inevitable  repentance,  as  to  the  delusion  in  wbicb  he 
has  been  placed  as  to  his  own  feelings. 

The  series  of  views  forcing  itself  out  of  the  narrative  with  some- 
thing  of  compulsion  necessarily  affected  to  the  most  painful  degree,  the 
'  ladies  who  hesrd  it,  because  their  own  lot,  so  completely  opposite, 
was  brought  before  them.  No  beneficent  deity  revealed  to  Edward 
and  Ottilia,  when  Charlotte  first  brought  them  together,  the  secret 
of  their  Elective  Affinity.  It  is  not  till  a  perfectly  completed 
moral  position  prohibits  the  passionate  feeling  of  both,  that  this 
affinity  raises  in  bitter  irony  its  voice,  which  will  not  again  be 
bushed,2and  yet  which  cannot — ^like  the  girl's  cry  for  aid--find  a 
hearer.  Thus  in  the  present  narrative,  Charlotte  and  Ottilia  l3ok 
at  their  own  situation,  as  it  were,  objectively.  And  if  the  former, 
by  the  happily  solved  allusion,  to  which  the  girl  in  the  novel 
resigned  herself,  by  admitting  the  bridegroom's  suit,  is  painfully 
reminded  of  that  illusion  of  her  own,  wnich  once  connected  her 
with  Edward  in  a  manner  quite  similar,  so  can  Ottilia,  with  silent 
envy,  regard  a  destiny  which  has  attained  for  kindred  hearts  a 
victory  over  ail  obstacles— a  victory  for  which  she  likewise  would 
readily  encounter  the  peril  of  death. 

Bat  a  completely  pure  voice  also  tells  them  that  in  that  case 
there  was  no  substantial  perfected  relation  to  silence  passion,  as 
there  was  in  their  own.  Therefore,  through  that  question,  which 
was  cited  in  the  first  chapter—^"  Why  am  I  involved  in  relations, 
which,  in  mj  consciousness,  I  cannot  make,  and  from  the  moral 
power  of  which  I  cannot  free  myself  ?")— they  are  destined  to 
sustain  a  sorrow,  which  in  them,  as  in  us,  points  to  an  absolute 
solution  of  their  discordant  fate.  As  therefore,  on  the  one  hand, 
tha  episode  awakens  in  the  two  individuals  the  feeling  of  a  contrast 


with  their  own  lot,  so  it  at  the  same  time  excites  the  tragic  tone*  of 
mind,  which  in  an  enigmatical  existence  points  to  the  absolute 
unveiling  of  the  eternal  laws.  Thus  the  episode  has  at  the  same 
time  produced  the  proper  turn  for  the  catastrophe,  which  is  now 
hurried  on,  and  prepares  our  minds  for  a  shocking  result. 

(7b  be  concluded  m  our  next). 

V  To  prevent  misondentandiDi:,  it  may  be  stated  that  the  copyright  of  the 
translation  bdonft  tolely  to  the  trandator. 


SONNET. 

No.  LXIV. 

Therx  seems  to  be  a  fount  of  bitterness 
Conceal'd  within  my  heart,  which  sometimes  lies 
Tranquil  and  harmless,  but  will  sometimes  rise. 

And  overwhelm  me  with  its  black  excess.— 

Then  all  things  round  me  wear  an  aiter'd  dress ; 
And  so  distorted  pass  before  my  eyes, 
I  scarcely  knew  them  in  their  wond'rous  guise, — 

And  fain  would  curse,  where  I  am  wont  to  bless. 

Then  heed  me  not;  when  the  dark  waters  gush 
From  the  abyss,  let  them  pursue  their  course. 
And  rage,  and  boil, — they  will  subside  at  last. 

For  in  these  moments  I  could  wildly  crush 
I1ie  things  I  love  the  most,  with  demon  force. 
And  with  nuid  joy ;— but  all  is  quickly  pasL 


N.D. 


ALBONI  AT  THE  OPERA  ITAUEN. 

In  accordance  with  the  promise  intimated  in  our  Journal  of 
last  week,  we  return  to  the  quotations  from  the  French  papers, 
on  the  alUabsorbing  topic  of  Alboni's  dehiU  and  reception  at 
the  Theatre  Italien,  in  Paris.  The  great  success  of  the  ardst 
in  the  French  capital,  must  be  highly  gratifying  to  the  English 
public,  who,  the  moment  she  had  been  heard  in  this  country, 
without  prestige^  puff  preliminary,  or  daoqueism,  acknow- 
ledged her  to  be  the  most  consummate  artist,  and  the  most 
wonderful  yocalist,  of  any  singer  who  had  debuted  since 
Grisi.  We  shall  not  presume  to  say  that  the  Parisian  public 
was  guided  in  its  estimation  of  the  singer,  only  by  the  favor 
she  had  received  at  the  hands  of  a  London  audience, — ^for 
what  public  could  hear  the  inimitable  contralto,  and  not  be 
dazzled  and  enraptured  ? — but  it  cannot  be  doubted  that  the 
success  she  obtained  amongst  us  awakened  the  ouriositj  of 
the  Parisians,  and  determined  them  to  exercise  the  strictest 
justice  towards  her,  and  not  suffer  themselves  to  be  infected 
with  the  disease  so  prevalent  of  late  in  the  British  Isles, 
entitled  the  mustc-vMnia  or  entersimusyt  as  Byron  called 
it.  No  doubt  they  had  the  best  possible  reasons  for  their 
caution.  A  severer  and  more  decided  audience,  we  believe, 
never  assembled  inside  a  theatre,  than  that  which  crowded  the 
salle  of  the  Theatre  Italien,  on  the  night  of  Alboni's  first 
appearance,  and  we  are  satisfied,  that  had  not  the  singer 
obtained  the  greatest  possible  success,  her  debdt  must  have 
amounted  to  a  fEulure.  The  entire  audience,  self-constituted, 
presided  as  her  judges,  and  made  themselves  ber  witnesses  and 
her  jury.  But  Alboni  dared  the  strictest  investigation,  coo* 
fronted  the  imperious  court  with  a  look  that  awed  its  un. 
delegated  authority,  treated  with  disdain  her  puny  {puisne} 
judges,  laughed  at  her  jury,  and  commanded  their  verdict. 
Certainly,  they  were  not  slow  in  giving  it,  but  Alboni  could 
hardly  thank  them  for  it.  Alboni  appears  to  have  wrought  a 
complete  revolution  in  the  Italian  Opera,  at  Paris.  First  she 
stirs  up  M.  Vatel,  and  makes  him  pay  a  little  attention  to 
the  production  of  his  operas ;  next,  t^e  awakens  Grisi  from  a 
long  lethargic  slumber,  into  which  the  frigidity  of  the  auditory 
at  the  Italiens  appears  to  have  lulled  her ;  thirdly,  she  intusea 
fire  even  into  Coletti ;  and  lastly,  she  frights  the  aristocracy 
of  the  theatre  firom  its  listiessness  and  apathy,  and  converts  it 
into  a  mob  as  excitable  as  one  appertaining  to  the  Champs 
Elyiies  on  A/iie  day.    Yet,  all  this  is  done  in  the  most  legitiftl 


THE  MUSICAL  WORLD, 


803 


mate  manner.  She  appears  without  a  single  partisan  in  the 
house.  Every  listener  in  that  hushed  and  aw^l  assembly  is 
ready  and  willing  to  censure  and  find  fault  *  else  why — oh  ! 
shame  on  thy  chivalry,  France,  that  would  deny  encourage- 
ment to  a  woman  and  a  stranger  i — is  no  hand,  no  voice  lifted 
in  her  behalf,  and  she,  poor,  unsupported  thing,  left  to  build  up 
a  reputation,  which  was  never  built  before,  without  the  kindred 
and  kindly-proffered  help  of  an  audience  ?  But  she  did  build 
it  up,  and  reared  it  lofty  and  large,  despite  the  ungallant 
hands  that  refused  their  assistance,  and  the  unmanly  tongues 
that  withheld  the  cheering  tones  of  encouragement.  Oh! 
triumph  of  triumph  for  the  great  contralto !  Oh !  happiest 
day  of  a  life  devoted  to  art !  She  has  tamed  the  Lemean 
Hydra,  trampled  on  its  neck,  and  stopt  the  hissing  of  its 
hundred  tongues !  She  has  disappointed  the  critics,  and 
made  them  bow  subservient  to  the  fiat  of  an  English  press, 
and  an  English  audience.  She  has  obtained  a  result,  redound- 
ing to  her  glory  as  long  as  she  lives,  which  no  singer,  under 
the  same  circumstances,  ever  before  obtained.  Respecting 
such  an  artist,  what  musical  journal  could  be  silent  ?  We 
shall  not  attempt  to  record  all  that  has  been  said  and  written 
of  this  extraordinary  singer,  even  in  the  Parisian  journals, 
.  which,  though  varied  in  their  accounts,  are  unanimous  in  her 
praises ;  but,  in  addition  to  our  present  extracts  relating  to 
to  her  deMt,  we  shall  add,  from  time  to  time,  notices  respect- 
ing her  performances  in  the  French  capital,  as  each  and  all  of 
them  must  needs  be  invested  with  the  greatest  possible  interest. 
Alboni  is  now  the  rage  in  Paris ;  the  reaction  was  inevitable. 
She  can  hardly  elevate  herself  one  step  higher  in  the  temple 
of  Art.  But  we]  are  unintentionally  led  into  encomiums  on 
Alboni,  when  we  were  merely  desirous  of  afifording  the  reader 
an  opportunity  of  judging*  of  the  effect  she  must  have  pro- 
duced, by  permitting  him  to  peruse  the  French  feuiUetons 
devoted  to  her.     And  first  let  him  hear  "  La  Presse." 

DSBUT   or   MADLLB.  ALBONI. 

After  Madlle.  Alboni's  debitt  at  the  opera  concerts,  it  was 
mmoared  she  would  reappear  there  in  the  drama  on  her  return 
from  Prague.  Was  she  frightened  by  the  difficulty  of  singing  in 
the  French  laiwuage  ?  Did  she  fear  that  her  velvet  tones  would 
become  discor&nt  through  the  mediation  of  our  harsh  consonants, 
and  that  her  brilliant  cadences  would  be  lost  in  our  £  muets, 
which  prove  so  rebellious  to  Italian  tbroau?  Or,  indeed,  has  some 
unfoiseen  circumstances  interfered,  which  crushed  the  former  nego- 
cations  ?  However  this  may  be,  the  result  was,  that,  on  Thursday 
last,  the  Semiramide  was  executed  in  a  style  of  completeness  and 
.  Dsgnifioencc,  the  remembrance  of  which  it  will  take  a  long  time 
to  efface  from  the  memory  of  the  visitors.  The  company  was 
unanimous  in  its  appreciation.  Orisi,  at  her  entrance,  was  received 
with  the  most  frantic  applause.  On  the  contrary,  when  Alboni 
appeared,  a  profound  silence  reigned,  and  it  was  not  until  she  had 
given  her  first  song,  that  the  bravos  broke  forth  like  a  hurricane. 

It  was  impossible  to  say,  in  a  more  delicate  manner,  *'  You, 
Giulia  Grisi,  are  our  favorite  cantatrice;  for  many  years  you  have 
made  us  experience  the  noblest  sensations  derivable  from  art  and 
beauty  ;  be  not  afraid,  we  shall  not  prove  ungrateful ;  we  shall  not 
sacrifice  you  to  your  young  rival.  We  shall  aoplaud  you  above  all, 
for  we  feel  assured  that  you  will  justify  our  aamiration  before  this 
stranger," — and  to  the  debutante,  **  Be  not  thou  intimidated  ;  we 
are  impartial  judges.  If  ^ ou  be  what  the  world  have  named  you, 
show  your  title,  and  we  will  present  the  hand  to  you,  and  lead  you 
to  the  golden  throne  of  the  primO'donna  which  awaits  you." 

Thursdav  evening  proved,  though  many  anticipated  a  very  dif- 
ferent result,  a  veritable  triumph  for  Grisi.  Never  did  she  produce 
so  tremendous  an  effect  as  she  did  front  to  front  with  her  re-doubt- 
able rival.  Pre-eminent  still  in  beauty  and  in  voice,  pre-eminent 
in  all  the  mysteries  of  her  art,  she  became  radiant,  refulgent, 
appeared  commoved  by  some  internal  mystic  sway,  and  sang  and 
acted  as  she  never  sanv  and  acted  before.  She  was  splendid  and 
sonorous ;  a  flame  and  a  crystal.    It  demanded  all  the  intrepidity 


of  Arsaoe  not  to  shrink  before  this  beamhig  luminary ,  and  perhaps 
the  greatest  victory  ever  Alboni  achieved,  was  not  suffering  herself 
to  be  conquered  on  this  occasion.  Even  Coletti  seemed  to  have 
caught  some  sparks  from  this  kindling  light.  Semiramide  was 
performed  as  it  was  never  performed  before  in  Paris. 

What  a  precious  acquisition  will  Alboni  prove  to  M.  Vatel ; 
since,  in  addition  to  the  admirable  talent  and  the  superb  and 
exquisite  voice  she  brings  him  in  her  own  person,  she  appears  to 
have  restored  Grisi  to  him  at  twenty-four  years  of  age,  m  all  the 
eclat  of  her  beauty,  in  all  the  freshness  of  her  youth,  and  all  the 
enthusiasm  of  her  art ;  and  to  have  stricken  fires  from  Coletti, 
who  is  usuaUy  contented  to  be  an  excellent  singer,  but  has  certainly 
no  pretensions  to  the  diable  au  corps*  Without  fearina  to  prove 
a  false  prophet,  one  may  foretol  a  glorious  harvest  whicn  M«  Vatel 
will  reap  at  the  Italiens  by  the  end  of  the  season. 

The  mfluenza,  by  no  means  sensible  to  the  charms  of  mnsie,  has 
seized  upon  Duprez,  and  strangled  the  increasing  success  of 
Jerusaiem.  For  any  other  theatre  this  would  be  a  calamity 
iiTcmediable;  happily  feet  are  not  subject  to  sore  throats,  and 
Carlotta  Grisi,  reappearing  in  the  DiabU  h  Quatre,  has  restored 
the  opera  to  its  pristine  brilliancy,  has  renovated  the  appearance  of 
the  house,  and  replenished  the  treasury,  as  is  usual  with  ner.  This 
rentr^e  was  one  of  the  most  signal  triumphs  ever  witnessed  at 
the  opera  on  any  occasion.  The  continued  bravos,  the  torrents  of 
applause,  the  gloves  broken  in  their  enthusiasm,  the  chorus  of 
canes,  the  recaUs,  the  avalanches  of  bouquets,  nothing  was  wanting 
to  complete  the  ovation.  Should  the  divine  Carlotta  make  her  renlr^ 
every  day  her  reception  would  be  the  same« — Thbophilb  Gautimu 

Our  contemporary,  the  Revue  et  Gazette  Musicale,  thus 
eulogises  Alboni ;  and  the  praises  are  worthy  of  attention  as 
coming  from  one  who  has  shown  himself  no  partisan  of  any 
artist. 

niBUT  or  MADLK.  ALBONI  IN  ■*  sajnaAMinK'' 

Nothing  was  more  simple  and  more  natural  than  that  Alboni 
should  have  gone  to  the  Italian  Theatre,  it  was  the  place  marked 
out  for  her ;  but  that  she  should  have  gone  there,  after  having 
passed  through  the  theatre  of  the  French  Grand  Opera,  after  an 
mterval  of  about  two  months,  was  indeed]  something  bigarre  and 
extraordinary.  It  must  be  allowed,  that  the  aflSur  has  been  bungled 
in  a  singular  manner,  excepting  as  far  as  concerned  the  ewntatrtce^ 
who  has  reaped  all  the  advantage  in  honour  and  in  money. 

When  Alboni  left  Paris,  she  proceeded  to  Perth,  and  returned 
to  Vienna.  At  Pesth  she  plaved  in  the  Litcrezia  Borgia,  Maria 
di*Ilohan,  and  gave  a  third  representation  at  a  concert.  At 
Vienna  she  also  gave  a  concert,  on  the  20th  of  November  last,  in 
the  theatre  An-der-wien,  and  obtained  a  prodigious  success.  We 
have  seen  the  programme  of  this  concert,  and  remarked  among  the 
moreeaux  sung  by  the  Italian  vocalist,  the  fiimous  aur  from  Gluck's 
Orfeo,  i'^  Che  far6  senza  £uridioe,*|which  she  sang,  accompanied 
only  on  the  piano,  as  Madame  Pasta  used  to  sing  it,  and  with  the 
same  simple  beauty  of  style,  and  the  same  warmth  of  sentiment 
In  the  three  other  morceauz,  which  followed  Gluck's  air,  the 
cavatina  of  Niobe^  the  rondo  finale  from  Cenerentoith  and  the 
famous  Brmdisi  from  Lucrezia  Borgia,  Madlle.  Alboni  absolutely 
electrified  the  audience,  and  transported  them  to  such  a  pitch  of 
enthusiasm,  that  they  encored  the ^ruMftft  three  times,  the  music  of 
which  is,  after  aU,  simply  mediocre.  Who  could  have  foreseen 
that  this  poor  eatUaUne  conld  have  transformed  itself  into  a  triumphal 
song? 

from  Vienna,^ Alboni  retraced  her  steps  towards  Paris,  to  debut 
there  on  the  day  previously  appointed,  she  appeared  on  Thursday 
last  in  the  character  of  Arsace,  in  Semiramide,  and,  as  if  everything 
which  concerns  the  singer  was  destined  to  be  original,  not  a  single 
bravo  saluted  her  on  her  entrance.  A  complete  silence  reigned 
throughout  the  house,  even  until  the  moment  when  the  fair  vocalist 
commenced  her  aria,  and  gave  eridence  of  the  admirable  tones  of  that 
voice  so  powerful,  and  yet  solmoderated  in  tU  power.)  The  silence 
did  not  endure  long,  ana  the  cantatrice  soon  regained  the  anplauses 
and  acclamations  to  which  her  ear  has  been  accustomed.  However, 
to  be  exact  in  all  things,  it  was  not  in  the  recitative,  **  £ccomi 
alfin  in  Babilonia,"  nor  in  the  cavatina  which  follows,  nor  even  in 
the  dao  with  Assur,  that  Alboni  displayed  the  astonishing  power 
I  and  intense  beauty  of  her  voice  i  but  in  her  two  duos  with  Semi- 


804 


THE   MUSICAL  WORLD. 


ramide,  id  the  wrift  of  the  second  actt  when  Anace  learnt  that  he 
ii  the  son  of  Nuaus,  and  that  he  is  destined  to  avenge  his  father's 
death,  that  the  aftiste  accomplished  her  revelationi  and  established 
herself  as  the  consummate  singer  she  has  been  represented,  where- 
ever  she  has  hitherto  appeared.  After  the  two  duos,  she  obtained 
a  double  recall,  and  was  encored  in  the  aria ;  which  was  nothing 
less  than  the  strictest  justice  accorded  by  the  audience,  who  had 
seemed  at  first  determined  to  shew  themselves  as  frigidly  just  as  a 
jnry^  in  a  court  of  assise,  and  not  allow  themselves  to  be  surprised 
into  the  least  demonstration  of  favor.  We  know  that  it  is  often 
one  of  the  manias  of  our  good  public,  with  whom  one  loses  nothing 
by  having  a  little  patience  i  artistes  and  authors  know  the  rest. 

It  isa  indeed,  a  long  time  suice  we  have  witnessed  at  the  Thoatre- 
Italien  a  representation  se  splendid.  We  had  heard  it  rumoured 
that  Made.  Grisi  was  afraid  to  sing  alongside  of  Alboni.  What 
necessity  was  there  for  this  P  Made.  Grisi  was  never  more  magni- 
ficent, and  never  received  more  enthusiastic  applause  than  she  did 
on  Thursday  last  in  the  character  of  Semiramide,  one  of  the  most 
exquisite  flowers  of  her  queenly  crown.  Never  did  she  produce 
a  greater  effect  in  the  concerted  phrases,  which  were  rendered  with 
a  talent  equal  to  her  best  day.  The  greatest  artistes,  far  from 
lessening  each  other's  effects  in  coigunotion,  only  serve  as  stimuli 
to  make  more  manifest  their  power  and  their  genius.  Rubini 
would  never  have  sung  so  marvellously  in  the  duet  from  the  Mos^ 
if  he  had  not  had  Tamburini  for  a  second,  and  for  a  rival  Coletti 
sang  very  well  in  the  part  of  Assur.  Tagliafico  was  more  than 
respectable  in  tho  role  of  the  grand  priest.  The  tenor  alone 
enjoyed  the  privilege  of  amusing  the  assembly  with  notes  of  doubt- 
ful intonation,  and  with  a  quality  of  voice  which  recalled  a  genera- 
tion of  singers  long  since  lost. 

One  of  tho  merits  of  Alboni,  in  the  character  of  Arsace,  was 
her  having  truly  tho  air  of  a  young  man  at  once  proad-looking  and 
handsome,  whom  a  Semiramide  might  have  regarded  with  eyes  of 
envy,  and  might  have  judged  capable  of  wielding  the  sceptre.  Wo 
have  only  one  fault  to  find  with  this  magnificent  artiste ;  her  little 
mustachios,  which  realised  the  idea  of  a  royal  officer  of  cavalrv, 
might  have  been  very  well  dispensed  with.  We  respectfully 
advise  the  fair  artiste  to  forego  this  item  of  costume,  wnich  has 
nothing  traditional  to  recommend  it.  B. 

Alboni  will  shortly  have  to  appear  in  a  new  character  at  the 
Italiens,—  Tancredi  or  Cenerentoia  is  named.  We  shall  then 
have  further,  and  more  critical  notices  of  the  great  contralto 
to  lay  before  our  readers,  as  they  appear  in  the  Parisian 
journals. 

SOCIETY  OF   BRITISH   MUSICIANS. 

Thb  Fourth  Chamber  Concert  took  place  at  Erat'a  Harp 
Saloon,  on  Monday  evening.  The  following  vocal  and  instru- 
mental programme  was  performed  :— 

Sonata  in  A,  Op.  47,  dedicated  to  Kreutzer,  Piano-  ^ 

forte  and  Violin,  Miss  Clara  Sterling,  (her  first  >  Beethoven. 

appearance  at  these  Concerts),  and  Mr.  A.  Streather^ 
Duet,  (MS.,  first  time  of  performance),  Miss  Solomon ") 

(her  first  appearance    at    these  Concerts),   and  >  Brinleu  Richardi, 

Mr.  W.  H.  Seguin .  .  .  .  .) 

Two  Songs  (first  time  of  performance),  Miss  Daval  \  ^  v  ti     t 

(imitated  from  the  German  by  E.  Buxton,  lOiq.)    .}        '  "^^'^* 
Quartet,  No.  8,  in  D  minor  (MS.),  tvo  VioliM,-) 

Tenor,    and    Violoncello,     Messrs.    John    Day.  f  .  ^^  ^,.. 

A.  Streather.  R.  Hughes  (his  first  appearance  atC       **    ^  "' 

these  ConcerU),  and  W.  Lovell  PhiUips        .        .  J 
An  interval  qf  ten  minutet. 
Duet  m  £  minor  Op.  9,  (first  time  of  performance), ) 

two  Pianofortes,  Messrs.  F.  B.  Jewson  and  Lindsay  >  Undtay  Slopet* 

Sloper ) 

Redt.  and  Air,  Mr.W.  H.  Seguin  (MS.  first  time  of )  ^  „  ^^, 

performance)         ....  iC,E>SieiMem, 

"  The  Mother's  song,"  Miss  Cubit     .  .  ,    meken. 

Quartet  in  C  (No.  6),  Messrs.  A.  Streather,  J.  Day,  >  ^       , 

R.  Hughes,  and  W.  Lovett  Phillips  .  .  j  ^^'^^ 

Trio,  "  Complaint,"  Miss  Solomon,  Miss  CuWtt,  and  >  ,      ^    , 

Miss  Duval  .  .  .  jLeonhart, 

The  yocai  Mutkaceomp<mM Mike Pkme/w^ 

JhrecterM  the  Bitenmt,  Mr.  HWer  C.  Afa^frM. 


The  sonata  of  Beethoven  ahould  onlf  be  attempted  m 
puUic  by  first* rate  executants^  a  distinction  to  vrhich  Miss 
Clara  Sterling  and  Mr.  A.  Streather  can  hardly  aspire.  Miss 
Clara  Stirling  should  have  been  less  ambitious  on  the  occasion 
of  her  debut ;  she  would  have  been  likely  to  make  more 
impression  in  a  sonata  of  moderate  difficulty. 

Mr,  Brinley  Richards'  duet  is  pleasing  but  not  remarkably 
original ;  it  is  well  voiced,  and,  although  Miss  Solomon  supplied 
Miss  Steele's  place,  at  a  short  notice,  she  seconded  Mr.  W.  H. 
Seguin  \ery  assiduously  in  its  interpretation. 

Mr.  Charles  Horsley's  songs  are  both  diarming  aad 
musician-like — the  latter  especially,  which  only  sum  ioaa- 
much  as  it  is  too  close  an  imitation  of  Mendelssohn,  Miss 
Duval  sang  them  well,  and  deserved  the  encore  accorded  to 
the  second, "  To  thee>  to  thee,  my  words  are  flying."  The 
words  of  these  songs,  by  £.  Buxton*  Esq.  display  a  fine  ear 
and  a  graceful  style  %  the  first,  perhapst  borders  a  little  too 
closely  on  the  freedom  of  the  Anacreontic  style,  but  the  elegance 
of  the  verses  wins  a  pardon  for  the  voluptuoosnesa  of  tiie 
sentiment,  and  the  thin  oovering  which  only  half  hides  the 
nakedness  of  the  prime  incident,  and  is  as  eauly  torn  away  as 
the  veil  which  the  poet  has  plaoed  upon  the  bosom  of  his 
Blonda.  Fi  dono^^yne  «re  becoming  Puritans!  Mr.  BnxloB, 
we  beg  your  pardon. 

Mr.  Calkin's  quartet  is  an  old  acquaintanee,  and  we  have 
nothing  to  remark  but  the  excellence  of  its  perfiormanoe  by 
Messrs.  John  Day,  A.  Streather*  R.  Hngbes*  and  Lovell 
Phillips.  Mr.  R.  Hughes'  first  appearance  in  ao  unpreten^ng 
a  position  as  that  of  tenor*  is  a  guarantee  of  his  modesty,  at  lib 
playing  is  a  guarantee  of  his  talent. 

The  interval^of  ten  minutes  lasted  sMwe  thaii  a  quartflr  of 
an  hour* 

Mr.  Lindsay  Sloper's  duet  is  the  work  of  an  acoomplished 
and  elegant  musician.  We  liked  it  when  played  by  the 
author  last  year*  at  his  own  request,  in  conjunction  witli  Mr. 
Benedict*  and  we  liked  it  as  much  again  on  Monday  night — a 
proof  that  its  qualities  are  sterling.  It  was  faultlessly  executed 
by  Mr.  Jewson  and  the  composer*  and  was  highly  admired  by 
the  eannaiiseuri, 

Mr.  C.  £.  Stephens's  recitative  and  air  offers  no  point  Ibr 
praise,  and  none  for  blame  but  its  entire  want  of  character. 
M.  Seguin  did  his  best  for  it. 

Eucken's  song  is  a  piece  of  insipid  twaddle ;  we  hope  Miss 
Cubitt  did  not  select  it  for  herself.  The  young  lady  will 
doubtless  respond*  «*  I  was  encored  1"— which  does  not  prove 
the  song  to  have  been  good. 

Mozart's  quartet,  a  mine  of  genius,  and  a  storehoitae  of 
science,  was  well  performed,  but  not  so  well  as  Mr.  Calkin's ! 
Mr.  Day*  for  Mozart's  sake,  should  have  retained  his  poet  aa 
first  violin. 

Of  the  trio  of  Leonhart  (who  is  Leonhart?)  we  only  heard 
the  first  phrase*  but  that  was  quite  enough. 

Mr.  Brinley  Richards  presided  at  the  piano  with  the  ability 
for  which  he  is  known,  and  the  post  of  director  of  the  even- 
ing was  honorably  and  assiduously  sustained  by  Mr.  Walter 
Cecil  Macfarren.  On  the  whole  the  compositions  and  per- 
formances at  this  meeting  gave  us  little  reason  to  hope  that 
the  society  is  making  any  progress.  Let  us  trust  that  the 
programme  of  the  fifth  meeting,  on  Monday  evening,  Dee.  27, 
may  be  more  attractive  and  more  promising. 

•         •♦e«si«« 

On  Thursday  morning,  at  12  o'clock,  we  were  summoned  to 
the  Hanover  Square  Rooms,  to  hear  the  following  piogifwaa^ 
of  untriod  works  by  the  membeta  and  aaaooiatei*  j^xv 


THE  MUSICAL  WORLD. 


805 


Otrertora  •    /.  Thotnas, 

Song,  *'  Yes,  dear  to  memory,"  Miu  Cubitt  .  .    J.F.  Dajf. 

Canfonet, '*  Moonlight."  Miss  Duvil  .  .    J,  J.  Hait$. 

^''iu.T^r'''''^^^'^  ^T"  ^^"^""7"  ^^JBriniey Richard, 
Symphony  in  K  flat    .  •  •  .    ffm*  BtUff* 

Recitative,  "  Come,  pensWe  sage/'    .      1**^  Rf  aik:..  0  n  t^^ui^ 
Air,  "  Come,  and  o'eVmy  lon^ng  soul,"  /  ^^'  ^*-  ^*^''*-  ^'  ^'  Bam^er. 
Terxetto,  "How  calm,"  Miss  Stewart,  Miss  E.Tumer,l_  „  o^u^^ 
andMUsDiml      ....  ^  ^  fV.  S.  RoeMro. 

Cansonet,  "  I  am  thine,"  Mr.  Wrighten        •  .     C,  E.SUphenM. 

9ont»  '*  The  rose,'*  Miss  Steelt  «  •    BHii/ay  RieharM. 

Orertnre  in  C.  .....    A.MitcheU. 

^M^wimll''***  ^\  '**"  ^T'  *'^?'"  ^"!  ^'  ^^]  ^^^^  *^*^. 

At  present  we  shall  offer  no  criticism  on  these  compositions. 
The  committee  must  first  pronounce  their  verdict ;  the  critie 
may  then  assume  th6  priYilege  of  the  Cour  d§  Cassation,  and 
confirm  or  set  it  aside  ;  the  latter  happens  hut  too  often.  One 
word,  however  :— the  symphony  of  Mr.  Baly,  and  the  overture 
of  Mr.  Thomas  (hoth  R.  A.  M.,  we  helieve).  are  guarantees 
that  the  younger  memhers  have  hoth  means  and  aspirations. 
Tant  mteitf— hut  what  has  hecome  of  all  the  older  memhers  ? 
Have  they  run  away  from  the  society  like  rats  ? — Fye  upon 
them. 

The  following  gentlemen  (according  to  the  printed  circular) 
assisted  in  the  orchestra,  which  was  more  numerous  than 
excellent : — Mr.  F.  Eames  (leader).  Violins  :  Messrs.  Betts, 
W.  Dawson,  J.  Day,  £.  Deane,  Gattie,  Jay.  Hill,  Newsham. 
Newion«  E.  Perry»  Spillane,  S.  J.  Stephens,  A«  Streather* 
Thirlwall,  W.  Wateon,  T.  Westrop,  and  H.  Wheatly.  Tenors  : 
Messrs.  R.  Blagrove,  Graves,  Weslake.  Gledhill,  Gleadow,  and 
J.  F.  Day.  Violoncellos  :  Messrs.  Phillipst  Quinton,  Guest, 
and  Calkin.  Douhle  Basses:  Messrs.  Giles,  Pratten.  C. 
Severn,  and  Reynolds.  Piccolo  :  Mr.  R.  S.  Rockstro.  Oboes  : 
Messrs.  G.  Horton  and  Crozier.  Clarionets  :  Messrs.  Lazarus 
and  Wilson.  Bassoons :  Messrs.  W.  Chisholm  and  Baker. 
Horns :  Messrs.  Callcottt  B.  Hooper,  Catchpole*  and  Stock. 
Trumpets :  Messrs.  Harper  and  Macfarlane.  Trombones  : 
Messrs.  Smithies,  N.  Johnson,  and  B.  Healey.  Drums  :  Mr. 
Horton.  The  trial  was  under  the  direction  of  Mr.  A. 
Nicholson. 

FOREIGN  INTELLICENCE. 

Paris.— ^FroTO  a  Correspondent,) — December  8,  1847. — 
According  to  promise,  my  dear  friend,  I  send  you  an  account 
of  all  that  has  occurred,  musical  or  antimusical,  since  the  last 
few  days.  The  witty  and  paradoxical  letters  of  your  corres- 
pondent, D.  (who  has  left  Paris  for  a  time),  continue  to  give 
hirth  to  rumours  of  excellent  augury  in  the  etherial  region  of 
that  musical  infirmary  which  it  has  been  agreed  to  baptize  by  the 
name  of  the  Academic  Royale  de  Musique,  Our  magnanimous 
directors  disturb  themselves  very  little,  read  the  letters  of  Miss 
Birchi  go  to  the  Italiena  when  they  can,  and  to  the  Opera 
when  they  cannot  do  otherwise,  enter  into  a  treaty  with  Verdi, 
for  1848,  and  will  not  hear  of  any  one  but  him.  The  affair  is 
regulated  ^concluded,  decided,  and  Verdi  remains  at  Paris  for  the 
winter.  We  shall  have  eleven  operas  by  him,  or,  at  any  rate, 
eleven  translations,  during  the  eleven  years  duration  of  the 
privilege.  Next  year  /  Masnadieri  !  And  yet^  according  to 
some  silly  friend  of  ours,  I  forget  whom,  **r opera  ne  flburit 
plus  depuis  qu'U  6  Verdi."*^ 

The  grippe  is  playing  the  deuce  with  us  all ;  Duprez,  aux 
abcHSf  ab<Ae ;  Alizard  que  rien  netonne,  tonne  et  deionne  ; 
Portheaut  has  neither  the  name  nor  the  voice  of  a  chanteur 

*  Oiir  correspondent  must  ezcase  us  from  spoiling  bis  poM  by  translation 
into  a  language  less  accommodating  than  his  own. 


chaleureux;  Mad.  Julian  oris trts  bien;  but  nobody 

sings,  except  the  public,  which  leaves  the  theatre,  homBiing  ^ 
parody  of  one  of  the  most  lugubrious  verses  of  Dante : — 
"  Ricordati  di  not  qu'  andianmo  via." 
While  we  are  speaking  of  the  Opera,  allow  me,  my  dear 
friend,  to  cite  some  verses  suggested  to  one  of  our  waggish 
journalists^  by  the  comique  of  the  situation,  which,  it  is  hardly 
necessary  to  remind  you,  are  a  free  imitation  of  one  of  the 
finest  passages  of  our  great  Racine : — 

"  Ce  Buperbe  T^nor,  qu'on  voyalt  autrefois, 
Flcin  d'une  noble  ardeur,  falre  obeir  sa  voix, 
Uceil  morne,  roaintenant,  et  la  t^te  baiss^, 
Partage  du  puUio  k  Ingobro  peosde. 
Un  efliroyable  cri,  qui  ne  sort  pas  des  flots, 
Des  airs,  en  ce  momentp  a  trouble  le  repos, 
Rt  du  fond  de  )a  salle,  une  claque  effroyable 
Repond  en  nigtssant  i,  ce  cri  redoutable. 
Jusqu'  au  fond  de  nos  coeurs,  notre  sang  s*est  fflaioi ; 
Du  parterre  attentif  le  poil  s'est  h^riss6. 
Cependant  sur  le  dos  d'un  petit  suteur  vide, 
S'eleve  k  gros  bouillons  une  montagne  arlde ; 
Rile  approche,  le  brise,  et  vomit  k  nos  yeux, 
Parmi  des  flots  d'ecuroe  un  cbanteur  furieoz. 
Son  front  semble  agrandir  sa  bouche  neoa^aate 
Tout  son  corps  est  convert  de  sueur  Jaunissants; 
Indomptable  taureaa,  dragon  imp^tueuz* 
Vut,  cbez  lui,  se  recourbe  en  replis  tortueuz; 
Ses  longs  mvgissemens  font  trembler  le  rivage ; 
L'orchestre,  avec  horreor,  voit  le  monstre  sauvage; 
Le  public  s'en  emeut,  il  en  est  affect^, 
Le  dot  qui  I'apporta,  veut  etre  remport^. 
Tout  fuit  et  sans  s'armer  d'un  courage  inutile 
Au  thefttre  voisln,  chacun  cherche  un  asylel 
Les  moyens  sont  partis  et  sourds  k  cette  fbiz 
lis  ne  connaissent  plus  ni  le  firein,  ni  la  voix  1 
En  efforts  impuissans  sa  rage  se  consume, 
11  rougit  tons  ses  mots  d'une  sanglante  ecume. 
On  dit  qu'on  a  vu  m^me,  en  ce  d^tordre  affreux, 
Un  Dieu,  qui  du  Tdnor,  pressait  les  Bancs  poudreax..  • 
II  crie  aux  claquetins,  et  la  voix  les  effraie ; 
II  hurle.. .  son  gosier  n'eat  bient6t  qu'uae  plaie. 
De  ses  cris  douloureux  la  salle  retentit, 
Sa  fougue  imp^tueuse  enfin  se  ralenttt : 
II  s'arrlte  non  loin  de  ces  torn  beaux  antiques 
Ou  des  tenors  anciens  sont  les  firoides  reliques. . .  • 
"  Le  ciel,"  ditil,  "  m'arrache  une  innocente  voix.,," 
Ces  mots  sont  les  derniers  du  i^nor  aux  abois." 

But,  to  return  once  more  to  the  abominable  compi]ation» 
which  has  been  adorned  with  the  pompous  title  of  '*  opera  in 
four  acts  and  seven  tableaux"  and  would  be  much  more 
aptly  designated,  *'  opera  in  seven  scenes,  music  by  Ciceri, 
words  by  Philastre  and  Cambon^— in  short  of  Jerusalem. 
Our  excellent  and  spirituel  Janin  said,  the  other  day,  that  this 
work  had  but  one  solitary  advantage  : — '^  La  partition  etait 
tellement  noircie  de  notes,  q'une  puce  un  peu  bardie  pourrait 
y  faire  ses  incongruit^s  sans  que  cela  fCLt  remarqu^."f  Is  not 
this  a  criticism  at  once  slashing  and  picturesque  ;  Janin  alone 
was  capable  of  it.  Jerusalem  /  The  very  name  made  the 
good  Peksuisj:  afraid,  when  the  subject  was  proposed  to 
him  !— "  No,  no,"  said  he,  shaking  his  venerable  perruque ; 
**  Sacchini  alone  dare  venture  on  such  a  theme  !"  It  is  true 
that  Verdi  was  not  a  cotemporary  of  Persuis,  or  poor  Sacchini 
would  not  have  had  such  a  compliment  paid  him.  Oh»  Hoff- 
man— admirable  Hofiman !— a/id  thou  Chatmurr,  his  worthy 
friend,  his  collaborateur,  his  counsellor— Hoffman,  master  of 
all  of  us !  where  wert  thou  when  they  dared  to  present  before 


J 


*  The  painters  and  machinists  of  the  Openu 
We  think  it  better  not  to  translate  the  ion  t 


Mo^of  friend  J.  J.— Editor. 


One  of  the  unknowns  whoM  names,  in  oompany  with  those  of  Beethoven 
VeroiA  are  inscribed  in  the  fytr  of  the  Opevi»  where  MendeUsohn 


and  Spohr  are  forgotten. 


Digitized  by^^OUy  ItT 


^06 


THE  MUSICAL  WOULD. 


those,  who,  like  thyself,  understand  what  is  really  beautifal  in 
the  absolute  worship  of  that  divine  art,  which  is  called  poetry 
and  music — when  Jerusalem^  by  Verdi,  was  given  ?  If,  like 
us,  thou  hadst  heard  that  incredible  hubbub,  springing  from 
the  complete  arsenal  of  the  instruments  of  copper  and 
brass/,  fashioned  in  such  sort  that  it  were  impossible  for  the 
most  practised  ear  to  detect  in  tlie  midst  of  the  bacchanal,  any 
other  effect  than  that  of  direst  dissonance!  Unhappy  public  1  To 
listen  to  four  acts  of  this  infernal  music  !  Have  ye  nor  hearts 
nor  ears  !  (The  latter,  perhaps,  too  long).  And,  yet  there  are 
in  this  world,  persons  so  deprived  of  sense,  so  shameless,  so 
insipid,  as  to  dare  to  signalize  this  rubbish  as  *'  a  work 
sparkling  with  energy,  force  and  expression!""^  Take  an 
example : — A  trifling  passage  (not  phrase,  for  Verdi  holds 
phraseology  in  contempt)  for  the  violins  tremolo^  accompanied, 
or  followed,  by  a  high  note  for  the  flauto  piccolo ; — well,  this 
trifling  tremolo  and  this  high  note  for  the  piccolo  have  been 
ludicrously  qualified  as  the  rising  of  the  sun — and  critics  have 
been  so  hardy  and  so  silly  as  to  find  parallels  in  Haydn 
(Vreation),  Beethoven  (jthe  Pastoral  Symphony),  Rossini, 
{Moise),  &c.  Such  impious  buffoonery  is  enough  to  make  the 
hair  of  one's  head  stand  on  end ; — to  dare  to  cite  these 
sublime,  immortal,  and  unapproachable  masterpieces,  by  the 
side  of  a  trumpery  burlesque !  They  must  needs  be  un- 
happy beings,  reduced  to  an  incredible  state  of  misery,  who 
can  accept,  no  matter  for  what  salary,  the  unworthy  oflice  of 
applauding  to  the  skies,  of  affecting  enthusiasm,  for  four 
moital  hours,  and  smothering  under  an  insolent  clamor,  the 
modest  negative  of  persons  of  taste  and  intelligence — if  there 
still  be  any  such — who  allow  themselves  to  be  humbugged 
by  the  lying  representatives  of  an  affiche^  upon  which  figures 
pompously,  in  letters  a  foot  long,  the  great  name  of  Jeru- 
salem— musica  del  celeberrimo  maestro^  illustrissimo  Cavaliero 
Verdi!     Unhappy  opera!     Unhappy  artists? 

Let  us  hasten  from  the  Invalides  of  the  Rue  Pelletier,  and 
in  the  aristocratic  theatre  of  the  Place  Ventadour,  endeavour 
to  obtain  a  place  in  the  cotdoir,  or  a  corner  in  a  box,  where> 
perched  sur  la  poinie  des  orteils,  the  poor  journalist,  the 
Paria  of  the  Parisian  Theatres,  may  render  an  account  of  the 
magnificent  success  of  Alboni,  in  the  part  of  Arsace  in 
Semiramide.  There,  if  you  please,  is  a  great  and  beautiful 
voice  ;  there,  if  you  please,  is  a  great  singer ;  in  this  matter, 
my  dear  friend,  I  completely  and  absolutely  espouse  your 
sympathies,  and  that  of  your  excellent  correspondent,  D. 
(whose  absence  is  so  much  lamented  by  Paul  Smith,  Henri 
Blanchard,  and  the  loge  de  la  commission) — which,  you  are 
well  aware  is  not  invariably  the  case.  Yes,  Alboni  is  une 
granie  artiste-^r  rather  wi  grand  artisle,\  Who  could  desire 
more  warmth,  more  energy,  more  brio  ?%  Such  as  she  is,  we 
we  have  heard  nothing  more  complete,  more  perfect  in  Paris 
for  many  long  years.  She  is  not  Pasta  ;  she  is  not  Malibran  ; 
she  is  not  Pisaroni ;  she  is  not  Grisi ;  but  she  is  Alboni — 
and  that  name  says  enough  in  all  conscience  !  The  papers, 
the  reviews,  and  your  private  letters,  have  all,  no  doubt, 
detailed  to  you  the  astonishing  triumph  of  this  cantatrice :  I 
shall,  therefore,  refrain  from  enumerating  the  bouquets,  the 
ovations,  the  recalls,  that  have  welcomed  her  on  each  succes- 
sive evening.  The  houquttUre  of  the  Theatre  Italien  is 
making  a  fortune  and  has  already  bought  shares  in  the 
chemin  de  fer  du  nord ;  the  houquetiires  of  the  Opera  have 
emptied  their  stores  in  supplying  her  ; — ^is  that  not  enough  ? 

*  Does  our  correspondent  hint  at  M.  Desnoyers,  of  the  SUcU,  who  wrote 
the  puff  which  Fiorentino  nobly  disdained  to  indite? — Editor. 
f  A  distinction  for  which  the  English  tongue  lias  no  synonyme.—BDrroR. 
t  An  epithet  exduaiTely  Italian.~£BiTOR. 


But,  I  must  tell  you,  that  Giulia  Grisi  nobly  divides  the 
triumph  with  Alboni.  The  Norma  disputes,  step  by  step,  the 
vocal  throne  of  the  Italiens,  Like  a  generous  steed  that  has, 
for  some  time,  been  overcome  by  a  lazy  sleep,  the  Grisi  has 
awakened  from  her  torpor,  at  the  first  prick  of  the  spurs ;  she 
bounds,  she  rushes  forward — or,  as  Theophile  Gautier  says, 
<*  she  is  twenty-four — she  is  sublime !"  It  is  really  an 
admirable  spectacle,  this  duel  between  two  great  singers, 
who  fight  for  the  sceptre  of  Italian  opera;  since  Malibran 
and  Sontag  we  have  lost  sight  of  such  generous  and  magna- 
nimous rivalry.  The  dilettanti  clap  their  hands ;  the 
treasurer  is  in  ecstasies ;  the  director  (M.  Vatel  —  the 
^'homme  malheureux"  of  Fiorentino)  is  in  the  seventh 
heaven.  "  Another  petit  poulet^  like  this,  hatched  and 
nourished  at  the  Academic  Royale  de  Musique"  says  M. 
Vatel,  "  and  behold  my  fortune  made."  Kind  M.  Duponchell 
Excellent  M.  Roqueplan !  Lucky  M.  Vatel  I  He  has 
promised  us  Rossini's  Stahat  Mater ^  with  Grisi,  Alboni, 
Mario,  and  Ronconi,  as  interpreters.  This  will  be  followed 
by  the  revival  of  La  Cenerentola^  with  Alboni  and  Lablache. 
We  were  to  have  had  the  Barbiere,  but  it  would  have  been 
unkind  to  Madame  Persiani,  and  we  must,  consequently,  wait 
till  next  year.  I  admire  nothing  more  in  Alboni  than  this 
repugnance  to  hurt  the  feelings  of  a  sister  artiste.  Thus, 
you  see,  on  this  side  of  the  Boulevard,  all  prospers ;  the 
season  is  rich,  and  we  are  promised  marvels  ; — here,  I  may 
safely  prophecy  that  the  mountain  is  not  in  labour  with  a 
mouse,  as  in  the  instance  of  the  wretched  Jerusalem,* 

The  Opera  Comique  is  sleeping  on  its,  ancient  repertoire  ; 
the  director  promises  that  the  awakening  shall  be  a  thunder- 
clap—an opera  of  Auber,  with  a  great  display  of  decorations 
and  costumes,  an  unprecedented  luxury  in  the  mise  en  scene — 
and  last,  not  least,  Roger  for  the  principal  tenor  part. 

At  the  Theatre  National  there  has  been  nothing.  The 
public  neglects  it*-which,  thanks  to  Gastibelza,  is  not  a  groan 
injustice. 

Alexander  Dumas  is  preparing  Hamlet  for  immediate  pro- 
duction, at  the  Theatre  Historique.  Yes,  my  friend,  Hamlet ! 
You  Englishmen  will  start  at  this  great  name.  And  Hamlet 
too,  re-touched>  arranged — Shakspere  arranged  by  Alexander 
Dumas  !  Que  voulez  vous  ?  The  ridiculous  is  so  close  to  the 
sublime.     I  will  let  you  know  the  result  of  this  adventure. 

A  thousand  friendly  greetings  to  Berlioz.  Tell  him  that  I 
have  sent  a  biography  of  him  to  Germany,  as  complete  and 
minutely  detailed  as  possible,  where  his  portrait  has  already 
had  a  succ^s  de  vogue.  And  this  was  not  par  petit  besogne,  I 
assure  you  : — why — ce  diable  Aoiiiwe— why  does  he  compose 
so  many  fine  things! — why  he  is  so  wild,  so  grand,  so 
original,  so  sublime?   Adieu,  my  friend,  always  your's, 

D.  COPPSLIUS. 

N.  B. — Do  not  forget,  that  in  the  midst  of  *the  grippe^ 
the  fear  of  the  cholera,  and  the  unhappy  condition  of  business, 
the  Carnival  will  begin  in  a  few  days.  The  first  bal 
masque  at  the  Opera  is  fixed  for  the  18tb.  We  shall  have 
balls  at  the  Opera,  the  Opera  Comique,  the  Variites,  the 
AmbigUi  &c.  &c.  At  Paris  we  dance,  and  we  laugh,  by  the 
side  of  a  corpse,  in  the  face  of  public  misery.  What  is 
it  to  Paris,  after  all— or  to  the  corpse  and  the  sufferers  ? 

Paris,  December  4. — {Ffom  another  Correspondent). — My 
dear  — — —  In  promising  to  give  you,  from  time  to  time,  some 
news  about  musical  Paris,  I  had  quite  forgotten  the  singular 
reputation  which  your  correspondent  D.  gave  me  in  the  eyca 

«  "  D'un  8ouris,"add8  our  correspondent-*"  qa*elle  fount  r—Untniw- 
latable  again.— Editor.  I 

Digitized  by^^UOy  It: 


THE  MUSICAL  WORLD. 


«07 


of  your  readers,  in  one  of  his  spiritual  letters  upon  Paris* 
To  justify  his  words,  I  should  ''  know  everything  and  every- 
body, the  reason  of  everything,  and  the  peculiarities  of  every- 
body." Such  qualities  would  indeed  be  a  precious  acquisition 
for  a  correspondent ;  but  alas  !  I  do  not  merit  the  honor  ;  for, 
although  I  know  a  great  many  persons,  I  know  veiy  few 
things — as  the  sequel  will  show. 

Not  having  been  to  the  Academie  Royale  since  the  concerts 
of  Alboni,  I  am  ignorant, of  what  has  taken  place  in  the 
theatre,  behind  the  scenes^  or  in  the  burwu  of  Uie  adminia- 
tration. 

As  I  rarely  go  to  the  Theatre  des  Italiens  I  can  tell  you 
nothing  further  than  that  the  stock  operas  lately  have  been 
Semiramde^  Lucia,  li  Barbieref  and  Nortna, 

At  the  Opera  Comique  you  are  aware  that  a  new  work  by 
Auber  is  in  preparation.  Within  the  last  few  days  they  have 
revived  the  same  admirable  composer's  opera  of  Fra  ZHavoloj 
that  charming  work,  which  swarms  with  delicious  melodies, 
and  offers  the  greatest  interest  in  its  refined  and  spiritual 
orchestration.  It  was  sung  to  perfection,  and  obtained  as  much 
success  as  on  the  occasion  of  its  first  production.  In  this 
opera  all  is  fresh  and  new — nothing  has  become  stale — nor 
the  form  of  the  morceauxt  nor  the  melodies ;  all  breathes  the 
verve  and  the  grace  that  are  peculiar  to  Auber. 

The  Opera  NatiotMl  is  still  giving  Gastibelza,  Aline^  Une 
bonne  Fortune  fi  while  Felix  and  Le  Postilion  de  Lovjumeau 
are  in  preparation. 

The  concerts  are  beginning.  Two  have  already  taken  place 
in  the  room  of  the  Conservatoire,  The  first  was  given  by. 
M.  Wekerlin,  a  Frenchman,  in  spite  of  his  thoroughly  Grerman 
name.  M.  Wekerlin  came  before  the  public  as  a  man  of 
courage  and  ambition ;  his  programme  comprised  an  overture, 
some  vocal  pieces,  French  and  Arabian  choruses,  and  an 
ode-symphony,  entitled  Roland,  which  I  r^et  that  I  was 
unable  to  hear.  M.  Wekeirlin  is  a  young  composer  with  a 
fine  prospect  before  him  ;  he  possessel^  more  science  than  is 
general  at  his  age ;  he  instruments  well,  writes  well  for  the 
voices,  and  chiefly  sins  by  the  too  great  complacency  witli 
which  he  accepts  the  melodic  ideas  that  present  themselves  to 
his  fancy ;  these,  with  the  exception  of  the  "  Choeur  Arabe,"  a 
charming  morceau,  well  designed,  well  written,  and  received 
with  great  favor,  are  wanting  in  originality. 

At  the  other  concert  we  had  Felicien  David,  with  a  new 
symphony  and  his  oratorio,  Moise  au  Mont  Sinai,  as  the  chief 
attractions  of  his  programme.  The  first  part  of  the  symphony 
denotes  a  progress  in  the  composer,  inasmuch  as  it  is  modelled 
on  a  larger  plan  and  one  more  worthy  of  a  symphony  than  in 
his  first.*]-  This  movement  betrays  a  marked  predilection  for 
a  composer  whose  premature  death,  alas !  we  must  ever 
lament, — you  understand  that  I  allude  to  Mehdelssohk.  But, 
far  from  reproaching  M.  David  for  this  new  phenomenon  of 
his  style,  I  signalise  it  with  pleasure,  since  the  resemblance 
has  been  useful  to  him,  and,  despite  of  certain  analogies  in 
the  manner  of  conducting  the  development  of  the  principal 
theme,  and  in  the  melodic  forms,  it  has  enabled  him  to  manifest 
a  refined  and  vigorous  style  of  instrumentation,  especially  in 
the  quartet.  The  andante  had  still  greater  success — thanks  to 
a  theme  of,  perhaps;  too  great  simplicity,  and  to  certain  effects 
of  instrumentation  purely  physical,  which  agreeably  tickle  the 
ear ;  in  addition  to  which  it  is  composed  with  the  hand  of  a 
master,  and  interests  the  musician  by  the  ability  with  which  it 
is  written.   The  sch^'''^>  which  is  a  regularly  developed  finale 

*  A  one-act  op^^        by  Adolph  Adam,  the  director, 
f  Q?.  Are  thtf^^^i  already  two  symphonies  by  tiiis  compoiei  known  to 


pleased  me  less  ;  the  principal  theme  is  a  kind  of  fandango^ 
and  the  length  of  the  movement  is  not  compensated  by  any 
strokes  of  genius,  either  in  the  melody  or  in  the  orchestral 
combinations.  In  Moise  there  are  some  beautiful  passages — 
for  example,  the  instrumental  introduction,  a  romance  with 
chorus,  cleverly  sung  by  Mademoiselle  Grimm,  of  the  Opera 
Comique,  and  a  duet  and  chorus,  interpreted  to  perfection  by 
the  same  charming  vocalist,  and  her  admirable  camarade^ 
Roger.  I  hear  that  Felicien  David  will  go  to  London,  next 
season  ;  for  which  reason  I  abstain  from  entering  into  details 
that  you  will  be  able  to  describe  to  your  readers  much  more 
satisfactorily  than  is  in  my  power.  I  have  seen  Meyerbeer, 
who  says  nothing  about  either  the  Afiricaine,  or  the  Proph^e; 
but  much  about  Le  Camp  de  Silesie,  which  he  hopes  to  hear 
performed  in  London. 

The  Conservatoire,  you  will  be  pleased  to  hear,  is  preparing 
an  address  to  the  widow  of  the  immortal  Mendelssohn,  of 
which  the  composition  has  been  entrusted  to  M.  Maurice 
Bourgcs.* 

There»  **  old  fellow" — I  have  said  all  I  have  to  say.  I  write 
to  prove  to  you  that  I  can  keep  my  promises,  at  the  risk  of 
losing,  in  the  estimation  of  your  numerous  readers,  the  repu- 
tation of  one  who  knows  everything,  Grood  bye— your  devoted 

Henry  Panofka, 

Lbipzic,  Dec,  8,  1847. — (From  our  oum  Correspondent.)-^ 
I  have  perused  with  great  interest  the  articles  which  have 
appeared  in  the  last  few  numbers  of  your  valuable  World, 
respecting  the  "  immortal  Mendelssohn."  To  every  member 
of  Uie  musical  profession,  and  every  sincere  admirer  of  the 
art,  it  must  be  gratifying  to  see  that  England  shows  her 
appreciation  of  the  great  merits  of  "  the  Mozart  of  the 
nineteenth  century,"  whom  it  has  been  the  will  of  divine 
Providence  so  suddenly  to  remove  from  this  earthly  scene, 
and  does  honor  to  him  whose  '*  memory  lives,  and  will  live 
in  all  hearts  that  beat  with  holy  rapture  for  the  beautiful,  the 
noble,  and  the  true."  I  am  glad  to  see  that  the  entiiusiastic' 
spirit  of  your  talented  correspondent,  at  Paiis,  finds  so  many 
congenial  hearts  among  the  brethren  in  London,  and  give« 
such  assurance  that  the  project  for  raising  a  **  commemoration 
to  the  immortal  Mendelssohn  shall  be  carried  out  and 
brought  to  a  glorious  and  successful  termination."  In  my 
last  I  gave  you  a  hurried  description  of  the  funeral  obsequies, 
as  they  were  celebrated  at  Leipzic ;  but,  I  omitted  to  state 
that  number  three  of  the  fifth  book  of  the  '*  Lieder  ohne 
Worte"  was  arranged  by  Professor  Moscheles  for  the  mournful 
occasion,  and  per^rmed  by  the  band  as  the  solemn  cortege 
wended  its  way  towards  that  church  where  the  last  rites  were 
performed.  I  also  stated  that  Meyerbeer  was  present  at  the 
ceremony,  which,  I  have  since  been  informed,  was  not  correct. 
In  the  article  you  have  extracted  from  the  Journal  des 
Debats,  I  think  a  few  errors  have,  by  some  means,  crept. 
First :  It  states,  that  "  the  obsequies  of  Mendelssohn  Bar- 
tholdy  were  celebrated  on  Saturday,  November  the  6th," 
which  is  incorrect,  as  they  were  celebrated  on  Sunday  the 
7th  ultimo.  Secondly  :  That  •*  during  the  ceremony,  several 
morgeaux  of  Jlahdel  were  performed,"  which,  if  you  will 
refer  to  my  list  of  what  was  performed,  you  will  find  was  not 
the  case  ;  but  the  greatest  error  is,  that  "  whilst  the  reverend 
pastor  (who,  by  the  way,  bears  the  name  of  Howard,  and  not 
Boer  wig)  pronounced  the  funeral  oration,  three  professors  from 
Dresden  were  occupied  in  taking  a  portrait  of  Mendelssohn, 
whose  body  was  placed  in  an  open  coffin,  having  the  brow 

*  Let  us  hope  that  this  address  will  be  couched  in  language  less  frigid 
than  that  of  a  paper  upon  Mendelssohn  from  the,  same  hand,  wtaidi  appeared 
in  a  late  number  of  the  Rewe  it  Qaz9ite  Miniealg, 


Digitized  by\^OOy  It: 


808 


THE  MUSICAL  WORLD. 


bound  with  a  crown  of  laurel."  The  absurdity  of  such  a 
statement  is  too  gross  to  allow  it  to  pass  carrent.  In  the 
first  place  the  coffin  was  not  opent  and,  in  the  second,  no  one 
would  have  been  permitted  to  take  a  portrait  of  the  illustrious 
deceased  in  the  churchy  and  during  the  funeral  solemnities! 
Such  was  NOT  the  case ;  the  coffin  was  closed  and  raised  upon 
a  pedestal,  covered  with  a  ''  sable  velvet  pall,"  and  decorated 
with  palm  branches,  wreaths,  &c.  By  this  you  will  sec  that 
"  the  French  version" — bo  singularly  graceful  and  unaffectedly 
simple — a  masterpiece  of  unadorned  prose  !— is  far  too  learned 
and  romantic!  On  Thursday  evening,  Nov.  11,  a  concert, 
in  memory  of  the  great  departed  one,  was  given  in  the 
Gewand  Haus  ;  the  first  part  consisted  of  his  music  entirely, 
including  his  last  compositions^  one  of  which  might  almost 
be  looked  upon  as  prophetic  of  his  own  approaching  disso- 
lution, the  words  being,  *'  Lord,  now  lettest  Uiou  thy  servant 
depart  in  peace,"  &c.  I  need  hardly  say  how  these  works 
were  listened  to  with  breathless  attention  by  a  crowded 
audience.  Rehearsals  of  his  Elijah  have  commenced ;  it  is  to 
be  performed  here  some  time  in  February  next.  This  great 
work  has  not  yet  b6en  performed  in  Leipzic,  therefore  you 
may  easily  imagine  the  hearing  is  looked  forward  to  with 
great  anxiety.  The  musical  public  of  the  various  towns  in 
England,  who  were  fortunate  enough  to  hear  its  interpretation, 
under  the  direction  of  the  mighty  composer  himself,  and  the 
orchestras  who  have  had  the  honor  of  working  under  his 
guidance,  ought,  indeed,  to  be  proud  and  cherish  the  memory 
of  him,  and  his  *'  greatest  work,"  to  theur  dying  hour !  An 
artiste  of  Leipzic,  by  name,  Knauer,  has  exhibited  a  very 
successful  model  of  a  bust,  taken  after  death,  which  will 
shortly  be  ready  for  sale.  The  price  will  be  twelve  shillings, 
for  casts  in  plaster  of  Paris,  and  eighteen  shillings,  in  porcelain. 
Doubtless,  numbers  of  his  musical  admirers  and  friends  in 
London,  and  elsewhere,  will  be  anxious  to  obtain  a  faithful 
-  likeness  of  the  departed  ''  Prince  of  Musicians,"  and  I  would 
take  the  liberty,  through  your  medium,  of  advising  them  to 
send  their  names,  to  be  attached  to  the  subscription  list  here, 
and  thereby  secure  the  best  and  most  perfect  models,  which 
will  be  given  to  the  subscribers.  On  Monday,  the  29th  ult., 
a  concert^  supported  by  some  of  the  pupils  of  the  Conserva- 
torium  took  place,  before  a  large  audience,  and  concluded  very 
satisfactorily.  The  gems  of  the  evening  were,  the  first  move- 
ment of  Moscheles'  brilliant  and  masterly  pianoforte  concerto, 
in  £  flat,  with  orchestral  accompaniments,  played  by  Herr 
Michel  dt  Sentis,  from  Warsaw  (who,  ere  long,  will  be  one  of 
our  first  pianoforte  performers),  in  a  manner  highly  creditable 
to  himself  and  worthy  of  the  composition,  and  the  first 
movement  of  Beethoven*s  concerto  in  C  minor,  given  by  Miss 
Emma  Jardine,  from  London,  who  made  her  debut  before  a 
Leipzic  audience  on  thia  occasion,  and  played  with  great  taste, 
spirit,  and  neatness  of  execution,  and  elicited  loud  applause. 
Herr  Alexander  Winterberger,  from  Weimar,  performed 
Moscheles*  "  Recollections  of  Ireland,"  with  eclat,  Hen- 
Julius  Riccius,  from  Bemstadt,  Herr  Anton  Metzler,  from 
Zwickau,  and  Herr  Wilhelm  Gertz,  from  Hanover,  severally 
performed  violin  concertos,  from  De  Beriot,  Ferd.  David 
(professor  and  music  director  in  Leipzic),  and  Vieuxtemps, 
with  success.  On  Thursday,  2nd  instant,  Mendelssohn's 
wonderful  inspiration,  «« Die  Erste  Walpurgis  Nacht,"  was 
finely  performed  in  the  presence  of  his  Majesty,  the  King  of 
Saxony-  The  solo  parts  were  sung  by  Mdlle.  Schloss,  Herr 
Wiedemann,  Herr  Behr,  and  Herr  P6gner.  The  singing  of 
Herr  Behr,  especially,  elicited  the  wannest  applause.  He  has 
a  bass  voice  of  magnifioent  quality,  and  sings  most  artisti- 
cally*    Mendelssohn  himself,  on  a  previous  occasion,  com- 


plimented him  very  highly  upon  his  interpretation  of  the 
above  work.  To-morrow  we  shall  have  a  fine  concert 
(No.  8  of  the  subscription),  when  a  new  manuscript  symphony, 
by  Professor  Gade,  conductor  of  the  concerts,  will  be  per- 
formed, of  which  report  speaks  very  highly.  Willmers,  the 
pianist,  also^  plays  Weber's  "  Concert  Stuck,"  and  a  com- 
position of  his  own.  J.  A«  B. 

LliraS  Off  THB  DBATH  OF  MBWDBLSSOBH. 

A  speechless  grief  penrades  each  minstrel  breast, 

£uterpe  mourns  in  silence  o*er  his  tomb ; 
No  words  so  wild  a  phrensy  efre  e^ret^ 

As  that  which  sheds  through  Europe's  heart  a  g^ooos. 

Yes,  thou  art  gone !  and  o<er  thy  hallowed  shriafl^ 
Proud  hearts,  with  unfeigned  reverence,  will  bend  i 

And  noble  minds,  that  knew  the  worth  of  thine. 
To  deep  remorse  their  warmest  feelings  lend. 

As  summer  flowers,  mown  down  before  their  time. 

Are  dead  at  noon,  nor  live  their  little  day. 
So  drooped  thy  head  in  manhood's  fullest  prime. 

And,  meteor-likcb  thy  spirit  passed  away. 

Though  chilling  damps  have  drckd  thee  around. 
And  Death's  cold  arms  have  clasped  thy  mortal  frames 

Thy  memory  lives,  thy  praises  will  resound 
While  lips  have  power  to  breathe  thy  honoured  name* 

An  earthly  muse  shall  vainly  strive  to  tell 

The  sense  refined — ^the  noble  genius  given 
To  thee,  whose  mem'ry  in  our  hearts  will  dweO, 

Till  called  to  join  thy  harmony  in  heaven. 

Anna  tf  aeia  Piraa. 

MUSIC   IN   DUBLIN. 

(ftom  our  own  Correspondent,) 

Thb  musical  societies  of  Dublin,  of  which  the  following  is 
a  list,  have  all  some  time  since  comroenced  operations  for  the 
winter  campaign.  The  Madrigal  Society  meets  on  every 
Monday  evening,  conductor,  Mr.  Geary;  the  Melophonic 
Society  on  every  Tuesday  evening/  conductor,  Mr.  Murphy, 
Jan. ;  the  Philharmonio  Society  every  Wednesday  evening, 
conductor  Mr.  Bussell ;  the  Ancient  Concert  Society  on  every 
Thursday  evening,  conductor,  Mr.  Joseph  Robinson;  the 
Anacreontic  Society,  conductor,  Mr.  Wilkinson;  and  the 
University  Choral  Societyt  conductor,  Mr.  Stewart,  on'every 
Friday  evening ;  and  the  Amateur  Harmonic  Society  on  every 
Saturday  evenings  conductor,  Mr.  Glover. 

The  Philharmonic  Society  gave  their  firat  concert  for  this, 
their  22nd  season,  on  Wednesday  evening,  the  1st  December 
inst,  in  the  Ancient  Concert  Rooms,  Brunswick-street.  The 
following  was  the  programme  :•— 

PAaT  i# 

Sinfonia,  (No.  1.)  .  .  •  •  Beissiger. 

Quartet— "Spring's  delights"    ....  Orpkeui. 

Cavatina— "  Quando  o  core'*    ....  Bcuxini. 

Cantata— *' Adelaide"    .....  BeeUwBsm. 

Quartet— *' Lovely  night"  .  •  •  .  Orpims. 

Song— "The  sUndard-bearer"  .  .  •  •  Imi^eimUr, 

Solo— Pianoforte,  "Theme, _Gu8tave"    ,  .  .  J,  fF.GIecer. 

FAaT  II« 

Overture— "  Freyschuts "  .  .  .  •  Weberm 

Duet— "Dunqueio sou"  ....  Homai. 

Solo— Clarionet,  Signpr  Cavalliai  •  •  Weber, 

Song— "O  come  to  the  greenwood"      .  .  .  Mendelseokn, 

Scptett— "  Pull  away,  boys "      .  .  .  .  Orpheus. 

Overture— "Italiana  in  Algieri"  .  .  .  RosskH. 

Reissiger's  sinfouia,  in  £  flat,  was  admirably  performed  hy 
a^first-rate  orchestra,  under  the  conductorship  of  Mr.  Bussell. 
The  andante,  in  A  flat,  was  given  with  great  precision ;  and 
the  flnal  allegro,  played  with  much  fire  and  spirit,  served 
admirably  to  develope  the  power  of  the  orchestra.  Beethoven's 
cantata  formed  an  excellent  expositor  of  its  manifold  beaa" 


THE  MUSICAL  WORLD. 


869 


tiett  in  the  rich  tenor  Toioe,  «nd  fenreat  and  impaMioaed  style 
of  Mr.  Qetry.  He  gate  the  allegro  molto  with  all  the 
abandoBment  the  subject  demanded*  and  on  its  conclasion 
was  loudly  and  deservedly  applauded.  Mr.  J.  Werner 
Glover's&iitasia  on  "  Theme  de  Gustare ' '  was  performed  by  him 
with  great  power  and  brillianoy ;  the  first  variation,  especially, 
where  the  subject  is  taken  alternately  by  the  right  and  left 
hand,  amid  arpeggio  passages  of  lightning  rapidity.  The 
finale  is  light  and  brilliant,  d  la  Herz.  This  movement  winds 
up  with  an  admirable  fugue,  and  the  original  theme  ooming 
in  as  a  counter*subject,  has  a  novel>  and  at  the  same  time  a 
charming  effect* 

The  first  concert  of  the  season  of  the  Madrigal  Society  took 
place  on  Monday  evening,  the  6th  December  inst.  The  pro- 
gramme comprised  madrigals  by  Bennett  and  Fe8ta,wh]ch  were 
steadily  performed  by  a  chorus  consisting  of  nearly  seventy 
voices,  conducted  by  Mr.  Geary. 

Bellini's  Duetto,  **  Vieni  fra  queste  braocia,"  from  Puritanic 
exquisitely  sung  by  Mrs.  Smith  and  Mr.  (}eary.  Costa's 
terzettOt  *'Vanne  a  cold,"  charmingly  rendered  by  Miss 
Searle,  Mrs.  Smith,  and  Mr.  Geary.  Kucken's  harmonious 
duet  for  tenor  and  bass  *'  Oh  how  sweet  the  hiUs  away ;  "  and, 
though  kst,  not  least,  Carter's  '<  Oh  Nanny/'  harmonised  for 
four  voices^  were  among  the  vocal  gems  of  the  evening.  Tlie 
concert  was  crowded  to  overflowing. 

Mendelssohn's  Elgah  was  produced  on  last  Thursday  even- 
ing, at  the  Society  of  Ancient  Concerts.  As  I  look  upon  this 
perfbrmance  as  the  most  musically  important  of  any  that  has 
occurred  here«  since  the  production  of  Handel's  Messiah  in 
1741»  I  will  defer  any  further  observations  until  next  week, 
when  I  proniiBe  you  a  full  and  detailed  account.  Suffice  it, 
for  the  present,  to  8ay»  that  high  art  never  achieved,  in  every 
respect,  a  more  decided  or  eminently  successful  triumph— a 
triumph  that  will  be  long  remembered  by  those  who,  like 
myaelf,  were  suflleiently  fortunate  to  be  present  on  the 
oecation.  C.  B. 

DRAMATIC  INTELLIGENCE. 

LTCsux.«-*Under  the  name  of  The  Tragedy  Quten^  a 
oomic  piece,  in  one  act,  was  produced  on  Monday,  and  achieved 
a  success  as  complete  as  it  was  well*merited«  Onr  readers  are 
acquainted  with  the  plot  of  the  French  drama*  Tiridate,  in 
which  Mdlle.  Fargueil  made  so  great  a  sensation  at  Mr. 
Mitehell's  channing  little  theatre.  Well,  Mr.  John  Oxenford, 
to  whose  accomp^ed  and  el^^nt  pen  we  are  indebted  for 
the  new  piece  at  the  Lyceumi  adopting  the  incidents  and 
dramatic  progress  of  Tiridai0t  snbetitnting  Mrs.  Bracegir  le 
(the  odebrated  cotemporary  of  Betterton,  famous  alike  for  her 
beauty^  wit,  amoura ,  charities,  and  genius)  for  Dnmesnil, 
Nathaniel  Lee's  Alexander  the  Great  for  a  new  tragedy 
of  Bacine,  and  otherwise  metamorphosmg  the  character  and 
allualonsi  to  give  a  colouring  suitable  to  the  change  of  lecole, 
has  produced  a  little  one-act  drama,  which,  naked  as  it  is  of 
startling  and  unexpected  incident^  sparkles  from  first  to  last 
with  wit  and  homour  of  the  most  genial,  graceful,  and 
thoroughly  racy  kind.  In  Mr.  Oxenford's  version  there  is 
scarcely  one  word  of  the  French  dialogue;  but  what  is  sub- 
atitnted  is  of  a  far  superior  order,  ^e  piece  was  received 
throughout  with  roars  of  laughter,  and  the  curtain  descended 
amidst  the  most  unequivocal  demonstrations  of  pleasure  and 
approvaL  The  historical  allusions,  with  which  the  piece 
abounds,  the  apt  dtations  from  Lee's  bombastic  play,  the 
reference  to  places,  things,  and  events  of  the  epoch  during 
which  Mrs.  Braceghrdle  flourished  (somewhat  beyond  the  middle 
of  the  ISth  oentvy>  all  show  the  author'a  great  fomiliarity 


with  the  dramatic  records  of  the  period,  while  his  masterly 
handling  of  them  proves  his  unquestionable  stage  tact,  and  his 
thorough  knowledge  of  eflect.  The  part  ot  Mrs.  Bracegirdle 
was  performed  by  Mrs.  Stirling,  almost  as  well  as  the 
parallel  character  of  Duroesnil  by  the  charming  Farguiel,  and 
she  was  deservedly  recalled  at  the  fall  of  the  curtain.  The 
other  parts  were  aealously  sustained  by  Miss  Marshall,  Mr. 
Frank  Matthews,  and  a  Mr.  Parselle,  iJthough  the  zeal  of  the 
last-named  gentleman  was  more  to  be  commended  than  his 
ability.  The  costumes  and  scene  were  appropriate  to  the 
The  Tragedy  Queen  is  pkyed  now  every  night,  and  which 
has  given  a  fillip  to  the  business  of  the  Lyceum*-which  was 
in  want  of  something  new. 

Sadler's  Wblls.*— On  Friday  se'nnight  the  comedy  of 
The  Steward  was  revived  here.  This  play  is  of  Scotch 
origin,  and  was  altered  and  adapted  to  the  metropolitan  stage 
many  years  ago.  The  chief  interest  lies  in  the  schemes  of 
Item,  the  villainous  steward,  to  build  his  fortune  on  the  ruin 
of  his  master,  a  cold-blooded  profiigate  gamester,  who  fixes, 
or  suflers  to  be  affixed,  the  stain  of  illegitimacy  on  his 
legitimate  daughter,  for  what  purpose  we  could  not  very 
clearly  understand.  The  character,  which  is  unredeemed  by 
any  strength  in  the  drawing,  was  committed  to  Mr.  Marston, 
who  however  foiled  to  relieve  it  of  its  heavy  and  ofiensive 
features.  Mr.  Younge,  as  the  Steward,  was  excellent, 
smooth,  dose,  and  shrewd.  Mr.  Roskins,  as  the  lover,  and 
Mrs.  Marston,  as  the  Abigail,  who  speaks  English  in  the 
style  of  Mrs.  Malaprop,  kept  the  audience  in  good  humor. 
The  play  waa  received  with  approbation  by  a  well  filled  house, 
but  we  do  not  think  that,  on  the  whole,  the  revival  has  been 
a  very  judicious  one.  The  piece,  which  is  of  the  Morton  and 
Holeroft  school,  is  not  a  good  specimen  of  its  kind.  If  the 
visitors  of  Sadler's  Wells  persist  in  liking  these  plays,  they 
might  have  better  things  of  the  sort.  There  is  Morton 
for  instance,  with  his  five-act  farces. — (Does  the  reader  re* 
member  Elliston  and  Munden  in  them?) — ^Then  there  is 
O'Keefe— better  still.  The  comic  strength  of  the  company 
here  is  quite  equal  to  the  performance  of  such  pieces. 

Fkbncb  Plats.-— We  have  been  confirmed  in  our  opinion* 
expressed  last  week,  that  the  present  is  a  good  working 
company,  and  in  every  respect  qualified  to  act  up  to  the  stars, 
as  thev  may  alternate  both  in  the  serious  and  oomic  line  i  we 
may  also  ventnre  to  state  that,  now  that  we  are  better  able  to 
discriminate,  we  are  less  inclined  to  qualify  our  praise ;  in  the 
first  place  we  make  the  amende  to  M.  Montaland  whom  indis- 
position alone  prevented  from  giving  full  scope  to  his 
abilities.  Mr.  Fechter  has  justified  the  opinion  we  expressed 
of  his  talents ;  and  Mr.  Joseet  is  decidedly  an  excellent  comic 
actor,  with  a  slight  touch  of  the  buriesque,  without,  however, 
descending  to  the  vulgar.  It  would  be  ungallant  entirely  to 
leave  out  the  ladies :  of  these  Madlles.  Baptiste  and  Berthe 
deserve  honorable  mention  at  our  hands.  The  selection  has 
hitherto  been  good  as  regards  the  pieces.  Le  chef  ^cevore 
Ineennu  is  one  of  those  little  homely  dramas,  in  the  construc* 
tion  of  which  the  French  are  supereminent.  It  is  like  a 
cabinet  picture,  domestic  in  its  interest,  interesting  as  regards 
the  subject,  highly  finished  in  all  its  details,  delicately  and 
artistically  handled,  with  as  many  personages  as  are  necessary 
to  bring  out  into  strong  relief  the  conception  of  the  author. 
Here  we  have  the  confiict  of  two  passions  brought  into  duect 
antagonism — the  love  of  an  artist,  a  sculptor,  fer  his  mistress, 
and  his  devotion  to  his  art;  the  former  triumphs  over  the 
latter*  and  the  crown  destined  for  the  living  genius  is  placed 
on  the  forehead  of  the  dead  victim,  who  has  generously 
sacrificed  his  own  dreams  of  gMy  aaddistiiietion  to  the  honor 


gio 


THE  MUSICAL  WOULD. 


of  her  whom  he  loved.  M.  Fechter's  conception  of  the  part 
pleased  us  in  many  respects ;  his  acting  was  natural,  and  in  the 
passionate  scenes  he  elicited  much  applause ;  let  him»  how- 
even  be  careful  to  restrain  over-exuberance  of  feeling; 
this  is  a  common  fiault  with  young  actors,  and  mars  not 
unfirequently  their  best  of  parts.  We  should  also  advise 
more  attention  to  the  filling  up  of  those  little  minutiae, 
both  of  gait  and  manner,  which  distinguish  the  perfect 
master  of  his  art,  and  which  have  placed  Bouffi  at  the  top 
of  his  profession ;  in  short  we  should  advise  M.  Fechter 
to  be  his  part,  and  nothing  but  his  part.  "  Le  Reveil  du 
lion,"  is  the  original  of  the  '*  Roused  Liout"  now  being 
played  at  the  Haymarket,  It  is  worthy  of  remark,  that  the 
opening  scene,  which,  in  the  translations  appeared  to  us  so 
interminably  long  as  to  tax  our  patience  to  the  utmost,  loses 
all  its  monotony  in  the  original ;  the  cause  may  partly  arise 
from  the  heaviness  of  the  language  too  literally  translated, 
from  the  allusions  not  understood  by  an  English  audience. 
M.  Cartigny  was  in  his  natural  element  in  the  part 
of  the  old  gentleman,  he  revelled  in  fun,  when  victimising 
Maul^on ;  was  in  every  respect  a  gentleman  in  his  gallant 
scenes,  a  perfect  compound  of  the  muscadin  of  the  directory 
and  the  beau  of  the  empire,  whilst  in  the  pathetic  passages  he 
was  forcible  and  persuasive*  M.  Montaland  was  excellent  in 
the  part  of  Hector  Maul^on,  t!  e  modern  lion,  lively,  animated, 
and  sarcastic  by  turns,  he  k':pt  the  house  in  a  roar  from 
beginning  to  end.  Madame  Yalmy  did  justice  to  the  retired 
opera  dancer — yet  we  regret  we  had  not  a  Mrs.  Keely  in  the 
part.  How  well  Dejazet  would  do  it  i  Mademoiselle  Berthe 
deserves  a  word  of  praise— she  is  lady-like  and  uncommonly 
pleasing  in  her  deportmen  .  J.  de  C 

ORIGINAL   CORRESPONDENCE. 

7*0  the  EdUor  of  the  Muncal  WM4. 

TBS  MINDILSBOHN   MOMUMINT. 

SiBy— The  question  whether  the  English  nation  should  or  should  not 
eiect  1  tribute  to  the  memory  of  the  great,  the  good,  the  gifted  Felix 
Mendelssohn  Birtholdy,  appears  to  me  to  be  a  matter  now  placed  beyond 
the  reach  of  doubt,  or  controverBy,-^to  be  a  thing  absolutely  fixed  and 
deterihiDed  on.  Not  so  the  nature*  manner,  and  form  of  this  proposed 
erection,  which  still  seem  matters  of  difficulty  and  discussion.  It  is 
fixedly  resolved  that  some  kind  of  honorary  memento  shall  be  raised,  but 
the  exact  nature  of  that  memento  is  net  so  fixedly  determined  on.  I 
would  wish,  with  your  permission,  to  oflTer  a  few  observations  upon  the 
subject. 

That  part  of  the  question,  as  to  whether  the  monument  intended  to  be 
erected,  should  be  a  bust  or  a  full  length  statue  of  the  late  eminent 
composer,  I  apprehend  may  easily  be  decided  and  dismissed  forthwith. 
All  will  admit  and  pronounce  in  favour  ef  the  superiority  of  the  statue 
in  preference  to  the  simple  bust ;  and  the  only  difficulty  or  obstacle  at  all 
likely  to  be  raised  to  our  having  the  former,  can  be  as  to  the  insoffidency 
of  the  funds  to  meet  the  greater  e^pence  of  a  statue.  But  the  English 
people  have  been  rarely  known  to  fall  in  acknowledging  (after  death,  at 
any  rate)  the  merits  of  genius,  and  if  an  appeal  were  made  for  their 
assistance,  the  monies  accumulated,  I  make  no  doubt  of  it,  would  be 
amply  sufficient  to  erect  a  statue,  and  a  very  noble  statue,  instead  of  a 
small  bnst. 

Supposing,  then,  that  the  bust  yieUs  to  the  statue;  then  arises  the 
question,  which  with  the  bust  never  could  have  arisen;  whether  the 
statue  should  be  erected  in  the  open  sir,  or  within  one  of  the  metro- 
politan music  halls  or  concert  rooms.  Tour  clever  Parisian  correspondent 
gives  Ills  vote  in  favour  of  the  open  air  erection,  and  suggests  Hanover- 
tfquare  is  an  appropriate  site  for  the  statue. 

Now,  I  must  confess,  I  cannot  look  upon  the  scheme  for  raising  an 
out-of-door  statute  of  Mendelssohn  in  the  metropolis,  without  fear  and 
trembling.  The  out*of-door  statues  throughout  London  are  anything 
but  comforting  uod  encouraging.  That  we  have  not  impioved  of  Ute  in 
this  particular  is  very  manifest,  if  we  consider  the  last  alfireico  stetue 
erected.  Need  I  mention,  that  butt  for  the  ridicule  and  laughter  of 
Europe,  that  Urget  for  the  jokes  of  the  whole  universe,  the  *«  Arch-Duke" 
at  Hyde  Park-corner  f 
i   UijTeiytra^tlwtthetMkofmodeniog  the  statue  of  MenddMOhn 


may  be  entrusted  to  some  artist,  whose  acknowledged  merits  win  ensore 
the  correctness  and  artistic  beauty  of  the  work.  But  still,  if  placed  in 
a  metropolitan  thoroughfare,  it  cannot  fail  to  be  catalogued  with  many 
monstrosities  in  the  open-air  sUtue  line,  which  already  stud  too  thickly 
our  great  city;  and  heaven  forbid  that  the  testimonial  of  this  nation's 
respect  and  esteem  for  Mendelssohn,  should  be  turned,  as  other  testimo- 
nials have  been,  before  now,  to  ridicule  and  universal  contempt.  With 
respect  to  Hanover-square  as  an  appropriate  site,  is  there  not  one  statue 
there  aready  r  Canning,  if  I  mistake  not.  Again,  it  appears  to  me. 
that  erecting  an  out-of-door  statue  of  Mendelssohn,  in  London,  will 
scarcely  seem  appropriate  and  comme  Ufaut,  One  can  scarcely  reconcile 
the  idea  of  a  sUtue  of  that  great  musician,  from  whom  have  emanajted 
some  of  the  finest  compositions  mortal  ever  penned,— the  author  of  those 
magnificent  works,  St.  Paul  and  Elijah,>'Stand]ng  in  a  popular  metro- 
politan thoroughfare,  midst  the  hubbub  and  racket  of  this  great  metro- 
polis, midst  the  roar  of  business  and  the  din  of  people.  It  would  seem 
as  though  he  were  placed  in  a  sort  of  purgatory,— as  though  he»  who  so 
loved,  so  cherished  the  chorda  of  harmony  and  melody  in  life,  were 
doomed  to  list  to  nought  but  discord  and  riot  after  death ! 

No,  sir,  the  statue  of  Mendelssohn  could  not  consistently  he  placed 
in  the  centra  of  this  great  city,  unless  under  the  roof  of  some  hall 
strictly  devoted  to  music,  unless  beneath  the  sacred ceUing  of  a  cathedral, 
unless  in  some  public  gallery  of  statues  and  monuments  of  eminent  men. 

But  there  is  no  reason  why  the  statue  should  not  be  erected  in  the 
open  air,  some  short  way  out  of  London ;  in  some  shady,  quiet  nook, 
into  which  the  whiriwind  of  toil  and  business  never  intrudes.  Why  not 
in  one  of  our  beautiful  cemeteries,  a  short  distance  out  of  London  t 
Surely,  the  holy  calmness,  the  heavenly  peace,  the  death-like  stillness, 
which  pervade  these  hallowed  resting  places  of  the  dead,  would  be  more 
in  unison,  more  in  harmony  with  the  living  thoughU  and  imaginings  of 
the  great  musician,  than  the  din  and  riot  of  a  busy  city.  There  it  would 
be  a  sort  of  pious  pilgrimage,  a  holy,  much-loved  duty,  to  jog  on  to  the 
peaceful  spot  where  England  had  raised  her  tribute  of  earnest  admira- 
tion, passionate  love,  heart-felt  respect  for  that  man,  who  never  had  an 
equal,  a  rival,  or  an  enemy— who  loved  and  was  loved  by  all^he 
mighty  inspintions  of  whose  geniut  must  last  to  eternity— and  ther^ 
to  linger  near  the  monumental  marble,  indulging  In  the  soul-devating 
thoughta,  the  tearful,  soul-searching  refiections,  which  nust  rush  sponta- 
neously to  the  heart  as  it  ponders  o'er  his  heavenly  genius,  hU  meteor- 
course,  his  premature  decay  I  Or,  why  not  erect  the  monument  in  some 
shady  grove  or  avenue  in  our  public  parks  or  gardens?  Why  not  in 
some  leafy  spot  in  Kensington-gardens,  for  instance?  These  places, 
which  I  have  mentioned  at  random,  and,  doubtless,  many.better  may  be 
suggested,  appear  to  me  Infinitely  more  appropriate  than  any  London 
street,  or  public  thoroughfare.  Though  I  could  wish  to  say  a  few  more 
words  upon  the  subject,  I  dare  not  any  longer  venture  to  presume  upon 
your  patience,  your  time,  or  your  valuable  space.  But,  I  hope  the  im- 
portance of  the  subject  of  my  letter  may  excuse  both  my  proBzity  and 
my  intrusion.  You,  I  feel  assured,  will  concur  in  the  wish  that  the 
funds  for  the  testimonial  may  prosper  and  accumulate*  and  that  a  monu- 
ment, worthy  of  the  great  name  it  will  bear,  may  speedily  be  erected, 
and  long  remain  a  token  of  England's  respect,  love,  and  admiratioB 
for  every  chfld  of  genius,  let  him  be  bom  in  what  clime  he  miy. 

I  am,  sir,  in  some  haste,  your  obedient  servant,  E.  D.  C. 

Dee.  U,  1847. 


To  the SdiUfTi^f  the  Mutieal  JVarUL 
SiE,— 1  take  the  liberty  of  refertingyour  attention  to  the  kftter  which 
I  had  the  honour  of  wriUng  to  you  on  the  1st  of  September  last;  and 
for  the  insertion  of  which,  in  No.  36  of  your  valuable  Journal,  I  have  to 
return  you  my  most  sincere  thanks.  You  will  readily  conceive  my 
surprise  and  vexation,  when,  on  going  to  the  Union  public-bouse,  for  the 
express  purpose  of  hearing  thU  grand  harpist,  I  found  that  he  had  dis- 
continued  playing  there;  for  what  reason  I  know  not,  though,  lam 
given  to  understand,  that  he  considered  the  patronage  he  received  too 
small.  Being  totally  unacquainted  with  his  address,  you  wiU  see  my 
inability  of  writing,  apologising  through  your  kind  medium,  to  some 
gentlemen,  who,  influenced  no  doubt  by  the  same  feelings  as  myself,  have 
called  at  the  Union  public-house,  in  the  Bagnigge  Wells-Eoad,  to  hear 
him  play,  and  not  finding  him  there,  were  so  confiding  in  my  statement 
of  his  merita,  as  to  leave  their  cards,  which,  unfortunately,  the  careless 
bar-keeper  has  lost.  To  these  kind-hearted  gentlemen  must  I  tender  at 
the  same  time  my  apologies  and  thanks ;  apologies  for  the  disappointment 
they  met  with,  through  the  non-appearance  of  the  harpist,  and  thanks 
for  the  trouble  they  have  taken  in  order  to  hear  him  play.  By  dint  of 
great  trouble,  I  have,  however,  become  acquainted  with  his  address, 
which  U,  W.  P.  Thomas,  3,  Ave  Maria-Une,  Ludgate-HiU:  I  have  re- 
quested him  to  attend  at  the  Union  public-house,  on  Tuesday  evening 
next,  and  he  has  promised  to  be  there  ftom  nine  untU  twdve  o*dock. 


THE  MUSICAL  WORLD. 


811 


and  also  on  any  other  Taetday  evening,  if  it  be  the  wish  or  desire  of  any 
lady  or  gentleman.  I  beg  leave  to  inclose  a  copy  of  my  letter,  referred 
to  at  the  commencement  of  this,  in  order  to  save  you  any  trouble  or  in- 
convenience  you  may  be  put  to,  by  having  to  refer  to  the  identical 
number  in  which  it  was  inserted,  and  I  beg  leave  to  subscribe  myself. 
Your  obliged,  obedient  servant,  Mabont  Mtlib. 

13,  Charlm-itreet,  15/A  Dec,  1847. 

To  the  RdUor  qf  the  Muricdl  World 

•Olios  IN  BATDN's  CBIATIOW. 

^  H.  £.  wifl  feel  obliged  to  the  Editor  of  the  Musical  World,  recommend- 
ing him  some  songs  for  the  "  Creation.'"  His  voice  is  a  btarytono,  bat 
cannot  easily  reach  beyond^E.  If  the  Editor  cannot  do  so,  perhaps  some 
of  H.  E's  fellow  subscribers  wUl  oblige  him. 

[Our  columns  are  open  to  any  subscriber  who  haa  the  time  to  reply 
to  our  correspondent's  question?— Ed.]] 


PROVINCIAL. 

LmrRPooL.— On  Wednesday  the  annual  concert  of  Miss  Keale 
took  place  at  the  Concert  Hall,  Lord  Nelson-street,  in  this  town.  The 
Attendance,  without  being  crowded,  included  some  of  the  first  families  in 
tiie  town.  A  duet  by  Tbalberg,  played  by  Miss  Keale  and  a  young  lady, 
her  pupil,  whose  name  did  not  transpire,  delighted  while  it  captivated  all 
present.  Miss  Keale's  pupil  win  take  her  place  at  no  distant  day  amongst 
the  most  accomplished  InstrumentalisU.  The  singing  of  Mr.  Weiss  was 
highly  relished.  Miss  Emily  Grant  carried  away  the  applause  by  her 
finished  singing  and  tasteful  execution.  Her  favourite  song,  "  Sound 
the  pibroch,"  is  quite  a  gem.  There  are  few  lyrical  compositions 
more  inspiring,  the  echo  notes  show  the  accomplished  vocalist,  whUe  the 
spirit  which  she  throws  into  the  air  smacks  pleasantly  of  the  practised 
sctress.  Signor  Giulio  Kegondi  played  two  or  three  solos  on  the  con- 
certina and  the  guitar.  Over  both  instruments  he  exercises  perfect  mas- 
tery.— XrfMipoo/  Chronide. 

HooDBSDON.— /YVom  our  Corretpondent)  .'^Miis  Steele  gave  a  very  ex- 
cellent musical  entertainment  at  the  Literary  and  Scientific  Institution, 
on  Monday  last,  which  was  (of  course  taking  into  consideration  the 
influensa)  responded  to  very  agreeably  by  the  most  respectable  families 
of  the  place.  The  artists  comprised  in  addition  to  the  benefidaire.  Miss 
A.  Hill,  Miss  £,  Mounsey,  Bfr.  Bodda  and  Mr.  Watson.  The  programme 
was  very  Judiciously  selected,  and  proved  highly  satisfactory  to  the 
audience,  who  manifested  by  abundant  applause  their  unanimous  ac- 
knowledgements.  The  principal  features  therein  were  Proch's  "  Think 
of  me"  sung  by  Miss  Steele,  and  Kalliwoda's  "  Home  of  Love,"  sung  by 
Miss  Hill,  both  with  concertina  accompaniments,  very  artistically  exe. 
cuted  by  Miss  £.  Mounsey.  Miss  Hill,  who  has  much  improved  in  style 
and  power  since  we  last  heard  her,  gave  the  "  Carlo  Nive"  from  Verdi's 
Masnadieri,  with  a  boldness  and  energy,  far  surpassing  the  merits  of  the 
composition.  The  gem  of  the  Concert  was  decidedly  the  "  In  si  barbara" 
from  Semiramide  song  by  Miss  Steele.  The  deep  pathos,  sweetness  and 
excellent  style  with  which  it  was  rendered,  called  forth  a  most  vehement 
encore,  and  even  very  narrowly  escaped  being  redemanded.  Mr.  Bodda 
sang  a  Hungarian  dancing  song,  by  Miss  A.  S.  Mounsey,  which  richly 
deserved  a  similar  compliment,  the  singer  having  done  ample  justice  to 
s  talented  composition.  In  the  petit  rien,  of  Jeannette  and  Jeannot,  he 
however  obtained  what  the  first  essentially  merited.  Mr.  WaUon  per- 
formed a  charming  solo  on  the  violin,  by  Sainton,which  elicited  abundant 
applause,  and  between  the  first  and  second  parts  of  the  concert  a  request 
from  several  of  the  audience  was  made  to  him  to  repeat  his  performance, 
which  consisted  of  an  air,  witli  variations,  by  Mayseder,  which  was  also 
received  with  flattering  marks  of  approbation.  The  duet  from  the 
Semiramide  sung  by  Miss  Hill  and  Miss  Steele,  was  greatly  relished  and 
narrowly  escaped  repetition.  The  popukr  ballad  of  Knight  '*  Beautiful 
Venice"  was  kradly  redemanded,  but  the  fsir  benefidaire  responded  by 
singing  "  Confe  oiT  to  the  moors,"  the  change  proving  highly  satisfactory. 
The  programme  not  being  too  long,  they  added  very  much  to  the  spirit 
with  which  it  went  oif,  the  general  opinion  at  the  conclusions  bdng  that 
of  most  decided  gratificatlou  with  the  evening's  amusement. 

Dsvizis.— The  musical  entertainment  given  by  Mr.  H.  Phillips  and 
Mr.  Land,  at  the  Town  Hail,  was  attended  by  a  large  and  fashionable 
audience.  Mr.  H.  Phillips  was  in  splendid  voice,  and  we  never  heard 
him  sing  with  greater  power  and  effect :  he  was  encored  in  his  charming 
old  ballad  "  Shall  1  wastynge  in  despaire,"  but  substituted  one  of  hto 
Ister  compositions  entitled  "  There's  a  New  Year  coming,"  which  was 
enthusiastically  received.  Mr.  Land  was  deservedly  much  applauded, 
especially  in  the  Scottish  songs,  "  Lizzie  Lindsay,"  "  Auld  Robin  Gray," 
and  "The  Lass  O'Gowrie,"  in  the  latter  of  which  he  was  rapturously 
encored.  His  voice  is  a  tenor  of  beautiful  quality,  and  his  pure  style  of 
•inging  was  greatiy  admired.    In  conduding,  Mr.  Phillips  thanked  his 


audience  for  the  approbation  they  had  manifested,  and  announced,  amidst 
much  applause,  his  intention  of  revisiting  Devizes  in  the  Spring.  Since 
Mr.  Wilson's  first  appearance  here,  no  ^milar  entertainment  has  been 
received  with  more  unequivocal  marks  of  pleasure. 

Bbiobton/—  {From  a  Corretpondent),  —Madame  Catbinka  db 
DiBTz's  Comcbbt.— This  Pianist  gave  a  concert  here  last  week ;  it  was 
attended  by  a  most  fashionable  audience,  which  included  several  officers 
of  the  16th  Lancers,  in  full  uniform.  The  band  of  the  1 6th  Lancers  per- 
formed a  piece  at  the  commencement  of  each  part,  moft  woAilly  out  of 
tune.  Madame  de  Diets  played  with  considerable  execution  two  mor- 
ceaux  of  her  own  and  Albert's  joint  composition.  Signor  Alessandro 
Galli  sang  two  arias  in  excellent  style,  and  also  took  parts  in  duets  by 
Donizetti  and  Mosca,  with  Madame  Santa  Croce.  BaerwolTs  "  When 
the  post  horn  gaily  sounding"  {Pott  horn  klang)  was  sung  with  great 
brilliancy  and  excellent  taste  by  Madame  Santa  Croce;  the  obligato 
violoncello  accompaniment  to  which,  was  artistically  rendered  by  Herr 
Haussmann.  The  concert  had  the  merit  of  ending  at  an  early  hour,  so 
that  the  audience  were  perfectly  satisfied  and  not  fatigued.  Herr  Kuhe 
was  the  accompanyist  at  the  Pianoforte. 

Labcastbr.— Mr.  Templeton's  music  entertaUiment  took  place  in  the 
Music  Hall,  on  Wednesday,  the  6th  inst.,  before  a  highly  respectable 
audience.  His  anecdotes  are  good,  and  his  songs,  to  the  true  lover  of 
national  melodies,  always  welcome.  Mr.  Templeton  has  shown  great 
judgment  in  the  selection  of  an  aocompaoistinthe  person  of  Mr.Blewitt, 
who,  for  many  years,  was  director  and  composer  to  the  Theatre  Royal* 
Dublin.'  The  entertainment  commenced  with  Dibdin's  song  "The  Lads 
of  the  Village,"  which  Mr.  Templeton  gave  with  great  feeling.  The  next 
song  wss  Shield's  "Tdl  her  f  love  her."  The  next  was  "  Sally  in  ou 
Alley,"  by  Henry  Carey,  which  was  given  with  great  feeling.  This  was 
decidedly  encored.  The  scene,  "  All  is  lost  now,"  from  La  Sonnambula, 
"  They  may  rail  at  this  Life,"  "The  Minstrel  Boy,"  and  "The meeting  of 
the  waters,"  left  nothing  to  be  desired.  "The  brisk  young  lad,"  vras 
humourously  given,  and  encored.  The  entettainment  conduded  with 
Mr.  Blewitf  s  amusing  song,  "  The  meny  little  fat  grey  man,"  wbidi  set 
the  audience  in  roars  of  laughter.  Mr.  Blewitt's  accompaniment 
throughout  the  whole  of  the  evening,  merits  the  highest  praise. 
Mr. Templeton  has  promised,  ere  long,  to  revisit  this  town.  — Lcmcoiltfr 
Qazette. 

CONCUTS. 

Pbivatb  Concbbt.— Habovbb-Squabb  Roohs.— (^Rrom  a  Corret* 
pondtni), '^An  evemng  concert,  under  the  direction  of  a  party  of 
amateurs  (of  whose  liberality  we  have  had  cause  to  make  favourable 
mention  on  a  previous  occasion)  was  given  at  the  Hanover-square  Rooms, 
on  Wednesday  evening,  in  the  presence  of  a  briiUant  audience.  The 
vocalists  were  Madame  Caradori  Allan,  Miss  Dolby,  and  Miss  Ransford; 
Messrs.  H.  Phillips,  Lockey,  and  John  Parry.  ITie  instrumentalists  con- 
sisted of  Mr.  Joseph  Richardson,  Mr.  Frederick  Gbatterton,  and  Mr. 
Brinley  Richards,  who  also  ofiidated  as  conductor.  Amongst  the 
pieces  encored  were  songs  by  Madame  Caradori,  Miss  Dolby,  Messrs. 
Lockey,  Phillips,  and  John  Parry.  Miss  Ransford  gave  a  new  song, 
with  considerable  expression.  The  concerted  pieces  went  as  most  thing's 
do  when  they  have  not  been  sufficiently  rehearsed.  We  must,  however, 
except  the  "  AUa  Trinita."  Mr.  Richardson  played  his  own  variations 
on  "  Rousseau's  Dream."  The  harp  solo  consisted  of  a  grand  fantasia, 
by  Mr.  Chatterton ;  and  Thalberg's  "  Mos^  "  afforded  Mr.  Richards  an 
opportunity  for  the  dis^y  of  bis  command  over  the  pianoforte. 

pRiNCKss's  CoMCBBT  Rooii.-^n  Tuesdsy  evening,  a  concert  took 
place  here  for  the  benefit  of  a  profetmenal  ladif  (Qy.  who  %)  when  a  good 
selection  of  music  was  performed  by  a  number  of  popular  favorites, 
Induding  Miss  Sara  Flower,  Miss  Cubitt,  Miss  Bassano,  Messrs.  Frede- 
rick Chatterton,  Bodda,  &c.  Among  the  performers  were  two  small 
debutantes.  A  young  lady,  eleven  years  of  age,  sung  a  song  of  A.  Lee's. 
She  has  a  sweet  voice,  and  sings  with  correct  taste.  The  other  youthful 
debutante  was  Miss  L.  Marshall,  a  sister  (we  presume^l  of  the  Miss 
Marshall,  late  of  the  Royal  Academy.  The  young  lady,  who  was  encored, 
sings  like  an  apt  and  intelligent  pupil,  and  does  credit  to  her  fair  in- 
itructress-^Miss  Sara  .Flower.  As  we  left  at  the  end  of  the  first  act. 
We  missed  a  piano-forte  fantasia,  by  another  debutante^  and  daughter  of 
the  Benefidaire.  We  must  not  omit  Miss  Bassano's  intrepretatfon  of  a 
very  sweet  ballad  of  Walter  Maynard's,  "  I  strive  to  forget  thee."  The 
simplicity  and  fine  natural  feeling  with  which  this  huiy  can,  when  she 
chooses,  invest  her  csntabile  singing,  were  never  more  effectivdy  shown 
than  on  the  present  occasion.  She  has  not  yet,  however,  entirely  rid  her- 
self of  a  fkult  which  has  ahready  been  the  sulgect  of  remark,— a  propen- 
sity to  boU  the  suspended  notes  of  the  doses  to  too  great  a  length. 
Once  fairly  rid  of  this  defect,  her  interpretetion  of  music  of  this  kind 
wo»Wbep«fect.    The  .ttend«ce^^jrt.|W|^  ^^  ^^j^jy  ^^ 


^12 


THE   MUSICAL  WORLD. 


MISCELLANEOUS. 

Thb  Olympic  Theatrb  will  open  on  Monday,  the  27th 
instant,  under  the  management  of  Mr.  DaTidson»  with  a  strong 
aoui  effective  company.  The  performances  will  be  devoted 
principally  to  the  legitimate  drama.  Among  the  chief 
engagements,  we  may  mention  Mr.  Stuart,  from  the  Hay- 
market;  Mr.  G.  T.  Brooke,  Mr.  H.  HoU,  Mr.  Davidge, 
Mr.  Conquest^  Mr.  L.  Thompson,  and  the  Mesdames  Stuart} 
Glyn  (pupil  of  Mr.  Charles  Kemble),  Gordon,  Brougham, 
Bromley,  &c.,  &c.  The  Theatre  has  been  entirely  re-modelled 
and  re-decorated. 

The  Choral  Harmonists]  eommence  their  sixteenth  sea- 
son on  Monday  next  at  the  London  Tavern.  We  gladly  avail 
•orselves  of  the  opportunity  to  recommend  this  excellent 
Society  to  all  amateurs,  offering  them  the  means  of  hearing 
pure  dassical  music,  always  well  performed.  The  selection 
will  consist  of  Handel's  Coronation  Anthem,  '•  The  King 
shall  reign  ;*'  Mozart's  glorious*  though  rather  hackneyed 
''Twelfth  Mass.**  Mendelssohn's  overture  to  the  '<  Isles  of 
Fingal,"  and  the  overture  and  selections  from  ^'Der  Fradschutc." 
Monsieur  Robert,  the  first  tenor  to  the  Kmg  of  Holland,  is 
engaged,  and  the  Misses  "Williams,  Mr,  Lockey,  and  Mr, 
Seguin  will  complete  the  list  of  vocalists. 

Musical  Associatiok  Concbrts,  Edimbvrob. — ^These 
concerts,  which  have  given  such  general  satisfaction  fbr 
several  years  past,  are  announced  for  the  season.  The  Asso- 
ciation will,  we  understand,  perform  a  number  of  those  classical 
compositions  which  have  created  such  a  sensation  on  the 
Continent  during  the  last  year,  besides  repeating  many  of  the 
works  of  Beethoven  and  other  great  masters.  We  are  con- 
fident, that  conducted  by  Herr  Durner,  led  by  Mr.  Mackenzie, 
and  supported  by  an  efficient  orchestra,  the  Association  may 
look  forward  to  an  excellent  season. 

Mr»  Wilson  gave  one  of  his  entertainments  at  Wetlington 
Salop,  on  Monday  evening,  which  afforded  much  gratification 
to  the  audience,  and  was  received  with  hearty  applause 
throughout.  Many  of  the  songs  were  encored,  which  Mr. 
Wilson  readily  complied  with,  and  sang  several  songs  besides, 
which  were  not  included  b  his  programme. 

Ak  Operatic  Company,  composed  of  Miss  Rainforth* 
Miss  Susan  Kenneth,  Mr.  Travers,  and  Mr.  Stretton,  has 
been  lately  performbg  at  the  Theatre  Royal,  Williamson 
Square,  Liverpool,  in  the  Sonnamhnh,  The  Lov€  Spell 
Maritana,  and  other  operas.  The  second  named  lady  is  the 
daughter  of  Mr.  Kennel!),  so  well-known  in  the  theatrical 
world,  and  is  young  on  the  stage.  Her  voice  is  a  clear  and 
excellent  mtumo  eaprano.  Her  style  is  excellent  and  she  is 
in  most  respecU  a  better  actress  than  the  larger  mass  of 
vocalists.  When  she  ultimately,  as  she  must  do,  takei  her 
place  in  the  operatic  portion  of  the  Metropolitan  stage,  we 
have  no  doubt  she  will  be  found  an  excellent  and  permanent 
addition  to  it.— jProm  our  own  Comspondent^ 

Value  op  Music  in  1728*— It  is  worthy  of  remark  that 
in  the  year  1728,  a  first-rate  singer,  according  to  play-house 
pay,!  which  means  the  actual  night's  performance,  could 
command  no  more  than  45/.  annually  ;  whilst  we  have  it  on 
record  that  a  first-rate  singer  (Mrs.  Billington),  in  the  year 
1801,  Was  deemed  worthy  of  an  arbitration  between  the  rival 
managers,  who  each  contended  fbr  the  privilege  of  paying  her 
8,000/.  for  the  season,  with  the  addition  of  a  clear  benefit ! 

GLoucBSTxa  Musical  Festival. — Thomas  Turner  Esq., 
has  furnished  a  statement  respecting  the  financial  retulti  of 
the  late  festival.  The  total  amount  of  the  expenses  was 
£3127  4s.  2d.,  firom  which,  deducting  the  sum  of  £2580  158. 
6d«,  the  net  amount  received  from  the  sale  of  tickets  andbooksi 


there  will  remain  Ta  gross  deficit  of  £546  8s.  8d. ;  conse- 
quently  each  of  the  twelve  stewards  will  be  £45  10s.  9d. 
minus.  Although  the  principal  vocalists  ware  paid  iieariy 
£800  more  upon  the  late  occasion  than  in  the  year  1844,  yet 
the  deficiency  is  £200  less  than  happened  at  that  period,  after 
taking  into  the  scale  the  aid  then  afforded  by  a  guarrantee 
fund.  It  only  remains  to  notice  that  the  totsl  amount  of  the 
late  collections,  made  £»r  the  relief  of  the  widows  and 
orphans  of  the  ele^^,  [u  £723  28.  3d.,  whidi  indudes  a 
donation  since  remitted  by  the  Bishop  of  CHoaeester  and 
Bristol  of  £20. 

ADVERTIWMKNTt. 

MaandMtOTtr  of  Impiwrtd 

Cabinet,  Ck>ttage,  Piccolo,  ft  Square  Ffanofiirtefl, 

W9,  BUIH0P80ATB   SmSMST   WITHIH, 

Ofypodte  the  Marine  Sodetf . 


I  best  Tniiifcctm%  aad  aft  Oa  lawait 
I  raOly  be  WanwU:  G.  PSACHKT 
blic  to  inipect  bia  otenaiTe  atock  of 


Pleoolo  PianAf orte 
PIANOIORTBB,  WARBANTSD  of  tba  beat  mnii 
poaaible  prkea,  tor  iDstnimentt  that  cao  really  be  T 

reapectftiily  inVitea  hia  friendi  and  tbe  poblic  to  inapect 

IMPROVRD  CABINET,  OOTTAOB,  PICCOLO,  and  SqUARB  PIAMOrOBTES^ 
New  Scale  6f  Odafea,  C  to  O,  vpoa  the  aaaat  a|ipio?ed  paindplea,  Sm-  teae^ 
tottcb,  aad  durability,  aiiitable  to  aay  cliBMte.  Alao  a  laige  ooHartiaa  of  oaoawl- 
band,  of  every  deacnptioD,  ia  good  condition. 

Svparior  Inatraments  Zitnt  on  Hire,  in  Town  or  Covntry. 
One  Hundred  Pianofortea  for  general  inspection^  &  Packed  finee  of  ex; 
O.  PEACHBY,  73,  BiBHOPSOATS-armaBT  Within,  oppoaite  the  Marine  I 


GRIBISIONB'S  AROMATIC  RBOBNBRATOR,  fat  tepmfaff 
THB  GROWTH  OF  HUMAN  HAIR. 

Td  thb  Ladim.— a  hdy  had  the  IMIowing  letter  JMertadiatha  '. 
paperonAoguatT,  184S.    Reader,  reaaember  tnia  letter  waa  pot  late  the  paper  by 
tbelady  beraelf,  aa  a  teatimony  to  the  rirtuea  of  Grimrtmke^  Annn^  Refenerator; 


uiing  it  about  four  month^  and  the  whole  of  her  hair  ia  macfa  aliouaea  an 
luxuriant  than  it  ever  was  before  the  baldneas  appeared.    She  win  reel  a  | 
in  answering  any  lady  of  respectability  to  the  ahore  flMTta.— S,  Owanauget, 
Botovgh." 

The  aaoat  ddicate  huttea  may  nae  thia  deliAtfta  prodact  of  the  meet  aiemlit 
herbs  and  Sowera  with  conHdence;  ita  rsfrcahing  odour  remorea  head-ache  aad 
makes  it  a  most  necessary  companion  to  the  toB^  In  eaaea  of  nerfou  head-ache, 
pour  ten  or  twdre  drape  on  the  crowa  of  the  head|  if  very  had,  lapaift  it  caary 
quarter  of  aa  hour.  In  moat  caaes,  relief  ia  certain  ia  tea  mioalea.  U  ptadacea 
hair  on  children's  heads  in  a  few  applicatioaa.  If  used  oa  idfcats'  aeada.  it 
has  such  a  peculiar  cooling  influence  on  the  brain  as  to  prereat  oaifulaion^ 
aa  well  aa  promottn^  thegrowth  of  halr.^See  jiinphhtf  of  teatfaaaaials  viti 
e'T'onF  oOvClie* 

CASS  OF  RING-WORM   CURSa 

14,  DeroDShire-sq.,  Bitfiopsgate-at,  19ib  July,  1S47. 


«  Mr.  FIrederfckBradahaw,  haviM  leat  BOOM  poitioa  of fia  hair  ftamriiW-van 
haa  had  it  ao  perfectly  and  ao  woaffirfuUy  reatored  by  only  a  abort  appHrattoa 

Mr.  Grimstone^s  ••  Aromatic  Regenerator,"  ftels  thus  caned  — — ^-^  - 

publicly  to  admowledce  it    Mr.  F.  Brwlshaw  Im 
teatiasoay  to  the  eiicacy  ar  the  reaiecfy,  aad  Mr.  O 


make  aay  aae  of  thia  ccunmnaicetioaJM  pleaaea. 

To  Mr.  W.  Grimstone.  Hcrbary,  HMurate,  aaar  La 
}ld  by  Mrs.  J.  and  B.  Atkin8on,S4^C]Milond-atreet 


Condnit^rtreeti  J.  Sanger,  Chwalit,  Ac,  ISO,  Oxford-street  $  Ma 

Son,  FaBiiastlea.alraet;  Mr.  Jehaaton,  SS,  Corahill  {  Thoaaaa  I 

St.  Paul's  Churchyard  {  Messrs.  Hannay  aad  CO..  SS,  Oxford-a 

Chemists,  Druggists,  and  Medicine  Tendors.    Sold  ia  trlanguh 

78.,  in  1  lis.  each;  aad  towaidad  by  poet  at  4a.«d.,  7a.s£,  aad  HU^OHm  t^ 

cladedfiM-waMyartoaoaly.   galdaaiy,  Whakaal^  at  the  niiihiUplliril^i 

The7a.oontaiiistwo4i.«  theUi.lSimrtiinaatheqaaniiftyaffltt4irTV  EVI 


THE  MUSICAL  WORLD. 


B13 


BEW  WOBK  BT  MS.  W.  OASSIHEB, 

Author  of  ''The  Mniic  of  Nature." 
TtJBLISHED  THIS  DAT,  In  8to.,  with  engrsved  Music,  Ite.  dolh, 
■lOHTS   ZM   ZTAIiT  i  with  lOiDe  Account  ft  Hudc  and  the  aister  Arts  In 
that  Conntiy.    By  William  OAnDimn,  Author  of  *'  Sacred  Melodies/'  *<  Music 
of  Nature/  «  Music  and  IHends,"  «ec. 
'    londont  LONOMAN,  BXOWN,  QttBBN,  Ud  liONOMAM. 


¥oT  the  perftmnanee  of  Oeiotnal  Songs,  Duets,  Trios,  Quartets,  and  Quintets, 
br  English  Authors,  Snglish  Composers,  and  to  be  sung  by  English  Vocalists. 
Tlie  serious  difficulty  which  authors  and  composers  of  this  country  experience  in 
introducing  their  works  to  the  British  public,  either  through  the  medium  of  the 
Stage  or  Concert  Room,  has  induced  the  attempt  to  establtsn  the  above  Concerts. 
.  Farticnlars  will  be  duly  announced.  In  the  meantime,  any  communications 
addressed  to  Mr.  BARXfiR,  at  his  residence,  No.  S6,  Brampton  Square,  will  be 
punctually  attended  to. 

MUSICAL  FBIZE,  or  CHBISTMAS  PBESENT 

This  Day  Is  published,  Price  10s.  6d., 

IHX  BOOK  0F  80BO,  beautifully  Illustrated  and  illuminated  in  colors,  b7 
Brandsrd,  oontainiug  new  Songs  and  Duets,  bv  the  Hon.  Mrs.  Norton,  LadV 
Duiferin,  Balfe,  G.  Xinley,  Val.  Morris,  Barker,  Maynard,  Macfarren,  &c* 
Tile  SHrngs  are  by  the  most  popular  Composers,  and  MTe  been  selected  with 
the  greiuest  care  in  order  to  form  a  highly  attractive  Mufical  Album,  at 
half  the  usual  price. 

In  a  few  days  will  be  published,  as  a  Companion  to  the  above^ 

VALBXm  pH  BA£,  bv  Charles  d'Albert,  compoaer  of  the  Bridal  and  Helena 
Polkas,  «c,  comprisug  Waltzes,  FoOus.  Quadrilles,  and  Galops,  ^tendidly 
illustrated  and  illuminated  in  colors,  by  Brandard,  Price  10s.  6d. 

flbdame  ABBA  THSLUHSPu  Bew  Song,  "  ThB  lilv  Um  droopiiig/' 
Is  now  published,  Price  2s.  «<The  Ballad  by  Mr.  Yal.  Morris,  <The  Lily 
lies  drooping,' seemed  moat  to  the  taste  of  the  audience,  and  was  redemanded 
as  it  were  with  one  voice;  and  a  very  pretty  ballad  it  is,  and  charmingly 
was  it  rendered  by  Madame  Thillon.'*— Musical  Would,  Nov.  20. 

NEW  PIANO  FORTE  MUSIC. 

Kuhe'sGemsof  Albonl,      4s« 

GhanUea'sIlSenietopereaBisrllBUoe^ 3s. 

BurgmCUler's  Robert  Bruce,  Nos.  1  and  2.  each       8s. 

Ditto        L'Aldearia  Valse, as. 

Ditto       BnmeTh^tee,      Ss. 

Hunten's  Souvenir  de  Jenny  lind,        3s.  lid. 

Ditto       Tyrolese  Air,  as. 

Ditto       LeMagon, 2s.  6d. 

Ditto        NelLa8CiarlaNormandie»         8s.  6d. 

Ditto        Le  Bouquet  de  1'Infante, 8s. 

C.  Mayur*t  Air  ItaUen-"  II  Tremolo,^  as  played  by  Made.  Dulcken,  Ss.  6d. 
CHAPPELL^     SO,     NEW     BOND     STREET. 

In  the  Press,  the  whole  of  the  Vocal  and  Instrumental  Music  of  Balfe^s  New 
Gfund  Opera,  '^THB  MAID  OF  HONOR,"  to  be  produced  at  the  Theatre  Royal. 
Drury  Lane,  on  Monday  next,  for  which  performance,  BOXES.  STALLS,  and 
fRONT  SEATS  in  the  DRESS  CIRCLE,  in  the  beat  situations,  can  be  procured 
at  CHAPP£LL>S,  60,  NEW  BOND  STRm*. 

Vnder  the  disiin^uithed  Patronage  qfHis  Majesty  the  King  of  Pnunoj  Hit 

\Majuty  the  Ktng  of  Hanover  ^  and  mott  qfthe  I^obiUtyand  Clergy  of  the 

United  Kingdom^  and  recemmended  by  the  Faculty. 

COUOHS,  HOABSBHKM,  AMD  ALL  ASTHMATIC  AND  PULMONARY  COMPLAINTS 
BfriCTUALLT  CUEBD  BT 

EEATING's  COUGH  LOZENGES. 

Upwards  of  40  Tears'  experience  has  proved  the  infallibltlty-  of  these  Loxenge- 
Ib  the  Core  of  Winter  Coughs,  Hoarseness,  Shortness  of  Breath,  and  other 
Pulmonary  Maladies.  Prepared  and  Sold  in  Boxes,  Is.  l^d. ;  and  Tins,  2s.  9d., 
4s.  6d.,  and  IDs.  6(1.  esch,  by  THOMAS  KBATING,  Chemist,  &c..  No.  79,  St. 
PauPs  Church  Yard,  London.  N.B.— To  prevent  spurious  imitations,  please  to 
tfbserre  that  the  words,  '*  Kbatim g*s  Covob  Lozbnoes*'  are  engraved  on  the 

GOVBBHMBNT  STAMP  Of  Cach  BOX. 

IMPOBTANT     TBSTIMONIAIiB. 

Copy  of  a  Letter  ft-om  '*  Colonbl  Hawkkb,"  (the  weU-known  Author  pf  *'  Gas 
and  Shooting.*' 
•  Longpariah  Hanse,  near  Whitdinrah.  Hants,  Oct.  21st,  1846. 
Sib,— I  cannot  resist  informing  you  ibf  the  eXtmordinary  effect  that  I  have  ex- 
perienced by  takine  only  a  few  of  your  LOZENMS.    I  had  a  cough  for  aeveral 
werks  that  defied  all  that  had  been  prttCMItednrvie;  and  yet  I  got  completely 
rid  or  it  by  talqng  about  half  a  soudl  box  of  your  Loxcngea,  which  I  find  are  the 
only  ones  that  relieve  the  cough  without  deranging  the  stomach  or  digestive 
ornns.  ^     I  sm.  Sir,  ^nr  humble  servant. 


.  KB^T|ifo,,  1$,  St  Paul's  Churchyard. 


P.  HAWKER- 


.,       RESTOjUTION  OF  VOICE  BY  KEATING's  OOUOH  LOZENGES. 

Cflatffov,  I2tk  January,  1847. 
Sin,— I  have  grettnletfiiK  in  informing  you  of  the  great  good  your  exedlent 
COUGH  LOZBNQSI  jiave  done  me.  In  December,  1845.  I  caught  a  severe  cold 
ftmn  fMing  two  or  tk««e  miles,  one  very  wet  night,  which  settwt  in  my  lungs, 
and  quite  took  away  mV  roiet,  aothati  eould  not  speak  above  a  wfAq>er  from  that 
time  antil  tbehtgiJ^r^  of  Deeamber  last.  I  tried  all  kind  of  medfcioes,  but  they 
wereof  noarsii.  Ir^^  tbcn  adfiaad  ta  trv  voar  X^M^turem^  w' '  '  '  " 
^aase  my /Heo4,f  |rlj5  JsSfB  I  hBd 


tUflB  adfiaad  to  try  your  Loaenges,  which  I  did  only  to 
'      -  "^  "^*  heda2s-9d.tin,  my  voice,  to  my  great 


THEATRE  ROTAL,  DRURT  LANE. 

000 

FIRST  NIOHT  OF  THE  NEW  OPEBA. 


On  MONDAY,  December  20th,  18*7,  wiTl  be. 

Three  Acta,  entitled 


a  New  Grand  Opera,  in 


THE    MAID 

Hie  Libretto  by  Mr.  Fitzball. 


OF   HONOR," 

Hie  Music  by  Mb.  Baltb. 


Mrs.  WEISS, 


Queen  Elizabeth, 

(Who  will  make  her  Debut  on  this  occasion). 
The  Lady  Alison,  .• 

(Who  will  make  her  Debut  on  this  occasion). 
The  Lsdy  Henrietta, 

(Who  will  make  her  Debut  on  this  occasion). 

Mr.  WEISS. 

Mr.  SIMS  REEVES, 
Mr.  WHITWOBTH. 


MissMIBAN, 
Miss  BUtCH, 


Sir  Tristram, 

Lyonnel, 

Walter, 


CHARACTBBS   IB  THB    MASaUB: 

Orpheus,  «.  MIssMIRAN, 

Euridice,  ..  ..  Miss  BIRCH, 

Pluto,  ..  Mr.  WEISS. 

The  Ordiestm  will  be  conducted  by  Mr.  BALFE. 

Tte  Cortume  from  authorities  foniahod  by  Mr.  PLANCHB. 

The  Scenery  painted  by  Meaars.  GRIEVE  and  TELBIN. 

The  Action  of  the  Drama  arranged  by  Mr.  WILLMOTT. 

The  Evening's  Entertainment  witt  oonchide  with  the  new  Allegorical 
Divertissement,  entitled 

''LE    GENIE    DU    GLOBE/' 

Composed  and  Produced  by  Mr.  B.  BARNETT. 
The  AppointmenU  by  Mr.  BRADWBLL. 
The  Machinery  by  Mr.  B.  SLOMAN. 

Doors  open  at  Seven,  the  Opera  to  commence  at  Half-past  Seven. 

THEATRE   ROYAL,    DRURY   LANE- 
GRAND  OPERA. 

Thosb  Visitors  who,  during  the  last  week,  have  been  dinppointed  In  obtaining 
^ces,  are  respectlhlly  informed,  that  AN  EXTRA  NUAfBBR  OF  STALLS  have 
len  conatmcted,  aa  well  as  an  additional  Row  of  Seats  in  the  Dress  Circle^  and 
will  be  ready  for  occupation  on  Monday  evenii^. 


LONDON    ASSURANCE    CORPORATION. 

(EatBbliahedby  Eoynl  Charter,  in  the  reign  of  KingGeoige  the  First,  a.  d.  1790). 
7,  Royal  Kxdkange^  ComhiU,  and  10,  Regent  Street. 

Thb  Goremon  and  Directors  of  this  Corporation  give  notice,  that  all  Life 
Assurance  Policies  on  their  series  of  1S46,  opened  with  tbtm  prior  to  the  1st  of 
Jsnuarynext,  wH]  participate  in  the  appropriation  of  profits  to  be  made  at  the  end 
of  the  year  1850,  either  by  a  bonus  to  be  added  to  the  policy,  a  payment  in  cash, 
or  a  reduction  of  premium  for  the  succeeding  live  years,  or  ftnr  the  whole  term 
ofUfe. 

The  policy  holders  under  the  series  of  1831,  are  informed  that  the  annual  abate- 
ment of  premiums  will  be,  on  the  1st  January  next,  £K  Ss.  4d.  per  cent,  in 
addition  to  the  permanent  reduction  BUMle  on  the  lat  January,  1846,  equivalent  to 


a  bonus  of  three  per  cent,  per  annum  on  all  policies  but  five  years  in  existence. 

Prospectuses  and  all  iniormation  may  be  nad  by  a  written  or  nerwnal  applica- 
tion. JOHN  LAURENCE,  See. 


The  Oraatett  Sale  of  any  Medieme  in  the  Olobe. 
HOLLOWAY'S  PILLS. 

A  Very  Wonderf^  Curt  of  a  DUordeMd  I«lw«r  mad  Btcmmbh, 

Extract  of  a  Letter  ftvm  Mr.  Charles  Wilson,  80,  Princes  Street,  Glasgow, 
dated  February  18th,  1847- 
"  Sib.— Having  taken  your  Pills  to  remove  a  diseaae  of  the  Stomach  and  Liver, 
under  Which  I  had  long  suffered,  and  having  followed  your  printed  Instructions 
I  have  regained  that  health,  which  1  had  thought  lost  ibr  ever.  I  had  prevlouslv 
had  recourse  to  several  medical  men,  who  arecdebimted  tar  their  skill,  but  instead 
of  curing  my  complaint,  it  increased  to  a  most  slsrming  degree.  Humanly 
speaking,  your  Pills  have  aaved  my  life  I  Many  tried  to  dissuade  me  from  osiug 
them,  and  I  doubt  not  but  that  hundreds  are  deterred  ih>m  talung  your  most  ex- 
cellent medldne.  In  consequence  of  the  impositions  practised  by  many  worthless 
persons;  but  what  a  pity  it  ia  that  the  deciqition  used  by  ottiers,  should  be  the 
means  of  preventing  many  unhappy  perrona,  under  dlaease,  from  ragalnlng  health, 
by  the  use  of  your  PiUa.  when  I  commenced  tlM  use  of  your  Pills,I  was  in  a  most 
wretdied  oondttion,  and  to  my  great  delight,  in  a  few  days  aflerwarda,  there  was 
a  considerable  change  for  the  oettcr.  and  by  oontinnlng  to  use  them  for  some 
weeks,  I  have  been  perfectly  restored  to  health,  to  the  surprise  of  all  who  have 
witnessed  the  sUte  to  which  I  had  been  reduced  by  the  diaordered  state  of  the 
liver  and  Stomsch}  would  to  God,  that  every  poor  aufferer  would  avail  himself  of 
the  aame  astonishing  remedy." 
••  To  Professor  Holloway.*^  (Signed,  «  CHARLES  WH-SON." 

These  truly  invaluable  Mils  can  be  obtained  at  the  EsUbUshment  of  Professor 
HoLLOWAY,  344,  Strand,  (near  Temple  Bar),  London ;  and  of  most  tespeetabl* 
Vendors  of  Medicines  throughout  the  civilised  World,  at  the  foUowing  prices^ 
Is.  1^,  ls.9d.,  4s.6d.,  lis.,  22s.,  and  SSs.  eadi Box*  TlMrtls  a  ooniklsrabll 
MTnCDTttUfigthBlftrgeriiies,  .     ^ 


Digitized  by^^UOy  ItT 


814 


THE  MUSICAL  WORLD. 


HENRY  WTLDE'S    NEW    COMPOSITIONS, 

Vte.-For  the  irianoibrte^rand  Sonata  in  E  mnjor,  Fkntasie  iur  nn  air  fkvori  j 
Sketcb  m  A  major.  Marcbe  Triomphante  pour  qnartre  mains ;  for  the  voice— 
|I<^anf*i  and  ich  bin  so  sehr  aUeine :  forming  Noi.  4  and  5  of  lUnstrations  of 
Schiller  and  Oo^the ;  wang  by  Herr  Pischek. 

Jutt  pablished  by  R.  MILLS,  140^  New  Bond  Street 


Ctletfeal,  i«E&(caI,  k  (Senetal  %iit  aswurance  Sbocfetg. 

In  addition  to  Assurance!  on  Healthy  Lives,  this  Society  continues  to««nt 
Policies  on  the  Lives  ot  PerM>ns  subject  to  Gout,  Asthma,  Rupture,  and  other 
diseases,  on  the  payment  of  a  Premium  proportioned  to  the  increased  risk.  The 
planofgrantinflr  Assurances  on  Invalid  Lives  originated  with  this  office  in  the 
beginning  of  1824.  Every  description  of  Assurance  may  be  eifected  with  this 
Society,  and  Pohaes  are  granted  on  the  Lives  of  Persons  in  any  station,  and  of 
every  age.  BONUSES. 

2»e  *^o  fl"t  2™*on«  averaged  j^22  per  cent,  on  the  Premiums  paid :  the  third. 
^»  per  cent.  The  fourth  bonus,  declared  Jan.  1847,  averaged  rather  more  than 
jf  M  percent.;  and  from  the  large  amount  of  Profit  reserved  for  future  appropria- 

^^^.wi  ^^f.f?^®^*^*^??^?**^*':**^       expected  to  exceed  that  Mnount. 
Tabl«  of  Rates,  wfth  a  ftdl  Report  (recently  printed),  can  be  obtained  at  the 
Society's  Agents,  or  by  addressing  a  letter  to 

GEO.  H.  PINOKABD.  Aetaary. 

No.  99,  Great  Russell  Street,  Bloomsbury,  London. 


To  the  Queen's  Most  ExceUent  Majesty^  and  the  British  Army 

and  Nayy. 
J.  KOHLER'S  NEW  PATENT  LEVER  INSTRUMENTS. 

J.  KoHLEMhayingbroufht  to  perfection  and  obtained  Her  Maiesty's  Letter's 
Patent  for  the  above  invention,  which  he  has  aimU«>d  to  the  CORNOPBAN 
TRUMPET,  WRNWTO,  TRdMBONES,  and  F^EI^JH  HORl^  he^n  niJ; 
with  great  confidence,  after  an  experience  of  Five  Years  in  bringing  the  action  to 
its  preset^  *J»*«  <>{  perfection,  recommend  them  to  Her  Mines^'s  Army  and 
Navy,  and  all  Professors  and  Amateurs.  The  advantages  that  this  Patent  gives 
to  these  Instruments  are  —  * 

*J;  .^»,*Je  Tones  MdSemitonei  produced  by  the  Patent  Lever  are  quite  as  per- 
feet  as  the  Natural  Notes  on  the  Instrument. 

rJ:^  IJHiS^lllS^J"  *^*  DiATOHic  and  Chromatic  Scales  are  perftct,  the  com- 
SiSS^^^Sii?*  ****  "??Si"P**^  f  "**  difllcuh  passages  may  be  performed  with  a 
P'f^KS.V:'^™*/^^  ftilnessof  tone,  and  comparative  ease  to  the  performer. 

3.  jxmiblnations  in  harmony,  which  never  before  could  be  performed  at  all  br 
TVr^rf?/*flSjJ!fiT^r^'  f??*^  "?''.'?*  ««»*«i  with  perfect  ease,  and  Ten  or 
SL^7fi,^£?™JPf  ^^  '^J5  pnnciple,  can  produce  a  more  rich  and  sonorous 
eJTect  than  TVenty-four  could  do  on  the  old  principles.  The  harshness  of  tone  in 
i?™^™**'^  ®T^  Inatruments  is  entirely  done  away  with,  and  a  set  of  these  In- 
h«u-d  together,  produces  Military  and  harmonious  effecU  never  before 

These  Instmnunts  are  now  in  use  in  Hn  Majbstt*8  Psivatb  Band.  Fi»»r 
Life  Guards,  Royal  Horsii  Guards,  Grbnadibr  Guards/ FuIilrm 
Guards,  Royal  Artiij.rrt,«Oth  Royal  Rifles,  &c.  TestlmoiJlals,  Draw" 
ings,  and  Pnc«,  forwarded  on  application  at  J.  KOHLER»S  Manuflwrtory,  86. 
Henrietta  Street,  Covent  Garden,  London.  —uwcwry,  w, 


Britannia  Life  Assurance  Company. 

I,  Princes  Street,  Bank,  London. 

Smpowtred  by  Special  Ad  of  ParUamimt,  IT,  Vict.,  cap,  IZ. 

.      Oapltml  iClO^OO^OOO  BtnUxm. 

ADVANTAGES    OF   THIS    INSTITUTION. 

Mutual  Assurance  Branch. 

Complete  Security  afforded  to  the  Assured  by  means  of  an  ample  subtcribed 

camtal,  and  the  large  food  accumulated  Arom  the  premiums  on  upwanls  of  fiOOO 

Half  the  amount  only  of  the  annual  premium  required  during  the  first  five 
years,  the  rraMimng  haJf  preminms  beinsr  paid  out  of  the  profits,  which,  after 
five  year%  will  be  annually  divided  among  the  Assured. 
Proprietary  Branch. 

The  lowest  rates  consistent  with  security  to  the  Assured. 

AninoPMnng  scale  of  premiums  peculiarly  adapted  to  esses  where  astnrances 
are  eifected  Hn*  the  purpose  of  securing  Loans  or  DebU.  ^^ 

Half-credit  rates  of  Premium,  whereby  credit  is  given  for  half  the  amount  of 
iwenuum  for  seven  yean,  to  be  then  paid  off,  or  remun  a  charge  upon  the  Policy, 
at  the  option  of  the  holder.  *—       f  o     fv    w^rx^ucy, 

EXTRACTS  FROM  THE  TABLES. 


Annual  Premiums  required  for  an  Assurance  of  4^100  for  the  whole  Term  of  Life  | 

MUTUAL  AfSURAMCB  BRANCM.        | 

PROPRISTARY    BRANCH.                | 

Wh<ae  Pre- 

Half Premium 

Whole  Pre- 

Age. 

first  five 

mium  after 

Ag«. 

mium  after 

years. 

five  years. 

years. 

seven  years. 

^    s.    d. 

^  *  dr 

iff  #.    d. 

jf   «.    d. 

90 

10    0 

2    0    0 

20 

0  18    0 

1  16    0 

as 

13    2 

2    4    4 

25 

0  10    7 

1  10    2 

80 

1    4  11 

2    0  10 

80 

119 

2    3    6 

35 

18    6 

2  17    0 

IS 

1    4  11 

2    9  10 

40 

1  13    3 

3    6    6 

40 

1    9    2 

2  18    4 

45 

1  19    6 

3  10    0 

45 

1  14  10 

3    9    8 

60 

2    7    0 

4  16    6 

60 

2    2    6 

4    6    0 

65 

2  18  10 

6  17    8 

65 

2  12    0 

6    6    6 

PETER  MORRIfiK»f»  RiaiDBNT  DimMffOB. 


CHAULIEU'S 

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New  Music  for  the  Concertina  &  Piano  Forte. 

JUST  PUBLISHED  by  8CATES.  S^ 
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"THE  SWISS  GIRL,"  as  sung  by 
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arranged  with  variations,  P.  F.  accom- 
paniment ad  lib.,  GinlioRegondi,  4s. 
•*THOU  ART  GONE  FROM  MY 
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libitum,  Ginlio  Regondi.  . .  Ss. 
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Regondi,  each  2s.  6d. 

No.  2,  of  LE  PARTERRE,  arranged  by 
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brated  Duet,  "  We  come  to  thee,  Savoy ; »'  "  UnSegretto ; "    ^'TheStandaid 
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GIULIo'REGONDrsRudimentoforthe'Concertiiia,  2nd  Edition,  price  10a.  6d. 

J.  SCATES,  Ooncertiiia  Mann&ctnrer, 

32,  NEW  BOND  STREET. 


NEW  MUSIC. 


PIANO  SOLO, 


**LaFollette,"WalteRondino,      

Twenty  popular  Sacred  Melodies,  2  Books, 

Twelve  New  Divertissements  on  popular  Operatic  and  i 

National  Airs, C 

BriUiant  Fantasia  on  Swedish  Airs, 

Souvenirs  Dramatique,  No.  7, "  Robert  le  Diable,"     . .    ^.»»w. 

Fantasia  BrilUant,  ^*  I  due  Foscari/*        Rosellen. 

— — - — -»urMotiftde"'BeUsario,»' W.  Plachy, 

Three  New  Polkas, F.Kohler, 

PIANO  DUET. 
Divertissement  on  Airs, '<  Nino," 

"Emanl,"  

"AnnaBolena," 

<' La  Sonnambula," 

.      "IduFoscari" 

—  «LaFigUadelReggimento    .. 

PIANO  DUETS. 
Deux  Fantasia  sur  de  Motifs,  de  Bellini, 
No.  I,  Sonnambole,  No.  2,  Les  Puritains,.. 


E.  J.  Westnip,  V  • 

Ditto,            ea.  2  A 

C  Chanlieu,  ea.  2  0 

Ditto,  8  0 

Ditto.  3  0 

~  4  0 

3  0 


B.  J.  Westrop,  S  0 

Ditto,  S  0 

Ditto,  3  0 

Ditto,  3  0 

Ditto,  3  0 

Ditto,  3  0 


I  J.  B.  DaTtrBoyea.fl 
Three'  Divertimentos  on'fisvorite  Airs,'  ''Leonora,*'! 

and  "LaFavorita.'* >  L.Tnissi.      ea.  2 

No.  1  &  2,  «  Leonora,"  No.  3, "  La  F^vorita .»»  . .         ) 

leondon:  Z.  T.  PURDAY,  45,  Rtf^  Roll»orB» 


JUST  PUBLISUBD, 

SEC  PZEOES  FOR  THB  PIANO  FORTE, 

Composed  as  a  CHRISTMAS  PRESENT,  for  his  young  friends,  by 
F.     MENDELSSOHN      BARTMOLDV, 

Sp.  72,  price  2s,  6d. 
.  mpsired  for  puUicatiOB  in  December,  1641;  bat 
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"""  'dressed. 


tions  for  the  Editor  are  to  be  addi 

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December  la,  1847 


,  post  paid.   To  bebad  of  G.  Parkea^ 
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(PUBLISHED    EVERY    SATURDAY    AT    NOON.) 

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No.  62.— V0L.XXIL 


SATURDAY,  DECEMBER  25,^1847. 


JPRICB    THREBPHNCE. 
ImLMPED,  FOURPENCE. 


CRAND  OPERA,  DRURY-LANE  THEATRE. 

M.  JuiLiBN,  mindful  of  hia  pledge,  brought  oat  a  cpmic 
opera>  in  three  acts,  from  the  popular  and  untiring  pen  of  Mr. 
Balfe,  under  the  seducing  tide  of  the  Maid  of  Honour,  on 
Monday  erening  last.     The  first  appearance  of  Mr.  Reeves, 
the  tenor,  in  an   original  part,  and  the  dehUa  of  Miss  llirch, 
Mrs.  Weiss,  and  Miss  Miran,  added  increased  interest  to  the 
events  of  the  evening.     No  wonden  then,  that  the  theatre  was 
crowded  to  the  ceiling,  and  the  audience  in  a  condition  of  un- 
usual excitement.     The  number  of  (/eMda^es,  the  diffici 
the  work,  the  short  time  th«t  haidt  been  consumed  in  reheari 
unfortunately,  the  rock  on  which  so  many  opera-compraii 
*-and  the  nervousness  attendaht  on  a  wholly  new  s[ 
all  combined  in    rendering  it  an  anxious  moment  for 
management  ta^d  the  friends  pf  the  composer. 

The  libretto  of  the  M<;^  of  Honour  may  be  traced  to 
H^nrietie,  a  grand  balleUi  produce4  6ome  years  ago,  at  the 
jicademie  Royale  de  Mvfique  in  Paris,  and  subsequently 
transplanted  to  the  boartjf'  of  Drury-lane  Theatre,  during  the 
engagement  ^^  the  celebrated  Lucile  Grahn.  The  subject  is 
well  suited  ftr  music,  and  Mr.  Fitzball  has  managed  to 
preserve  its  incidental  interest,  while  the  dramatii^ action  is  skiJ- 
iully  developed.  As  a  poet,  it  is  true,  Mr.  Fitzball  cannot 
exactly  be  compared  to  either  Byron  or  Shelley,  but  in  reply 
to  those  who  attack  him  on  the  essential  point  of  stage  tact,  he 
may  triumphantly  cite  the  names  of  at  least  twenty  successful 
operas  that  have  been  manufactured  in  his  studio.  As  success- 
ful as  any,  and  more  successful  than  most  of  these,  the  Maid 
of  Honour  has  an  advantage  over  its  predecessors,  inasmuch  as 
the  dramatic  interest  progresses  gradually,  and  reaches  its 
culminating  point  in  the  third  act,  thereby  affording  the 
musician  an  opportunity,  but  too  often  denied  him,  of  con- 
structing his  work  on  a  plan  wi.erein  symmetry  may  be  pre- 
served-.and  anti-climax  eschewed;  an /Opportunity  of  which 
Mr.  Balfe  has  well  availed  himself,  ^  ma)r  be  demonstrated,  by 
reference  to  his  third  ^ct — no  caput  mortuumf  as  in  many  of 
his  operas,  but  a  worthy  climax  to  a  work  of  merit,  and  con- 
taining, moreover,  some  of  the  best  and  most  attractive  pieces. 

Thtf'.^ol lowing  outline  of  the  plot  involves  everything 
r.eces^ary .  to  be  known  :^The  scene  of  Act  first  is  Greenwich, 
during  the* jl>^nning  pf  the  reign  of  Qiieen  Elizabeth.  The 
fair  is  approaefaing,  and  tivpof  the  Queen|s  maids  of  honour — 
Lady  Hemiette  (Miss  Birch)  and  Alison  (Mijis  Miran) — play- 
fully resolve  to  assist  at  the  fair,  and  persuade  Sir  Tristram 
(Mr.  Weiss),  the  Queen's  Chamberlain,  to  go  with  them  as 
protector.  Assuming  the  attiiBi  of  servant  girls,  they  jMngle 
with  a  crowd  of  those  indispensable  adjuncts  of  cofbfphbie 
domiciles,  and  offer  themsems  for  hire  to  the  passers  by. 
Two  wealthy  yeoman,  Lyonnel  (Mr.  Reeves)  and  his  friend, 
WaJhr  (Mr,  Whitworth),  struck  by  the  beauty  of  the  Maids 


of  Honour— -rather  set  off  than  deteriorated  by  their  homely 
guise— immediately  offer  them  terms,  which  are  laughingly 
accepted.  As  night  advances,  the  Queen's  ladies  think  they 
have  had  enough  of  the  joke,  and  are  for  making  their 
escape  unnoticed ;  but  Lyonnel  and  Walter,  who  take  quite 
an  opposite  view  of  the  matter,  insist  upon  the  inviolability  of 
4heir  bargain,  and.  encouraged  and  aided  by  the  mob,  force 
them  away  despite  the  aqgry  remonstrances  of  Sir  /^[j^gSg; 
who  loses  sight  of  the  party  during  the  scuffle.  In  tl^ffe^ 
scene,  we  find  the  Maids  of  Honour  at  the  honse  of  Lyonnel, 
waiting  upon  the  two  friends  at  supper,  and,  by  breaking 
plates  and  diher  demonstrations  of  awkwardness,  indicating 
their  unfitness  for  the  office  they  have  enjjoged  to  fulfil,  and 
their  entire  ignorance  of  its  duties.  At  a  hint,  however,  that 
Henriette  possesses  a  talent  for  singing,  the  young  men  request 
her  to  favour  them  with  a  song,  promising  to  retire  immediately 
afterwards,  and  leave  them  unmolested.  Henriette  then  sings  a 
ballad  about  some  adventurous  Red-cross  Knight,  and  Lyonnel 
and  Walter,  enchanted,  retire  to  their  bed-rooms.  The  scene 
is  so  disposed  thaC^yonners  chamber  is  visible,  and  we  are 
let  into  the  secret  that  his  heart  is  already  inflamed  hy  the 
beauty  and  accomplishments  of  Henriette.  ^  Kestless  and 
uneasy,  h^  can  contuin  himself  no  longer;  but,  rushing  back 
into  the  dining-room,  makes  a  declaration  to  Hf;nnette,  who 
(After  singing  a  passionate  duet  with  her  admim£)  escapes 
from  his  grasp,  and  retreats  into  her  own  room,  cuflblly  bolt- 
ing the  door.  Lyonnel,  discomfited  once  more,  retires,  and 
while  he  is  falling  asleep — courting  repose  by  remii'iscences  of 
the  melody  of  Henriette*s  ballad,  which  gradually  die  away 
into  the  embrace  of  silence — Sir  Tristram,  the  chamberlain,  who 
has  traced  the  two  Maids  of  Honour  to  the  house,  finds  means 
of  entrance  through  ^e  window  of  the  dining-room,  and  having 
arranged  the  necessary  preliminaries,  assists  them,  in  escaping 
by  the  outlet  which  was  his  inlet.  At  this  interesting  crisis 
the  curtain  falls  upon  Act  first. 

In  Act  second  we  find  Lyonnel  and  Walter,  in  soldier's  attire, 
having  abandoned  the  ploughshare  fo.  the  sword.  Queen 
Elizabeth  (Mrs.  Weiss)  is  engaged  in  the  pleasures  dF  the 
cha^e,  upon  the  domain  of  her  own  royal  park,  attended  by 
her  head  ranger,  a  troop  of  huntsmeir,  and  a  body  giiard  of 
which  our  ex-yeomen  form  a  part.  The  venerable  incident  - 
(to  be  found  in  Wallace's  Matilda  6f  Hungary,  and  other 
operas)  of  the  Queen's  horse  running  away  with  her  and  ex- 
posing her  life  to  imminent  danger,  here  (of  course)  gives 
Lyonnel;  our  hero,-.the  opportunity  ot  making  himself  eminent 
by  8a:ving  Her  Majesty  ^at  tht  risk  of  his  own  neck,  of  which 
opportunity  he  gallantly  avafls  ti&self.  The  grateful  Queen 
demands  the  ntime  of  Iter  saviouf",  and  as  a  recompense,  pre- 
sei^U  him  with  a  swordv  and  invests  him  with  the  honour  of 
nobility.     Meanwhile  LyQ^nnel  and*  Walter  have  discovered 


816 


THE  MUSICAL  WORLD. 


-rrr 


their  imiam9rata9  In  the  ^rsont  of  two  of  the  Qaeen's  ladies, 
vhovi^  fdtbough  mtskedj  th^y  recogniee  by  their  tmmk  apd 
geBtures.  The  Qaeen  has  promised  Lyonnel  to  grant  any 
request  that  he  may  make,  and  the  latter  demaiids  that  all 
the  ladies  of  the  Court  shall  unmask,  which  is  accomplished 
fbrttiwttli  I  bott  pending  the  eeiemony,  the  '*  two  particular 
stars''  have  contrived  to  slip  away  from  the  crowd  and  effect 
their  escape,  Lyonnel  is  in  despair,  and  the  second  act  ends 
in  general  rejoicings^  shared  by  every  one  but  himself  and  his 
fiiend  Walter.  It  should  be  stated  that,  previous  to  saving 
the  Qoeen*s  life,  Lyonnel  had  surprised  Henriette,  asleep,  in  a 
^wer  belonging  to  the  Royal  Garden,  and  that  a  scene  ensued 
wUeb  involved  protasUtions  of  love  on  one  side  and  uaequi- 
Toeal  disdain  on  the  other.  Henriette  is  tiobU^  and  oannot 
wed  a  yeoman-^albait  ber  heart  telle  her  that  she  loves  him 
better  than  any  one  dse  in  the  world. 

The  third  Act  opens  with  a  masque*  got  op  for  the  amuse.* 
ment  of  the  Queen*  wherein  Henriette,  Alison,  and  Sir 
Tristram  take  part,  as  Eorydice,  Orpheus,  and  Pluto*— 
irhtrefrom  it  may  be  surmised  that  the  argument  of  the 
masque  is  the  classical  myth  of  Orpheus  rescuing  Eurydioa, 
Iiy  the  cfaanns  of  musics  from  the  power  of  Pluto.  Lyonnel, 
9  ^Hetator  of  the  masque,  distracted  by  his  hopeless 
passion,  rushes  upon  the  sti^e  while  Orpheus  and  Eurydioe 
are  singing,  and  drawing  the  sword  which  has  been  pre* 
tented  him  by  the  Queen,  throws  himsdf  at  the  feet 
of  Eurydice  (Henriette),  and  threatens  to  kill  himself  unless 
she  relent.  A  scene  of  confusion  entuea,  in  whioh  the  Queen, 
Walter,  and  all  the  rest  of  them,  take  aetive  part.  But  at  the 
If  quest  of  Henriette,  the  Queen  makes  a  sign  for  everybody 
to  retire  to  a  respectful  distance.  Henriette  then  approaehes 
liyonnelf  and  oonfessing  that  she  returns  his  passion,  promisee 
to  meet  him,  on  some  future  day,  at  his  own  house,  the  scene  of 
their  first  acquaintance,  and  there  to  requite  his  a£betioa. 
But  it  is  now  too  late;  Lyonnd  is  frantic,  and  at  the  Queen's 
ord^r  is  carried  away  by  the  attendants.  Henriette  then  dia* 
doses  the  whole  matter  to  the  Queen,  and  a  plan  ia  forthwith 
anrsnged  between  them»  to  insure  the  reeoveiy  and  ultimate 
happiness  of  Lyonnel.  This  is  carried  out  in  the  last  seene, 
where  we  And  Lyonnel  at  hia  own  house,  with  Walter  endea* 
Touring  to  calm  his  distraction.  Persuaded  to  vstire  to  his 
chamber  (the  aoene  is  the  same  as  the  third  in  Act  I),  Lyonnel 
anddenly  hears  the  melody  of  the  **  Red«croes  Knight,  *'  in 
Uie  aocente  of  a  dear  and  familiar  volee.  Moved  and  astonished, 
he  returns  from  his  chamber  to  the  dining-room.  Ko  one  is 
there  but  Walter.  Soon,  however,  in  response  to  a  signal  from 
Walter,  Henriette  and  Alison  appear,  and,  in  their  ancient  die* 
guise  of  servant  maids,  sing  the  coupleto  with  which  they  had 
iormexly  bewitched  Lyonnel  at  Greenwich  Fair.  The  sequel 
is  evident.  The  Quean  appears  i  the  stratagem  is  known  ; 
Lyonnel  is  restored  to  reason ;  and,  need  we  say,  the  yeomen 
aire  vnited  to  the  Maids  of  H«iour>  as  a  rsward  for  their  eon- 
stancy  and  their  pains. 

Little  iaidt  can  be  found  with  this  UhreUo^  which  is  one  of 
Kr.  Fitzball's  happiest,  and  though  sinning  occasionally  on 
the  score  of  improbability,  and  here  and  there  on  that  of 
lengl&iness,  ia  neither  sufficiently  improbable  to  offend  nor 
safficiently  lengthy  to  fatigue. 

In  the  music  of  the  Maid  of  Honour  Mr.  Balfe,  has,  with 
great  care,  and  equal  felicity,  preserved  the  oouUur  loealOf 
and — doubtleas  encouraged  by  Uie  superior  orchestral  and 
choral  forces,  for  the  first  time  at  his  disposition  in  Dmry-lane 
Theatia-*haa  raised  himself  in  the  estimatioa  of  musicians  by 
a  more  finiilied  and  masterly  instrnmentadon  than  can  be  cited 
in  any  of  his  previous  operas ;  unless,  as  a  contemporary  re- 


marks*  "  It  be  in  those  which  he^coroposed  for  tho  Paris  tiiea- 
ties,  and  in  Us  |U|«a/,  produced  at  Her  M^esty'a  Theatre 
about  nine  years  ago."  The  overture  is  a  jrasftecio,  almost 
entirely  formed  out  of  the  music  of  the  masque  in  Uie  third 
act;  except  a  short  pastorale  movement  in  B  flat,  the  whole 
is  ia  O,  minor  or  major,  whioh,  in  spite  of  the  brilUaney  of 
the  instrumentation,  induces  a  monotony  of  tone  that  it  would 
have  been  easy  and  prudent  to  ayoid.  But  modem  composers 
seem  determined  to  follow  the  exampio  of  Bellini  and  Doni- 
aetti,  and  either  to  write  as  overtore  al  all  to  their  operas,  or 
to  substitute  an  instrumental  prelude  that  can  only  decMve 
the  name  of  faniatia ;  and  this,  in  spite  of  some  beautiful 
passaged  and  clever  instrumentel  efiecte,  is  the  ease  with  the 
overture  to  the  Maid  of  Honour.  It  waa  plaved  with  great 
spirit  by  the  band,  although  those  mianto  delieaeics  of  light 
and  shade  to  which  the  magnificent  orchestra  of  tho  Eoyal 
Iteliaa  Opera  has  accustomed  us,  were  not  always  apparent. 

The  overture  over,  Mr.  Balfe  is  no  more  a  timoious  ex- 
pknrer  in  the  depths  of  some  unknown  region,  but  a  proprietor 
surveying  his  possessions  with  an  air  of  conscious  Pfide.  The 
oomic  opera  is  the  proper  domam  of  Mr.  Balfe ;  hie  indina- 
tion  was  in  that  dirscdon  from  the  first,  and  experience  has 
shown  that  it  was  the  natural  field  for  his  genius  to  move  in. 
There  is  merit  of  some  kind  in  all  his  previous  operas— much 
merit  in  many  of  them— but  it  was  not,  in  our  opimon,  until 
the  ^eiMlRiaii  was  composed  that  the  solider  part  of  his  talent 
was  made  manifest.  We  bear  in  mind  the  unexaranled  popir- 
parity  of  the  BoUwdan  Oirl,  and  the  eontmental  passport 
granted  to  the  QmHts  fila  d'y/ymea,  drawn  up  hi  Paris, 
signed  in  Vienna,  and  endorsed  by  London ;  but  we  adhere 
to  the  opinion  we  formed  from  the  first— greatly  preferring 
the  Bm^mam  to  all  ite  agreeable  precursors.  Aftd  now  it  is 
a  pleaaant  task  to  have  to  record  our  candid  .ophiion  that  as 
much  superior  as  was  the  Bondman  to  ite  predecessors,  is  the 
Maid  ofHonrntr  to  the  Bondman ;  in  which  deebion  we,  with 
regret,  must  leave  the  overture  out  of  account  Fi  done  / 
Balfe— why  wiU  you  not  write  a  good  overture,  after  a  good 
model,  in  your  own  dashing  style?  We  say,  why  wiU  you 
not  ^— becauae  we  are  sure  yon  eon,  providing|yoii  witt  take 
the  time  and  pmns  requhred. 

To  begin,  then,  from  the  drawing  up  of  the  cmtaia— (he 
overture  being  Had  cardfoUy  on  the  shelf. 

The  opera  opens  with  a  chorus  in  G  major,  ^  Lo  I  the  bee 
on  ftiry  wing,"  written  in  emulation  of  the  anmeat  madrigals, 
but  with  a  much  better  defined  melody,  and  much  leas 
elaborate  harmony  and  "counterpoint"  than  the  mejority  of 
these  venerable  relics  exult  in.  This  Aoms  pleases  as  by 
ite  quahitness  and  freshness,  by  the  skilful  manner  in  which 
it  is  voiced,  and  the  transparent  clearness  of  the  orchestra- 
tion—chiefly eonflned  to  the  quartet.  The  half  cadence  oil 
the  dominant  of  the  relative  minor,  and  the  unprepared  repriae 
of  die  snl^ect  have  been  compared  to  a  similar  pomt  in  the 
chorus,  ••  Be  not  afraid,"  in  Mendelssohn's  ^ii/a4— and  with 
reason,  since  it  is  precisely  the  same  thing.  Go  to  thSi 
inexhanstibie  mine  as  often  as  you  please,  Balfe,  and  we  shaU 
Hke  you  the  better  for  it ;  leav«  the  modem  fVench  and 
Itelians  to  themselves,  they  have  no  ideas  to  spare,  and  yo« 
have  more  in  your  own  fimcy  than  the  greater  number  of 
them,  as  you  have  abundantly  shewn  in  the  Maid  of  Honor. 
After  the  first  verse  of  the  chorus  there  occur  some  clever 
imitative  passages,  leading  back  to  the  theme,  which  is  re- 
peated ficta/im,  If  you  want  a  cut,  M.  Juilien,  here  is  your 
chance ;  not  that  we  find  twice  the  madrigal  once  too  man  j, 
by  any  means;  but  by  cutting  o«t  a  terse  of  it  yon  k>se 
nothmg. 


TfiB  MUSICAL  World. 


617 


Hie  text  piece  of  music  U  a  long  concerted  morceau^  Cbe 
coDstrnefion  an ^  development  of  which  display  much  dever- 
Bess,  while  the  Meas,  If  not  remarkably  origiaali  have  a  certeiB 
spfig^Oy  aalsMtiMi  Ihal  fbwes  yon  to  llataa  t&^ttnd  ISMb  tkea. 
The  adroit  of  thh  moteemu  intalfef  ft/  Tiiatrtti's  degolptkm 
6f  the  ^'l^ayivof  Oreemrkhe |"  th«  etitioidty  of  Hetfriette 
and  Alison  ;  their  stft^eqaent  aeterminattofl  to  gO»  eldted  by 
the  noise  and  ittbilee  heard  from  oni  of  doors  ;  and  fheir  per- 
BuaiiRng  the  dhamberkift  to  accompany  them,  Mr.  Balfe  is 
very  happy  in  the  treataMUt  of  sneh  ntvatioiM  ^  hie  ideae  flow 
•asUy,  aad  he  hae  the  avi  of  eontknily  wUeh  k  the  devpait 
of  ao  HMoy  ttosieiaBS^  Tho  opesfng  of  the  niareeam  tinder 
OoiisldeftitiMii  IPLgJiuung'  #ith  the  entfan^  of  Sir  Tristranii 
$i  tie  words  '*  Stay,  bright  enchantress  of  my  fatef*'  is  a 
Svely  phrase  hi  V,  well  developed  in  the  orchestra,  to  the 
accompanmeni  of  the  voicti,  in  which  we  have  only  to  com- 
plain of  a  sequential  progressioa  ol  hannotty  that  mbxk  vae 
haa  HMde  trhow  Tfaia  kads  nt9  a  slow  mervenmtiw  A,  for  like 
gsntfeaMOi  and  two  ladiea  is  tfkh-^  Oby  CQpMf  hear  thy 
lietim'a  prtryefr— wMchinvrfvesa  gracefa!  ttelody,  sotfte 
dttrming  firolongations  of  the  cadence,  and  a  haitnony  by  no 
means  eommon-ptace.  The  trio  gives  way  to  a  short  chorus, 
in  f,  snng  behind  the  scenes,  **  Imb  and  lasses  haste  to  the 
fidr/'  a  vivaeloaayt^iM  in  the  approved  pffu^  neMmt-^-^-a. 
Some  amiflKpertaM;  remplmmge  tiwB  brings  ns  to  9Xk€flim  a«d 
a  better  country-dance  tune,  in  B  flat,  which  illustratea  IKir 
Tftstrtti''S';^de8ctip^iy  of  the  choifghs  aYid  gawheys  dancing 
atfhefair^as^Mr.^Ilt^all  si|gnif[can€ly  expresses  it 


'WUiS 


dMoeJcfet 


The  respoaae  in  the  relative  miaov  to  thk  phsaso  ia  qmmit 
wa4  i^pmpriaielf  pld4shioiiMi(«  A  )oUy  eM#mMsiiir  F,  fov  the 
ttkff  swceeds^  and  eonichsets  le  the  nsprlaeof  the  tk&ni^md^^ 
MIowed  by  a  spirited  eeda,  in  the  onginal  key,  IrhSoh  #inds  tfp, 
wftb  spiilt,  thilsr  welt  cbnteived  taid  equally  tr elT-wtif ten  con- 
certed morc^au,  and  ma&es  a  good  end  to  Uio  ^rst  seene. 

Scene  the  second  finds  us  **  in  plain  Greenwich  Fair/'  aa 
Jnto  Jania  would  say*  Siaaple  and  slraiffhtfiMrWard,  as  is  the 
gaaaSaat  pan  of  the  mn^  of  thio  seensy  wo  fsd  mwfod  So 
pvsKovneo  it  one  of  ikm  mose  arldnt-liktf  mi  €^fteMv«  that 
ever  proceeded  fro»  ^ke  pen  of  Mr.  BaMe,  and  eortHatly  f  gf ee 
With  the  intelligent  critic  of  the  Daify  News^  who  ded'ares  that 
except  the  market  scene  in  Auber's  UfasatUellop  he  knows 
nothing  of  the  kind  that  can  beat  ft.  Let  ua  briefly  enumerate 
the  movamenta  of  which  it  is  oomposed.  The  seene  opent 
with  a  boatliaif  eoontry'daaoe  tuao^  in  G,  to  the  ^ovttoof  #hiei 
Am  people  sinj^,  in  unison  (not  d  lis  V^di),  a  pleasing  coonttor- 
itetne  on  thcr  wowfe— .«  Oh,  what  mfrth  attd  what  pleartife  r 
A  somewhat  awkward  progression  of  harmony  -—  of  the 
orchestra  playing  fortimmo, — ^leads  to*  a  duet  iii  £  flat^ 
^*  Country  lasses/'  for  Lyonnoland  Walter,  who  are  a&oiriBg 
the  pret^  girls  at  the  fair;  theva  i»  noflimfi^  to  be  said  of  this 
duet  boa  ttet  ita  melody  and  mannotf  ef  aooompanimens  hwfe 
sp  strottg  iveeivbliuM  eo^  Aaber.  A  pfefCfty  turned  prnveMfon, 
howeter;  brfng*  nt  bade  wfth  eAct  to  the  Hhewe  oftte  ifrst 
ehoruB,  and  Afs,  in  turn,  gives  way  to  a  lively  chorus  of 
servant  gfrls,  in  C,  ^  Who  wants  a  servant  maid  r  of  whith 
the  theme,  innocent  and  pretty,  is  well  carried  out-.^  the 
opohestfa,.  the  Toi0e*-part»  being  oonfinedto'  vsilevated  nofteo, 
in  the  Frnwh  style*  A  progiesslon  whieh  itOif,  without  dl«9* 
ooswtaay,  ber  tennedioiftipf  (We  have  as  tttuch  pleasure  ydu  see, 
Mr.  Balfe,  m  finding  fault  as  in  awarding  praise,  and  we  hope 
yotr  may  proflt  by  Ou*  adtnonitions),  prepares  the  way  for  a  deli- 
doust;^ piquant  phrase  in  6,  a  due,  ^r  Heniiette  *and  i^n, 


•*We  come.  When  Jrou  ring  the  bell,  &c.,*  aftsWered  by  an 
equally  piquant  rttomella,  **  Who  ever  heard  the  lie  f ' 
for  the  servant  maids  in  choir,  to  which  the  new 
management  of  the  melodic-interval  f>om  D  to  G,  with 
its  harmony  (simple  enough — dominant  to  subdominant— f- 
but  rendered  original  by  its  rhythmic  position),  gives 
a  particular  grace.  After  sundry  repetitions  of  these  phrases, 
we  come  to  a  dountry-dance,  in  C,  played  by  the  orchestra, 
without  tocal  accompaniment,  while  a  dance  goes  on  upon  the 
stage.  There  is  a  spontaneity  about  this  which  thoroughly 
enchants  us ;  albeit  it  is  nothing  more,  in  substance,  than  a 
clever  imitation  of  the  old  fashioned  English  dances  of  the 
kind,  that  are  extant  in  thousands,  and  whereabout  the  learned 
and  zealous  divers  into  the  depths  of  musical  antiquity— Mr. 
William  Ch^pell  and  Mr.  Edward  Eimbault,  with  our  absent 
friend,  George  Macfarren,  who  has  the  happy  art  of  dressing 
these  old  tunes  in  su<^  an  attire  of  sweet  harmony  that  they 
become  absolute  music,  and  charming  mUsic  too— can  tell 
you,  reader,  more  than  we  ;  albeit,  six  years  bygone,  we  did 
manufacture  a  kind  of  critique  of  Mr.  William  ChappelVs  in- 
teresting and  useful  book,  for  the  Dublin  Reviefi,  with  which 
we  understand  the  excellent  and  fastidious  antiquarian  was 
thoroughly  displeased.  At  all  etcttti,'  be  it  or  be  it  not  ca- 
nonic, we  lake  Balfe'a  country  dance  enormously ;  it  stirs  up 
our  hearts  with  the  feelings  of  old  times'— of  times  such  as  poor 
Shelley  describes  in  his  Lament,^- 

«*  Diowaed,  fiMNMD,  aeatf,  lor  erer  I " 

We  like,  also,  the  crescendo  which  interrupts  its  progress, 
and  leads  with  capital  effect  t»  the  brilliant  and  animated  solo 
and  cherrus  in  D,  illustrating  Sir  Tristram's  dismay  at  losing 
sight  of  Ms  two  fair  protegles,  who  afe  carried  off  amidst  the 
shouts  and  jeers  of  the  crowd,  by  the  adventurous  and  amorous 
yeomen.  Nothing  couM  end  so*  animated  a  scene  more  satis- 
factorily then*  fhfa  vigoi^nta  chorus,  with  fta  massive  and  spark- 
ling ordiestral  aeeompamuMnt. 

Therthud  asd  laat  soeno  of  Aot  the  first  inv<^es  incidents  we 
hafve  already  described  in  the  plot: — the  arrival  of  Henriette 
and  Alison  at  the  konse  of  I^onnel,  the  sudden  nassion  of 
Lyottnel  for  Hen#iette^  and  the  nltimate  escape  of  the  ladies, 
by  the  aid  of  Sir  Triatmm.  In  thia  scene  we  have  first  to 
nodee  «  ballad-,  hi  G,  "^  Behold  the  hapjy  home,"  for  Lyonnel, 
which  is  to  be  praised  fot  the  tenderness  of  its  melody,  for  the 
elegance  of  an  oboe  solo,  in  the  symphony,  exquisitely  played 
by  Barrett,  and,  lastly,  for  the  i^eeable  relief  afforded  by 
the  itttfOdoetion-  of  a  new  figure  in  the  accompaniment  to  the 
seoond  oosplettf  Mnoh  of  thia  scene  ir  treated  in  unaiicom- 
pAttM  reeftmlve,  iar  whieh*  Mr.  Balle  haa,  nevertheless,  con^ 
triv^frftb-itffrtjdtic}^  some  ffeasing  vocid  efffectiff,  enhanced  by 
the  contrast  of  the  two  male  and  two  female  Voices  almost  al- 
ways singing  in  couples.  Another  ballad,  *^  It  was  the  Red- 
cross  Kn^ht,"  in  F,.  is  likdy  to  achieve  the  popularity  that 
alono  ean  repay  tho  musie  publi^ers.  It  ia  a  graceful  melody, 
remaikablo  fov  the  quaint  introduction  of  the  interval  of  an 
octave,  which  makes  it  easily  recognized,  later  in  the  opera, 
whete  if  acts  an  important  part.  The  accompattirtent  is  a 
simple  harp  arpegjgio,  set  off  occasionally  by  soitae  ordinary 
orchestral  combinations.  In  the  symphony,  after  the  first 
oouplet,  there  ia  a  progression,  during  which  the  bass  ascends 
to  Rfiae,it4iidb  wo  do  noe  Hke  at  all ;  it  is  foiiced  a^d  not 
agv^eeable; 

The  oi«hefttni'  symphony  in  F,  that  follow*  tMs  ballad,*** 
during  the  iihtAe  df  Which  the  violinis  ate^  emplbyed,  <JWi 
jj)rrffrti,  ih  tke  elklteratiott  of  a  phrase  both  elegant  and  ihe- 
Ibdibus— is  l^gfily  interesting  and  diamadc.    A  sentimental 


818 


THE  MUSICAL  WORLD. 


daet»  in  A  flat,  "  I  know  not  by  what  spell,"  for  Lyonnel  and 
Henriette,  will  doabtless  serve  the  purposes  of  commerce,  and 
.attract  the  applause  of  fashionable  drawing-rooms;  but 
excepting  a  passage  for  the  violoncellos,  which  relieves  the 
otherwise  uninterrupted  poverty  of  the  orchestral  accoropa- 
niment,  it  offers  little  for  the  admiration  of  a  musical  ear. 
The  return  of  the  orchestral  symphony,  with  the  violins  con 
sordini,  is  a  very  great  relief,  and  rouses  the  interest  which  had 
nigh  gone  to  sleep  over  the  duet.  The  terzetto^  in  F,  "  Hush, 
bosh,  bushy  by  the  moon's  pale  ray,"  is  piquant  in  itself,  and 
enriched  by  a  cadence  charmingly  prolonged,  while  its  inter- 
ruption by  the  first  motive^  with  the  resumption  of  the  cadence, 
is  highly  effective  and  musicianly.  Not  less  to  be  admired  is 
the  clever  manner  in  which  the  composer  has  mixed  up  the 
'snatches  of  the  ballad,  "  A  Red  Cross  Knight,"  with  the  dramatic 
music  illustrating  the  anxiety  of  Sir  Tristram,  Henriet  end 
Alison,  to  effect  their  escape.  Through  the  whole  of  this  the 
Tiolins  continue  playing  eon  sordini^  which  imparts  a  peculiar 
feeling  of  mysteriousness,  happily  characteristic  of  the 
dramatic  situation.  With  this  concerted  piece,  the  first  Act 
concludes. 

(ThM  remainder  next  week  J 


BUNN   ▼.   UND. 

This  case  was  called  on  at  half-past  two  on  Tuesday,  but 
only  seyen  of  the  special  jury  answered  to  their  names.  The 
plaintiff  did  not  pray  a  tales^  and  the  Court  adjourned*  It  is 
understood  that  this  case,  which  has  excited  so  much  interest, 
will  not  be  tried  till  next  February. 

%  crteatf0(  on  %%t  ''  Affinitin''  of   ttotHe^ 

IN    ITS  WOIUJ>-HISTORIGAL  SIGNIFICANCE, 
nXVXLOPXD  ACCOBDIHO  TO  ITS  XOIUl  AKD  iJtTISTICiX  TIXVX, 

T^amelaUd  from  the  OerwMn  ^  Dr,   Meinriek  Theodor  Sdteeker 
ProiBMor  at  the  Royal  Oymnaaiiim  at  BrOBiberf. 

CHAPTER  IV.— (CmcImM  Ami  JNV«  Mi-) 
THS   AaTinCIAL  COMPOSITlOir  OP  ''THE   AmWITIBS.* 

Wnxax  all  the  elements  press  forward  to  developnient,  neither 
retarding  moments  nor  episodes  are  of  any  further  importance,  as 
we  hare  already  shown.  This  ii  the  case  with  oar  work,  at  the 
instant  when  Edward,  decked  with  honors  after  the  conclusion  of 
his  campaign,  and  with  the  old  passion  in  his  heart,  reappears  on 
tbe^  scene,  and  in  the  preserration  of  his  life,  amid  the  greatest 
perils,  purposely  sought,  only  discerns  a  sign  that  he  has  a  right  to 
pOMCss  Ottilia,  whom  he  now  thinks  to  gain  as  a  reward  for  his 
toils.  This  Tiew  ho  entertains  with  a  confidence,  which  awakens 
in  us^  the  fear  of  a  Tiolent  decision.  It  appears  to  us  very  significant, 
that  immediately  l)eforo-hand,  we  are  shown  the  mysterious  affinity 
of  Ottilia  with  nature,  as  we  are  thus  prepared  for  the  development 
of  the  mysterious  character  of  Ottilia.  In  cbaracterisinff  Ottilia, 
we  hare  completely  apprehended  this  mystical  trait  of  affinity  with 
the  macrocosm,  as  being  in  harmony  with  the  whole  indiTiduality. 
While  Ottilia  thus  appears  properly  to  be  a  child  of  nature,  wo  at 
the  same  time  suspect  that  she  wilt  &U  a  sacrifice  to  nature,  and  are 
Ao  longer  astonished  at  the  deep  mysticism  which  appears  on  the 
catastrophe ;  nay,  we  look  upon  it  as  perfectly  consistent  with  the 
character. 

As  the  development  of  the  collision  proceeds  with  the  growing 
passion  of  Edward,  so  does  hii  stormy  impetuosity  lead  to  the 
tragical  catastrophe.  While  exhibiting  the  character  of  Edward, 
we  have  shown  the  change  of  mind  that  takes  place  in  him.  His 
awe  of  the  moral  power  of  marriage  is  graduallV  thrust  back  by  his 
passion  for  Ottilia,  and  ffires  way  to  a  sophistry  of  the  under- 
standing.  This,  especially  in  the  eouTersation  widi  the  M^or, 
expresses  itself  in  various  turns,  the  simple  purport  of  which  is  the 
absolute  right  of  bis  passion.  At  this  point  of  view  no  more 
reasoning  can  find  entrance,  no  appeal  to  moral  dignity  can  be 
heard.    AUappears  to  lie  m  the  hands  of  Charlotte  ibis  imagination 


represents  to  him  as  already  accomplished  that,  which  he  fancies 
depends  only  on  human  will  and  resolution,  and  which,  as  a  well 
eanied  prize,  he  thinks  he  has  a  perfect  right  to  claim.  Tliis  tone  of 
mind  ceaselessly  presses  forward  to  a  decision.  On  the  summit  of 
this  passion,  whicn  would  willingly  resign  wife  and  child  to  a  firiend, 
and  which  is  therefore  on  the  |>oint  of  breaking  through  all  family 
ties,  he  is  struck  by  the  lightning  of  fate,  whidi  darts  down  quite 
at  the  moment  when  he  feels  certain  of  hb  aim. 

The  whole  manner  in  which  this  catastrophe  is  exhibited,  is  in 
every  respect  admirable.  Never  has  a  greater  end  been  attained 
with  simpler  means,  with  such  a  contempt  for  every  external  motive 
power.  The  expression  and  the  development  transport  us  Into  the 
bosom  of  the  most  internal  life,  where  we  can  hear  its  lightest 
vibration.  Passion  and  honor,  a  boundless  pain  in  the  most  broken 
existence,  and  again,  the  highest  moral  elevation,  the  tenderest 
and  at  the  same  time  the  most  stubborn,  against  a  natural  force 
of  passion  which  still  gathers  together  all  its  strength,  a  binding 
of  matter  beneath  the  dominion  of  mind,  which  proclaims  the 
eternal  triumph  of  the  moral  mind — ^from  all  these  are  formed 
the  arches  and  the  tendencies,  from  which  the  dome  of  our 
noble  edifice  rises  in  the  simplest  grandeur,  and  invites  the 
mind,  a  Iready  purified  by  the  completion  of  the  work  from  the 
dross  of  temporality  and  desire,  to  a  devotional  absorption  into 
the  all  forming  power  of  the  moral  mind.  In  this  pious  renoa 
we  watch  the  sense  of  the  poet,  who  here  solemnizes  the  absolute 
interpenetration  of  the  most  moral  beauty  and  the  most  moral 
earnes,  and  who,  in  freeing  from  sin  and  the  bonds  of  matter, 
which  he  unveils,  produces  in  us  that  tone,  which  we  properly 
desi^ate  the  chrtstian,  because  pointing  to  the  spiritual  resur* 
rection. 

Edward's  passionate  impatience  does  not  await  the  return  of  his 
friend,  but  takes  him  to  the  vicinity  of  the  lake,  where  Ottilia,  with 
the  child  of  Edward  and  Charlotte  in  her  arms,  is  so  absorbed  in 
reading  and  meditation,  that  she  seems  to  have  forgotten  time  and 
hour  altogether.  Edward  always  pressing  forward  with  restless 
zeal,  seeks  Ottilia,  the  sight  of  whom  excites  the  most  fearful 
storm  in  his  soul,  in  which  transport  and  an  immoderate  glow  of 
passion  prevails*  These  at  least  carry  on  Ottilia  to  a  corresponding 
return  of  passion.  The  sight  of  the  child  reminds  Edward  of  its 
impious  ongin,  and  the  thought  of  this  urges  him  to  a  wild  immoral 
spirit  of  defiance,  in  which  he  regards  the  child  as  the  most  eloquent 
advocate  for  bis  separation  from  Charlotte  and  his  union  with 
Ottilia.  With  Edward  all  bears  the  stamp  of  unfettered  feeling,  in 
the  form  of  a  stormy  natural  force. 

That  the  whole  turning  point  is  shown  in  the  death  of  the  child' 
occasioned  by  Ottilia's  delay— this  is  of  as  great  depth,  as  compre- 
hensive  insignificance.  The  destruction  of  this  innocent  creature 
affects  all  the  guilty.  A  sin  has  been  committed  against  the  spirit 
of  familjT,  against  marriage,  and  this  spirit  avenges  itself  b^  annw 
hilating  its  own  fruit,  because  that  fruit  has  received  its  existence 
from  a  contradiction  of  the  spirit  with  itself,  from  a  contradiction 
between  the  phenomena,  and  the  essence,  and  therefore  is  bom  of 
a  lie.  Hence  the  child,  instead  of  being,  as  usual,  a  connecting 
bond  of  marriage,  by  which  that  institution  fint  attains  its  highest 
reality,  appeara  as  if  transposed  into  the  midst  of  a  broken 
existence,  of  a  dissolved  forming  life,  where  there  is  no  consoling 
voice  of  a  relation  at  one  with  itself  to  receive  it,  but  the  discord 
of  a  relation  painfully  sundered.  We  may,  therefore,  maintain 
that  death  is  a  great  l)enefit  to  this  child,  since  it  is  removed  fi'om 
an  existence  deeply  wounded  within  itself. 

Charlotte  and  Edward  are  touched  by  the  loss  of  a  possession, 
which  was  to  them  a  lasting  witness  of  a  mental  adultery,  and 
which  they  did  not  deserve  because  it  resulted  finom  the  spirit  of 
&lsehood.  The  guilt  of  the  individuals  is  therefore  atoned  for  here 
in  its  most  peculiar  region.  The  morsl  substance  of  marriage, 
injured  by  the  thought,  which  had  entirely  separated  the  marriage 
pair,  in  their  deceptive  embrace,  since  they  abandoned  themselves 
to  the  most  immoral  feelings,  while  in  a  moral  veil,  returns  with 
vengeance  to  destroy  that  which,  as  a  hj|rpocrital  existence,  it  can- 
not endure,  and  which  it  plunges  back  into  eternal  night.  Thus, 
in  the  death  of  the  child,  the  moral  mind  is  in  the  first  pteoe 
restored  from  its  own  discord. 

But  this  is  only  one  side.  The  death  of  the  chOd,  precisely, 
because  it  is  the  result  of  that  mbd,  which  is  restored  from  the 


THE  MUSICAL  WORLD. 


819 


injurjr,  drives  the  iDternal  nature  back  into  itself,  that  she,  who  with 
blessed  freedom,  has  played  with  sin,  as  a  child  of  nature,  may  find 
herself  guilty.  But  Ottilia  can  onlv  so  far  look  upon  herself  «s 
ffuiltr,  as,  on  account  of  the  long  delay,  produced  by  her  passion 
for  Edwuxl,  she  is  forced  to  aceuse  herself  as  the  cause  of  the 
death.  The  deep  moral  nature  manifests  itself  in  this,  that  she 
seeks  a  tragic  event  which  she  has  occasioned  in  its  ultimate  source, 
and  brings  it  into  an  internal  connection  with  her  whole  thought 
and  action.  V/hile  she  thus  regards  her  own  guilt  as  the  root, 
which  has  shot  up  this  visible  form  from  its  dark  abyss,  she  also 
discerns  the  warning  of  a  supernatural  {)ower,  which  compels  her  to 
retire  into  herself  by  this  path  and  thus  deigns  to  conduct  her  to  a 
remedy.  While  in  this  shocking  event  the  most  secret  soul  of 
Ottilia  is  suddenly  revealed  to  her,  as  a  great  impiety  against  the 
moral  mind,  so  that  her  whole  past  life  is  illumined  to  a  horrible 
clearness,  as  if  by  a  flash  of  lightning,  it  (the  event)  becomes  the 
germ  of  her  regeneration,  and  of  her  release  firom  those  natural 
bonds,  which  has  hitherto  unceasingly  fettered  lier.  Thus  Edward 
too  is  afflicted  in  a  twofold  manner.  For  the  loss  of  the  child, 
through  the  complete  renunciation  of  Ottilia,  leads  to  an  irretriev- 
able loss  of  her  also,  and  deprives  him  of  the  reward  for  all  bis 
exertions,  all  his  reflections  and  thoughts,  all  his  hopes  and  actions. 
Thus  does  the  moral  law,  as  an  objective  power,  here  shelter  a  life, 
which  has  missed  its  aim.  Thus,  from  this  point  of  view,  the 
death  of  the  child  appears  to  us  as  the  sign  of  a  higher  government 
of  the  world,  which,  accordingly  as  it  is  considered^as  snch,  recon- 
ciles or  destroys  by  its  operation. 

It  is  excellently  conceived,  that  Ottilia,  after  this  interview  with 
Edward,  receives  by  the  death,  which  this  interview  has  occasioned, 
so  fearful  an  exhortation  to  return  into  herself.  For  the  first  time 
she  had  allowed  heiseH  to  be  completelv  carried  along  by  the 
natural  force  of  feeling,  and,  with  the  child  of  the  wife  in  her  arms, 
had  violated  the  holy  law  of  marriage. 

The  glow  of  love,  which  has  hitherto  burned  in  the  inmost  soul, 
but  has  been  preserved  from  an  outbreak  by  the  limits  of  morals 
and  maidenly  feeling,  here,  in  consequence  of  Edward^s  stormy 
passion,  buists  forth  into  consuming  power,  and  closes  frightfully 
over  the  heads  of  both.  "She  clasped  him  in  her  arms,  and  pressed 
him  most  tenderly  to  her  bosom.  Hope  darted  like  a  star,  falling 
upon  their  heads  from  heaven.  They  fancied,— they  believed  that 
they  belonged  to  each  other ;  for  the  first  time  they  exchahged  free 
decided  kisses,  and  separated  with  violence  and  pain.**  llie  blow 
follows  immediately,  and  consigns  Ottilia,  after  she  has  in  vain  ex- 
pended every  effort  for  the  preservation  of  the  unfortunate  sacrifice, 
to  a  dull  sense  of  despair.  Such  an  abundance  of  moral  relations 
is  revealed  to  us  in  the  death  of  the  child,  which  is  brought  about 
in  such  an  effortless  manner,  and  exhibited  with  the  most  violent 
power  over  the  heart.  Whether  we  look  at  the  married  pair  or  at 
Ottilia,  at  the  past  or  the  future,  at  the  concrete  occasion,  or  the 
absolute  cause,  a  moral  element,  which  points  to  a  deep  atonement, 
is  everywhere  revealed. 

Death  is  born  from  life.  The  same  spirit  destroys  and  elevates 
again.  Hence,  from  the  death  of  the  cnild,  the  moral  life  breaks 
forth,  and  points  to  its  perfect  victory.  The  effects  of  this  catas- 
trophe are  different  according  to  the  situation  and  moral  point  of 
view  of  the  individuals.  The  purified  Charlotte  receives  the  event, 
with  that  painful  feeling,  which  discerns  in  a  great  loss  a  destiny 
long  expected,  and  inflicted  for  a  previous  sin.  She  remains  mute, 
and  only  greets  her  friend,  on  his  entrance,  with  a  painful  smile,  in 
which  might  be  expressed  the  feeling  of  sorrow  at  the  severe  loss, 
and  the  thought  of  a  higher  order  of  things,  which  manifests  itself 
in  this  event.  Moreover,  the  sight  of  the  dead  child  is  to  her  a 
warning,  that  she  should  give  to  each  other,  those  whom  she 
already  had  considered  to  be  the  fittest  pair,  and  the  union  of 
whom  now  appears  to  her  as  the  fulfilment  of  a  higher  law,  which 
should  never  nave  been  violated. 

Ottilia,  by  the  death  of  the  child  is  awakened  to  a  resurrection 
inspirit  and  in  truth,  after  it  has  revealed  to  her  the  contradiction 
between  her  existence  and  her  destination.  Lastly,  Edward 
having  fallen  into  the  deepest  guilt  is  wounded  in  two  respects  by 
the  death  of  the  child,  being  forced  both  to  mourn  the  actual  loss 
of  a  dear  possession,  and  to  see  himself  deprived  of  the  sweetest 
hope  of  his  life  by  Ottilia's  moral  elevation  and  firm  perseverance 
in  her  self-denial.  ^ 


How  this  misfortune  gives  Charlotte  an  opportunity  to  display 
her  wholo  moral  elevation  and  the  most  amiable  tenderness  for 
Ottilia, — how  Ottilia  in  an  absolute  rupture  with  the  natural  force 
of  passion,  at  the  same  time,  takes  leave  of  her  whole  existenoe,-^ 
how  her  self-controul  exhibits  itself  as  a  real  liberation  from  the 
bonds  of  matter  ;  finally  how  Edwar^remains  behind  in  an  incon* 
solable  state  of  internal  discord,  so  inix  onlv  the  ridnity  of  Ottilia 
affords  him  at  moments,  the  blessing  of  a  calm,  nay,  happy  state  [ot 
mind— all  this  is  completely  exhibited  in  its  internal  connection,  at  a 
necessary  appearance  of  the  single,  individuals^  and  in  the  develop- 
ment of  the  characters. 

We  may  here  call  attention  to  one  more  beautiful  trait  in  the 
whole.  After  the  monstrous  events,— the  deep  heart  sorrow  whick 
has  seized  upon  all— each  after  hls'own^  fashion,— after  the  mighty 
rent  in  the  very  bottom  of  the  soul,  we  see  at  the  conclusion.  Just 
before  the  tragical  end  of  Ottilia  and  Edward,  that  the  beings,  re- 
lated by  aflinity  are  again  brought  together,  apparently  in  the 
position,  in  which  we  saw  them  peacefully  and  cheerfully  beforo 
the  contest  with  themselves  and  the  moral  mind.  But  a  monstrous 
internal  experience,— a  life  of  the  most  abundant  inlensive  events 
lies  between  the  two  periods.  There  is  indeed  aometbing  spirit 
lilfb  in  this  assemblage  ;  on  the  same  spot,  in  the  same  internal 
relations,  in  the  same  habits  of  life,  are  moving  the  forms,  which 
have  undergone  so  perfect  a  transformation*  in  the  depth  of 
their  souls.  By  this  vision  of  the  earlier  life,  the  spirit-like 
union  points  to  its  dissolution  ;  nay,  meets  us  as  the  precursor 
of  an  inevitable  catastrophe,  for  which  our  minds  are  thus  fully 
prepared.  But  this  return  into  the  first  state  is  at  the  same  time 
the  result  of  a  movement,  in  which  all  have  found  themselves  guilty 
and  the  product  of  a  development  in  which  the  moral  idea  has 
atrained  its  rights. 

When  at  the  beginning  the  individuals,  familiarly  jesting  one 
with  another,  cheerfully  applied  the  laws  of  affinity  in  natural  things 
to  their  own  relations,  and  fancied  themselves  safe  from  every 
truth  in  this  respect,  they  did  not  suspect  how  near  they  were  to 
the  frightful  earnest  of  the  plavful  comparison.  The  course  of  the 
work  perverted  the  two  worlcis  of  freedom  and  natural  necenity. 
The  individuals  failing  into  the  power  of  the  latter  were  also 
entangled  in  the  delusion  that  a  higher  law  was  nere  fulfilled— a 
law  from  which  man  could  not  withdraw  himself,  while  moral 
freedom  and  marriage,  that  work  of  the  moral  mind,  sank  down  in 
their  eyes  to  something  uiyustifiable. 

But  freedom  only  consists  in  movement,  and  therefore  dissolves 
the  motionless  law.  Thus  onlv  does  it  (freedom)  attain  its  destiDation« 
and  show  itself  as  the  alUruhng  power.  In  this  sense  the  Captain 
and  Charlotte  had  heard  its  voice,  and  torn  themselves  from  that 
natural  force  of  feeling  iihich  had  already  mastered  them,  and 
involved  them  in  a  contradiction  with  the  moral  idea.  The  same 
moral  freedom  had  now  also  elevated  to  itself  the  beautiful  child 
of  nature,  but  at  the  same  time  had  loosened  the  bonds  which  bound 
her  to  life.  The  powerless  Edward  regarded  this  victory  with  a 
broken  heart,  being  incapable  .of  realising  it  in  himself,  and  only 
feels  the  presence  of  the  moral  mind  in  the  victorious  silence 
which  Ottilia  opposes  to  the  stormy  urgency  of  his  passion.  Hence 
he  attains  no  atonement,  and  his  position  points,  not  like  that  of 
Ottilia  to  a  transfiguration,  but  to  a  disconsolate  departure.  In 
whatever  direction  we  turn  our  glance,  the  presence  of  the  moral 
mind  shines  every  where  around  us,  and  in  the  manner  of  its 
appearance  manifests  itself  both  as  the 
itself  before  us,  and  also  as  a  true  pn 
itself  into  the  most  internal  life  and  consciousness  < 
makes  these  the  objects  of  its  especial  interest,  and  in  the  manner 
of  bringing  about  the  atonement  according  to  the  indiriduality  of 
each,  exhibits  itself  as  the  reconciling  justice  of  a  higher  world- 
government. 

\*  To  prevent  misonderslandinir,  It  may  be  stated  tbat  the  copyriflit  of  tha 
translation  bdongs  solely  to  tlw  translator. 


us,   ana  m  me  manner  oi  iia 

he  absolute  euei|p^y  developing 

providence,  which  iransporta 

consciousness  of  the  indiriduals 


lo  the  next  number  of  tho  Mmakmi  IFarM  wffl  appesr  the  Ibit  poHioa  of  the 
<*  poetics  *'  of  Aristotle,  newly  translated,  with  explanatory  notes,  by  the  t 
latorof  the*«Afllnitles.»»  — ,         ^~r  #       -^    # 


was  as  befors,  was  penlonable,'^  dted  by  Dr.  JUVtschar. 


6120 


THB  MUSICAL  WO^IJ), 


SONNET* 

No,  LKV. 

YQicei,  loaUd  tboiigbto  of  oop«>Mon  bringii^ 
Wrapped  in  the  nomic  of  your  melodies ; 
Soft  inward  sounds,  that  when  the  tempests  rise, 
Can  penetrate  their  rage,  with  your  sweet  sinpng. 

Viiions,  from  tine  to  tkM  a  radiance  flinging 
Upon  a  htact,  diat  lifi  a  desert  Uaa  :-- 
Tnon  last— last  leaf  that  when  the  verdure  flia# 

From  Uie  lorn  tree,  still  to  its  branch  art  cliogin^. 

Oh,  are  ye  MVr^ — and  will  ye  pass  away, 
Learing  die  blank  that  other  hopes  hare  left. 
That  dark,  dnll  pain,  hell  only  would  invent  t 

Oxt  is  there  pvopbeqr  in  what  ye  say, 

t  Tdlinff  me,  1  am  n0t  of  all  henn, 
Bu(  itill  beyond  the  whirlpool  dwells  content  ? 


N.D. 


AN   ANALYSIS  OF  THE   HUiNAN   VOICE. 

Compiled  hy  Fripbrick  Wbbstbk,  Professor  of  £^ociflKii|  to  the  Bcyai 
4cademy  of  Music, 

(CovTUiVBn  rnoM  bavh  777*) 
Tub  following  soUtion  may  aerve  to  illuBtrato  the  preeedlpg 
ftccount  of  the  ttraeture  of  syUablM  x — 


F   A— e  F  A-e-B 
A  combination  of  each  of  the 
■pedea  of  etemoiti. 


L-A- 


L~A^v   T— A-e     T-A-e-k 

The  double  syllabic  imnulse 
by  ohaug*.        ^ 


8t   -   r  -  andzh     St  •  r  -  eng  -  th  B  •  r  8t-  andsh. 

This  scheme  lepresentg  the  movement  of  a  tbbd ;  but  the  mode 
is  the  same  in  all  intervals.  The  dotte(]  lipe  denote^  the  atopic 
sound. 

The  third  black  line,  united  to  ^e  radical  denotes  tbe  pitch  of 
tbe  subtonic,  when  it  precedes  a  tonic  ;  and  the  fUll  black  radical, 
with  its  issuing  appendage,  signifies  the  tonic  alone,  or  the  tonic  in 
combinatioD  with  a  vanbhing  subtonic. 

In  this  notation,  the  atonic  sounds  are  represented  by  the  dotted 
lines,  as  if  they  had  a  certain  place  in  pitch ;  but  being  mere  aspi- 
rations, their  place  is  in  no  appreciable  relatipu  to  the  tonics  and 
subtonics ;  and,  I  beg  that  tne  reader  may  so  uuderstanc)  toe 
notation,  where  the  atonic  symbols  are  used  to  show  tho  presence 
of  the  aspirated  voice. 

If  the  principle  of  compound  S)[lIabication  consists  in  a  voluntary 
effort  ana  [)aase  of  the  voice,  or  in  any  other  mode  of  length  than 
that  whicli  is  here  {nsbted  on,  a  syllable  might  contain  an  indefinite 
number  of  tonic  sounds,  combined  with  such  other  elements  as  have 
no  occlusion :  and  consequently  the  length  of  the  syllable  would 
be  limited  0|ily  by  tbe  time  of  expiration.  But  from  the  in^uence 
of  tbe  radical  and  vanish,  in  the  utterance  of  tne  common  agtrre- 
gates  of  elementary  sounds,  the  duration  of  a  syllable  is  quickly 
arrested.  There  are  twelve  tonics;  fourteen  subtonics ;  nine  atonies; 
and  six  abrupt  elements.  Twelve  of  these,  the  nine  atonips  i^ud  the 
three  abrupt  subtonics,  being  productive  of  an  intemiptioa  to  the 
continuity  of  the  svllabic  impulse,  the  miugUng  of  all  the  elements 
must  give  one  of  these  a  position  in  every  third  or  fourth  plaoe 
among  the  tonics  and  subtonics,  and  thereby  set  a  Hifnit  to  the 
duration  of  syllabic  sound.  Sometimes  this  interruption  produces 
BvUables  of  two  elements  only ;  and  it  h«i  never,  perhaps,  in  the 
English  language,  allowed  any  syllable  in  nse^  to  extend  beyond 
seven  ^ 

i  The  reason  why  the  words  strange  and  strength  canuot  be  made 
longer  without  more  than  ordinary  effort,  is  this:— The  tonic 
elements  cannot  be  added  since,  as  we  havo  seen  above ;  no  two  of 
them  can  be  united  into  one  vocal  impulse.  Nor  will  these  words 
l^^  asubtonic  at  the  beginning ;  for  as  « iaaa  aKmiQ,  any  sabtoale 


uttered  before  it  most  oonuitQ  »  fttosm  miuttthfr^fon^f^  thiovgli 
its  vanish,  and  thus  produce  a  «epai«te  syllable^  An  atoni*  bMy 
pipfixetl  to  these  words  wodd  pot  indeeii  maJo  a  n^ir  conenato  | 
put  it  would  produce  a  Tarying  effort  of  hissing  and  aspiialiOQa 
which  would  bear  no  analogy  to  tbe  audible  and  gUdiqg  uatore  of 
tonic  and  subtonic  syllabic8tu>n.  To  answer  then  to  the  onestioiiyr-* 
whjr  syllables  are  not  continued  to  the  utmost  length  of  loi  aot  of 
expiration,  it  has  been  shown  that  as  speech  employs  all  th^  el** 
ments,  the  abrupt  and  atonic  muat  naoesparily  divide  the  tiow  of  out 
expiration  into  different  syllabic  impulses. 

Prom  the  four  kinds  of  elementary  sounds  employed  m  tbe  oom 
struction  of  syllables,  let  us  now  suppose  tho  atonio  and  abnipt  to 
be  r^ected,  and  consequently  the  last  mentioned  cause  of  liaitatioii 
to  be  removed.  Why  is  it  impossible  in  this  am  to  ffif  e  iad^ile 
length  to  a  syllabic,  formed  by  the  union  of  atonic  with  any  pumbsv 
of  subtonics?— Or,  why  is  such  A  syllable  otherwise  lisvM*  tiwii 
by  tbe  term  of  expiration? 

When  a  tonic  precedes  fi  subtonic  in  th^  fbnaatipn  of  %  eonenU 
interval,  it  gives  up  a  portion  of  its  movement  to  tbe  anbtonie, 
which  ^eu  carries  on  and  completes  the  vanish,  la  this  wi^»  Urn 
radical  and  vanish  mi^  conust  of  a  tonic  and  one,  twf  •  three,  or  al 
most  four  subtonifls,  But  the  number  cannot,  in  easy  pronuneiatioo, 
be  extended  beyond  these.  Thus  ua  the  syllable  Unmifh  (atranfe) 
the  concrete  rise  begins  on  a,  an4  continuing  through  »•  d  and  ib, 
Tanishes  on  this  luU  If  two  mor^  subtonies  v  and  m»  were  s^lijoiMi 
to  tiiis  word,  as  in  itr^mdxhmn,  few  sp#akai«  uould  vudw  one  fom 
syllable  impulse  of  the  combination,  The  reason  of  thii  difm^ft 
or  ss  wa  wajcall  ity  impoaiibility«  wiU  appear  in  Uie  Mlowing 
remarks. 

In  the  moat  genera)  use  ef  the  voice,  the  eonoiete  rises  tbrougli 
the  interval  of  a  tone,  and  employs  therein  a  certain  portion  of  time. 
Now.'. though  the  tone  and  time  may  be  executed  on  one  tonio  eoin« 
binea  with  several  subtonics;  yet  there  is  n  masimnm  to  the 
number,  uttorable  by  an  eas;r  em»rt  of  speech.  For  sinee  each 
constituent  must  have  a  certam  duration,  to  render  il  oognianbio  n4 
a  variation  of  pitch,  and  to  ensure  a  distinet  ptonnnoietion,  il  moal 
conaumo  a  poruon  of  the  concrete ;  and  it  Is  plain  from  eaperieiien 
that  each  constituent  does  consume  so  much,  thai  not  more  than 
four  subtonics,  together  wiih  the  preceding  tonio,  onn  in  easy 
utterance  be  cpmpressed  hito  tbe  time  and  space  of  the  radical  ann 
?anisb. 

Jn  describing  the  ponorete,  we  pointed  out  three  modes  of  thii 
function,-^its  eouable  progress,  ana  the  prolongation  of  ita  lediealt 
and  of  its  vanish.  When  a  combination  of  lonice  and  sobtonlesi 
greater  than  can  be  used  for  one  concrete,  is  offered  for  pronun* 
elation,  one  of  two  things  niust  oocur :  either  (wo  syllables  must  be 
formed  by  two  separate  concretes,  or  some  one  or  mote  of  the 
numerous  constituents  must  be  prolonged  on  one  fine  ef  pitch. 
And  though  this  last  mode  of  utteranoe  would  not  nasswarily 
produce  two  svUables,  yet  by  nwnmiwg  the  eharaeterislie  ne#s  ef 
song,  it  would  be  very  different  from  the  equable  efibet  ef  the  Inie 
syllabic  concrete. 

I  heve  thus  endenroured  to  show  whv,  in  ordinary  speech* 
syllables  canpot  be  indefinitely  extended  wnen  they  eensut  only  at 
tonic  and  subtonic  founds,  and  oonseauent^y  when  there  ia  ne 
obstnictiott  to  tbwf  oontUination,  by  the  interpQaidiui  el  nbrupt  aad 
ntonio  elementi, 

(Tq  ke  son^misd.) 

■  ■   T'lwii  HP'  t>  ■  ff    -II*"   —  ■    ■■■   -     — p      I  mf  mmfmmifvmmi^mmm'mm 

FOKUGN  INTRUIQENGI, 

Floesiios. -^  (A-orn  a  Cwrretp^mdmt.) — Nene  of  An 
theatres  seem  unusually  brilliaat.  We  have  eight  here.  Thn 
Pergola  is  not  better  than  tbe  rests  nlthovign  the  ohnrming 
Stefanoni  ia  tbe  pr^adoniMi,«ncl  the  portly  Iderinithn^aiafi 
but  two  stars  do  not  make  a  heaven,  and  the  leaser  lusiianriet 
are  deteatoble.  Lnal  week  they  played  an  cfpem,  celled 
fevemUe,  by  Prince  Joseph  Ponintowakl,  which  was 
unequivooally  condemned  ;  nevertheless,  the  Prince  bee  the 
reputation  of  being  an  Intelligent  masidan,  which  I  am  not  in 
the  humour  to  dispute.  At  the  Teatro  Pkt^a  Feeehi^  we 
have  nlso  an  oper%  Tbe  tenor  Boconrde,  baa  leally  n  esperb 
Yoice^  and  on  the  whole,  tbe  arxnngemento  an  by  no 


^mmsKma^ammmmsssBS 


THE  MUSICAL  WORLD. 


82i 


lmi»  powiidiripg  tba  law  price  of  sdiouflion-^hvlf  a  patd^ 
(ttro-penot^haUprany).  Ilieie  ii  alio  another  opera,  at  Uie 
T0atro  BorgogMamnte^  wheie  tfaey  hare  been  playing  the 
Leonora  of  Mercadante,  but  in  a  very  ordinary  style.  This 
is  all  th«  theatrical  news  I  have  at  present  to  tell  you ;  but 
you  may  look  for  another  letter  soon.  The  eamiTal  it 
approaching,  and  things  may  beeome  more  interesting.  The 
grand  Dake  is  very  popular  here ;  on  his  f6te  day  all  the 
gar^  0vica  went  in  procession  to  congratulate  him,— - 
a  very  pretty  eight,  of  whieh  we  had  a  capital  view  from  a 
balcony  of^poeite  the  Palazzio  Pitti.  The  cheering  was  en- 
thusiastic, and  a  hymn  was  sung  in  honor  of  the  occasion.  In 
the  evening  the  whole  city  was  illuminated  and  our  apartment 
being  sttoated  in  the  moat  public  thoroughfare,  we  were  com- 
pell^  to  do  as  the  rest.  W. 

Pabua. — {From  a  Correspondent) — Mr.  Curtis,  an  English 
tenor,  formerly  a  student  in  the  Eoyal  Academy  of  Music, 
Tenterden  Street,  and  subsequently  pursuing  his  vocal 
edueation  under  one  Mazsuoato,  at  Milan,  is  engaged  as  prhno 
tenore,  for  the  approaching  carnival  at  Padua* 

Thb  HAou«.--^frot»  our  own  Correspondent-) '^B^Wa 
Etoik  ie  Seville  has  been  produced  here,  in  preaenee  of  all 
the  Court,  with  brilliant  sueeess.  The  vogue  already  obtained 
by  his  comic  opera,  Les  Qnatre  Fils  d^Aymony  has  already 
made  BaUp's  name  popular  here.  Amons  the  recent  celebrities 
who  have  visited  us,  are  Yivier,  the  famous  and  facetious 
performer  on  the  horn,  guitar,  piano,  violin,  &o.,  &o, ;  Eeker, 
a  clever  violinist  and  composer  (pupil  of  poor  Mendelssohn, 
whose  death  has  put  us  all  in  mourning) ;  and  Stevenier8«  the 
admirable  vioUnist  from  Belgium.  All  these  artists  have  been 
well  reotived  at  Court. 

DKAiNATIC  INTELLIGENCE. 

Drvky  Lans,— a  new  opera,  in  three  acts,  the  Mate?  of 
HonowTi  was  produced  on  Monday  night,  with  that  success 
whieh  seems  inseparable  from  the  name  of  Balfe,  the  composer 
of  the  music.  Miss  Birch,  Miss  Miran,  and  Mrs.  Weiss,  three 
debutantes,  were  all  received  with  the  utmost  favour.  Mr. 
Reeves  made  a  decided  hit  in  his  new  part.  Mr.  Weiss  had 
also  a  part  in  which  he  maintained  his  well-deserved  repute. 
The  Ubrettois  from  the  experienced  hand  of  Mr.  Fitzball.  The 
mise  en  ecene  and  costumes  were  liberal  and  splendid,  Mr. 
Bftlfe  presided  in  the  oroheatra,  and  was  received  with  cheers. 
At  the  fall  of  the  eurtain,  composer,  artists,  and  manager  were 
all  called  forward.  For  further  particulars  we  must  refer  to 
our  leading  articles  of  this  and  next  week. 

Ai>Bi;.rui  Theatrb.-^AH  the  resources  of  this  establish- 
ment have  been  bestowed  on  a  new  and  magnificent  spectacle, 
called  the  Pearl  of  the  Ocean,  written  by  Mr.  Charles  Selby, 
and  produced  on  Monday  last  with  great  success.  The  idea 
of  the  pieoe  is  not  an  uncommon  one,  being  that  of  the  love  of 
a  niadae  maiden  for  a  mortal.  HereCoralie  (Madame  Celeste), 
the  aquatic  fhlr  one,  is  not  only  an  inhabitant  of  the  deep,  but 
actually  a  mermaid — a  creature  with  a  tail,  which,  by  the  power 
of  the  Witoh  of  the  Whirlpool,  is  converted  into  a  pair  of  legs. 
The  Prinoe  of  the  Pearl  Islands  (Miss  Woolgar),  whom  Coralie 
baa  saved  from  shipwreck,  is  the  obfeot  of  her  passion,  and  to 
him«  on  aiteuming  mortal  shape,  she  attaches  herself  as  a  sort 
of  attendant,  though  she  is  under  an  obligation  not  to  reveal 
her  origin  and  the  sorviee  she  baa  rendered.  The  love  of  the 
Prinee  for  a  Princess  of  Cireassia,  whom  he  is  about  to  marry, 
nearly  drives  poor  Coralie  to  despair.  She  summons  her  sister 
mermaids  to  ter  aid,  and  they  all  attend  the  wedding  as  Ama- 
zona  dresaed  in  armmir,  who»  after  amusing  the  party  with  a 
80ft  QlihaB>ilght,  eveBtually  eaivy  off  the  bride*    Urged  by 


the  witchi  Coralie  is  about  to  stab  her  rival,  but  relents,  and 
the  Princess,  not  to  be  outdone  in  magnanimity,  resigns  the 
hand  of  her  lover  to  the  happy  mermaid,  when  a  grand  festival 
is  held  at  the  bottom  of  the  sea,  in  honour  of  the  junction  of 
earth  and  water.  Madame  Celeste  has  a  picturesque  part  in 
the  character  of  Coralie,  which  she  dresses  in  a  variety  of 
costume,  and  plays  with  exeellent  effect,  and  Wright  has  room 
for  his  comicalities  in  the  personage  of  a  pearl-diver ;  but 
altogether  the  piece  is  less  a  vehicle  for  acting  than  for  scenery. 
As  a  spectacle  it  is  gorgeous  indeed.  The  submarine  scenes 
show  great  fancy  on  the  part  of  the  painters,  especially  a 
moving  diorama,  in  whieh  the  love*sick  mermaid  floats  to  the 
abode  of  the  witch.  The  arrival  of  a  solid  galley,  which  sails 
from  the  back  to  nearly  the  front  of  the  stage,  is  a  peculiarly 
grand  point,  and  we  believe  that  the  stage  has  been  enlarged 
at  the  back  to  render  this  achievement  possible.  The  ^pear- 
ance  of  the  sea-nymphs  in  real  steel  armour  is  novel  and 
striking,  for  the  ladies  are  actually  armed  cap*A»pie,  with 
closed  vizors,  instead  of  wearing  that  light  sort  of  equipment 
which  is  usual  with  the  female  warriors  of  the  stage.  Is  this 
piece  a  version  of  the  French,  La  Belle  aux  cheveux  d'or  ? 
Albert  Smith  can  tell  us.  He  went  to  the  Porte  St  Martiut 
as  well  as  to  the  Theatre  Historiqne,  we  are  certain ;  for, 
reader,  we  know  him  well. 

Surrey. — Mr.  Bunn  has  treated  the  public,  lately,  with  two 
very  interesting  novelties :— «  new  singer,  Mrs.  D.  W.  King, 
of  eminent  pretensions;  and  an  English  version  of  Donizetti's 
Figlia  del  Reggimenio,  with  our  old  favorite.  Miss  Poole,  in 
Jenny  Lind's  part  of  Maria, 

Mrs.  D.  W.  King  is  the  wife  of  Mr.  D.  W.  King,  the  tenor, 
late  of  Drury  Lane,  and  now  of  the  Surrey.  Her  voice  is  a 
sweet  and  flexible  soprano ;  her  power  is  not  great,  but  she 
sings  with  grace  and  facility,  and  throws  an  immensity  of 
feeUng  into  her  acting.  Mrs.  D.  Wk  King  has  already  appeared 
in  an  English  version  of  Lueia  di  Lammemoor  in  which  her  in<^ 
terpretation  of  the  plaintive  melodies  of  poor  Lucy  declares 
her  the  possessor  of  as  much  intelligence  and  sensibility  as  of 
vocal  excellence ;  and  more  recently  in  Wallace's  Mariiana^ 
wherein  she  displays  quite  an  opposite  kind  of  talent.  In  both 
these  operas  she  is  received  with  enthusiasm  by  the  public. 
With  Mr.  H.  Phillips,  Miss  Poole,  and  Mr.  King,  as  acces- 
sories, it  is  hardly  necessary  to  say  that  the  vocal  part  of  the 
music  has  been  ably  excuted ;  and  quite  as  much  may  be 
advanced  in  favor  of  the  compact  band  and  chorus,  under 
Mr.  TuUy's  experienced  guidance. 

Miss  Poole,  in  the  Figlia,  has,  in  her  way,  created  quite  aa 
great  a  sensation  as  Jenny  Lind  herself.  No  one  would  have 
given  this  usually  quiet  and  unpretending  artiste  credit  for 
such  a  world  of  yivacity,  animation,  and  humour,  as  she 
displays  in  the  lively  character  of  the  Fivandiire ;  and  then, 
her  smging  of  the  music,  here  and  there  transposed  to 
suit  her  voice,  is  as  nearly  perfect  as  could  be  desired  by 
Donizetti  himself.  Three  encores,  and  as  many  recalls,  mani- 
fest how  well  the  public  appreciate  Miss  Poole's  admirable 
performance. 

Mr.  H.  Phillips  makes  an  admirable  part  of  the  ordinarily 
modest  Sulpizio ;  he  acts  like  a  Trojan,  and  sings  like  himself-^ 
the  best  tribute  we  could  offer  to  his  talent.  In  Gardoni*s  part 
of  Tonio,  Mr.  D.  W.  King  displays  zeal  and  ability ;  while 
Mrs.  Daly,  Mr.  Horncastle,  and  the  rest,  make  the  most  of  the 
subordinate  parts;  and  again  we  must  eulogise  Mr.  Tully,  and 
his  vocal  and  instrumental  forces,  so  small  in  number,  yet  so 
efficient  in  strength.  The  English  version  of  La  Figlia  is  by 
the  untiring  Mr.  Fitzball,  who,  in  the  present  case,  has  evinced 
more  than  Ms  accustomed  taste,  and  more  than  the  usual 


822 


THE  MUSICAL  WORLD. 


solidity  of  his  jadgment.  The  mise  en  icene  and  oostames 
are  precisely  what  was  to  have  been  expected  from  the  taste 
and  experience  of  Mr.  Bann.  La  Figlia  has  drawn  crowded 
houses,  and  will,  doubtless  have  a  long  run.  It  is  well  worth 
a  trip  across  the  water  to  see  and  hear. 

OmCINAL   COKREtPONDENCE. 

To  the  Editor  of  the  Mutieal  World. 

Sir. — Could  you  iDform  ire,  in  your  next  paper,  what  is  the  comptn 
of  Mr*  Weiss's  Toice,  also  of  Mr.  Henry  Ruwell's. — I  am.  Sir,  your  obe- 
dient Servant^  J.  L. 

[Perhaps  the  possessors  of  the  voices  may  be  disposed  to  satisfy  the 
curiosity  of  J.  L.    Oar  pages  are  open.—Eo.] 

PROVINCIAL.. 

WoRCisTBa.— Thursday  evening  I6th,  the  new  organ,  recently  erected 
by  Mr.  Nicholson  for  the  Worcester  Harmonic  Society,  in  the  large  room 
of  the  City  and  County  Library  and  Reading  Institution,  was  opened, 
and  the  occasion  was  celebrated  by  a  concert.  We  were  greatly  disap. 
pointed  in  noticing  that  the  concert  was  attended  by  only  about  seventy 
persons-^that,  in  fact,  the  audience  was  outnumbered  by  the  choral 
orchestra.  Deeply  do  we  regret  this  circumstance,  not  only  on  account 
of  the  object  of  the  concert,  but  because  we  feel  sure  that  the  musical 
portion  of  the  Worcester  public,  in  their  absence,  deprived  themselves  of 
a  great  treat.  The  concert  opened  with  the  performance  of  the  Dead 
March  in  Saul,  upon  the  organ,  by  Mr.  Done  (organist  of  the  Cathedral^, 
followed  by  the  chorus,  '*  How  blest  are  they,"  from  poor  Mendelssohn's 
81.  Paul,  the  performance  of  which  called  up  feelings  of  the  liveliest 
emotion  towards  the  deceased  composer.  Then  came  the  first  part  of 
the  Creation.  Mr.  Done  played  the  introduction,  representing  chaos, 
with  excellent  judgment.  Mr.  Rickhuss,  the  solo  tenor,  was  in  excellent 
voice,  and  sang  the  music  allotted  to  him  with  taste  and  skill.  Master 
HoUoway  and  Mr.  Whitehouse,  the  other  chief  singers,  acquitted  them- 
selves  admirably.  The  choruses  were  given  with  precision,  and  we  cannot 
speak  too  highly  of  Mr.  Done's  management  of  the  accompaniments. 
The  second  part  of  the  concert  commenced  with  the  Russian  National 
Hymn,  with  variations,  by  August  Freyer,  for  the  organ,  to  which  ample 
justice  was  done  by  Mr.  Done.  The  concerto  was  followed  by  Mr. 
Rickhuss,  in  "  Lord,  remember  David,"  succeeded  bya  hymn  from  Ferry's 
Death  o/  Jbel,  the  eoli  by  Mrs.  Hewitt  and  Mr.  Stoyle.  Then  cam«  the 
selection  from  Itrael  in  Egypt,"  with  which  the  concert  concluded.  In 
this  we  have  to  notice  the  style  In  which  the  duet,  "  The  Lord  is  a  man 
of  war,"  was  rendered  by  Messrs.  Whitehouse  and  Stoyle ;  the  manner 
in  which  Mr.  Jones  sang  the  graceful  air,  "  Thou  shalt  bring  them  in;" 
and  the  declamation  of  Miriam's  song,  "  Sing  ye  to  the  Lord,"  by  Mrs. 
Mason,  The  choruses,  as  in  the  former  part,  manifested  diligence  on  the 
part  of  the  conductors  of  the  society,  Mr.  £.  Rogers  and  Mr.  Done,  and 
intelligence  on  the  part  of  the  executants.  This  concert  was  the  best  the 
society  has  hitherto  given,  and  it  ought  to  be  a  source  of  pride  to  Wor. 
cester  that  she  can  realise  such  a  performance  from  her  own  native  talent, 
unaided  by  foreign  resources ;  but  it  is  also  matter  of  regret  and  shame 
that  the  society  is  not  more  numerously  and  etflciently  supported  than  it 
is  in  a  pecuniary  point  of  view.  Mr.  E.  Rogera  was  the  conductor  of 
this  concert,  which,  at  the  request  of  several  influential  supporters  of  the 
society,  will  be  repeated,  we  believe,  in  the  Christmas  week.  Meanwhile 
the  oratorio  of  Jephtha  will  be  produced  under  the  direction  of  the  same 
gentleman.  The  organ  was  built  by  our  townsman,  Mr.  Nicholson,  who 
has  executed  it  in  a  manner  highly  satisfactory  to  the  subscribers.  The 
great  organ  manual  extends  to  CCC,  the  swell  organ  to  CC,  and  the 
pedal  organ  has  a  compass  of  upwards  of  two  octaves.  It  is  prepared 
for  twenty.nine  stops,  but  at  present  does  not  contain  more  than  eighteen, 
including  two  copulaa.  The  diapasons,  the  dulciana  (which  extends  to 
CCCj  wald  fiute,  hautboy,  and  comopecn  stops,  are  free  from  the  defects 
too  often  found  in  reed  stops. — Worcester  Journal. 

Liverpool, — ^The  Festival  Choral  Society  gave  its  thirty-seventh  puUic 
rehearsal  on  Tuesday  evening,  14th,  in  the  Music  Hall,  Bold  Street.  The 
scheme  comprises  Romberg's  cantata  "  The  I.ay  of  the  Bell,"  with  a  selec- 
tion chiefiy  from  the  works  of  Sir  H.  R.  Bishop.  The  orchestra  was  under 
the  leadership  of  Mr.  H.  F.  Aldridgc,  The  solos  were  confided  to  Messrs. 
Armstrong,  Ryalls,  George  Holden^  jun.,  and  Mrs.  George  Holden ;  and 
the  same  parties,  with  others,  sang  the  concerted  pieces.  The  concert 
terminated  soon  after  ten  o'clock.  Mr.  George  Holden  was  the  con- 
ductor, and  Mr.  Richardson  the  organist. — Liverpool  Mail. 

Mancbistxr. — ^The  remark  is  now  somewhat  trite  that,  at  the  present 
day,  no  great  work  of  literature  or  art  can  long  remain  the  property  of 
the  wealthy  critic  or  connoisseur ;  that  its  worth  once  recognised,  its 
diiAision  amidst  the  "  common  people"  follows  almost  as  a  matter  of 


coarse.  Nor  is  it  merdy  works  of  a  light  and  frivolous  character  whose 
expansion  is  thus  demanded,  but  also  those  which,  pregnant  with  the 
deepest  meaning,  and  coming  from  the  depths  of  the  hnman  heart,  neces- 
sarily demand  for  their  appredaticn  thoughtful,  earnest,  and  loving 
minds.  Amongst  the  foremost  of  those  who  have  addressed  themselves 
to  meet  this  requirement,  and  develope  this  characteristic  of  the  age,  we 
have  often  had  occasion  to  mention  the  directors  of  the  Mechanics' 
Institution,  whose  Saturday  evening  concerts  have  frequently  been  the 
medium  of  bringing  before  the  public  some  of  the  best  woilcs  of  the 
greatest  masters.  The  greatest  advance  which  they  have  made  in  this 
direction  has  certainly  been,  in  the  present  season,  in  the  production  of 
the  grandest  form  of  musical  composition— >the  oratorio.  The  success  of 
the  performance  of  the  Creation  we  noticed  on  a  former  occasion ;  we 
have  now  to  record  a  similar  success  in  the  performance  of  Dr.  Men« 
delsiohn's  great  work,  Elijah,  on  Saturday  evening  last.  The  profundity 
of  this  composition,  as  a  work  of  art  Its  highly  dramatic  style,  the  unity 
of  spirit  and  design  pervading  the  whole,  manifested  altematdyin  the 
broadest  contrasts  and  the  most  gradual  transitions,  combined  to  render 
its  performance  a  work  of  no  small  difficulty.  In  the  performance  oq 
Saturday  evening,  these  difficulties  were  maatered,  these  requisites  sup- 
plied,  in  a  manner  most  creditable  to  the  skill  and  taste  of  the  con- 
doctor.  Mr.  Conpin,  and  the  other  performers.  The  leading  vocalists 
were  Misses  Stott  and  Kenneth,  and  Messrs.  Burnett  and  Isherwood,  aO 
of  whom  ar«  deserving  of  great  praise  for  the  intelligent  and  artistic 
execution  of  the  music  allotted  to  them.  The  chorus  was  well  trained, 
and  effective.  The  efforts  of  the  vocalisU  were  admirably  seconded  by 
the  instrumental  performers.  Mr.  Bariow  was  the  organist.  The  per- 
formers  received,  as  they  deserved,  the  hearty  and  unaniosoos  approbation 
of  a  crowded  audience.  The  audience  were  supplied  (as  on  the  oocuton 
of  the  performance  of  the  Creation)  with  a  nicdy  printed  copy  of  the 
words  of  the  oratorio  for  a  penny.  This,  and  the  other  business  arrange- 
ments for  the  evening,  reflect  the  greatest  credit  npon  the  able  and  in- 
defatigable  managing,  directors  of  the  institution.  We  cannot  close  this 
notice  without  the  expression  of  a  wish  that  the  directors  ssay  give  us 
another  oratorio  before  very  long.— Monefcesfer  Ouardian. 

LiviRPooL.— Mr.  Ryalls  had  a  very  fbll  audience  at  his  annual 
concert,  on  Tuesday  evening,  the  18th,  in  the  Concert  Hall*  Lord  Nelson 
Street.  The  performances  were  marked  by  the  novelty  of  two  first 
appearances.  Mis.  Sunderiand  was  the  leading  vocalist.  Her  singinf 
of  Handel's  '*  From  mighty  kings»"  with  violin  obiigato*  and  Blshoi^a 
"Mocking  bird,"  with  fiute  obligate,  elicited  heai^  encores.  Miss 
Saunders,  from  the  York,  Sheffield,  and  Leeds  Concerts,  made  a  fkvoor- 
able  impression ;  her  voice,  though  not  powerful.  Is  sweet,  and  her  style 

i,nAV«»Ark»iAnaKlA  In     RIaKAn'a       **  l^nmA       ■limmtfr.         fOMAm**      RiWlvrplPs 


Click  clack  of  the  village  mill,"  and,  "Go,  cuU  your  roses,"  though 
isbouring  under  influensa,  she  was  much  spj^uded.  The  duet,  "  O  lovely 
peace,"  between  Mrs.  Sunderiand  and  Miss  Saunders,  was  well  given.  Miss 
Clements,  a  pupil  of  Mr.  Ryalls,  made  her  debmi  in  a  duet  with  that 
gentleman,  but  was  so  frightened  at  the  novelty  of  her  sitnatmn  that  she 
neariy  abandoned  the  duty  which  she,  had  undertaken,  but  the  applause 
of  the  sudieoce  somewhat  restored  her  confidence  towards  the  doM,  and 
she  developed  powers  of  voice  and  acquirement  which  will,  with  ex- 
perience, make  her  a  great  fkvonrite  in  the  concert  room.  She  was  also 
much  apphiuded  in  Bishop's  song,  "  Like  the  gloom  of  night,"  which 
after  the  display  of  a  little  timidity  she  got  through  very  creditably.  Mr. 
Ryalls,  who  was  most  cordially  received,  gave  in  good  style  Donisetu's 
"  Star  of  life,"  Bellini's  recitative  and  air"  All  U  lost,"  and  "  StOl  so 
gently,"  being  encored  in  the  latter  and  Lover's  "Kitty  Creagb.'* 
Bellini's  duet,  "  Take  now  this  ring,"  was  spiritedly  executed  by  Mr. 
Ryalls  and  Miss  Saunders.  Much  Interest  was  attached  to  the  delmi  of 
Miss  Eleanor  Ward,  of  whose  abilities  ss  a  pianist,  report  has  for  some 
time  spoken  favourably.  She  appeared  to  be  a  little  frightened  with  the 
warmth  of  her  reception,  but  soon  recovered  and  pleased  the  audience 
with  the  brilliancy  with  which  she  executed  Henri  Hers's  very  difikolt 
variations  on  the  grand  march  from  PuriUm.  Her  first  piece  was 
encored.  Mr.  Richardson,  the  eminent  flute  player,  charmed  his  hearers 
by  bis  per  formance  of  two  of  his  own  fantasias —  "There's  nae  luck,** 
and  "  Rousseau's  Dream,"  which  were  both  unanimously  encored. 
Mr.  Goodall,  tho  violinist,  of  whose  talents  we  have  before  baA 
occasion  to  speak  favourably,  justifled  our  encomiums  by  the  manner 
in  which  he  rendered  De  Beriot's  First  Concerto,  and  was  immenselj 
applauded.  Signer  Giulio  Regondi  and  Mr.  George  Holden,  who  had 
both  been  announced,  were  absent  through  inlkiensa,  but  the  plaee  of 
the  latter  very  ably  supplied,  on  short  notice,  by  Mr.  Ffcdcrick  Tivcndell, 
who  is  deservedly  esteemed  as  a  conductor.  As  one  of  the  favourite 
pupils  of  the  great  composer,  Mendelssohn,  his  re-appearance  will  be 
hailed  with  gratification  by  all  admirers  of  the  great  school.  The  concert 
terminated  about  a  quarter  to  eleven  o'clock— Ltperpeof  Mail. 

RiCRMOVD.— Mr.  W.  a  Sclle's  Concert  took  place  on  Friday  evening 
17th,  when  the  great  room  of  the  Castle  Hotel  was  crowded  with  luhiott- 


THE  MUSICAL  WORLD. 


823 


able  company^  including  tome  of  the  roost  distinguished  families  in  the 
neighbourhood.  Mr.  Selle  engaged,  as  vocalists,  Madame  Caradori  Allan, 
Miss  A.  and  Miss  M.  Williams,  Mr.  Lockey,  and  Mr.  W.  H.  Seguin,  all 
of  whom  gave  the  greatest  delight,  and  were  called  upon  to  repeat  several 
dassiod  oompositlons.  Mr.  Sdle's  performance  of  Hommell's  Concerto 
in  E  mi\ior,  and  Mozart's  Quartet,  in  G  minor,  demands  our  especial 
notice;  he  was  rapturously  applauded.  Mr.  Willy  led  an  ezcellent 
orchestra,  and  performed  one  of  his  favourite  solos,  which  aiforded  the 
highest  gratification  to  all  present. 

Shbbwsburt.— Last  week,  the  second  concert  of  the  Choral  Society 
was  given  at  the  Music  Hall  which  was  filled  with  an  audience  composed 
of  the  rank  and  fashion  of  the  neighbourhood.  The  committee  of  the 
society  are  entitled  to  the  greatest  praise  for  presenting  the  Seasons  of 
Haydn  to  a  Shrewsbury  audience,  in  such  an  eflicient  manner.  Miss 
Bassano,  Mr.  Pearsall,  and  Mr.  Machin,  were  in  fine  voice ;  indeed  the 
iady  appeared  to  as  to  have  greatly  improved  since  we  last  had  the  plea- 
sure of  hearing  her.  Mr.  Boorlay  vras  leader,  and  Mr.  Hiles  conductor. 
Mr.  W.  Lewis  presided  at  the  organ.  The  whole  performance  went 
off  with  the  greatest  eclat  possible.--SAroptAire  Conservative. 
'Walwortb> — ^Mr.  William  West  gave  his  vocal  entertainment  at 
the  Literary  Institution,  on  Wednesday,  the  15tb,  to  a  crowded 
audience.  He  was  assisted  by  Miss  £tiza  Vaughan,  Miss  A.  Pur- 
cell  and  Mr.  Frodsham,  who  possesses  a  tenor  voice,  which  study  may 
render  profitable.  Miss  Binfidd  Williams,  in  a  fantasia  on  the  piano- 
fdrte.  was  hihgly  applauded,  as  was  the  boy,  Alexander  Ranchevaege. 
—-Who  is  this  boy  r— Ed.] 

Pltmouth* — Country  theatricals  seem  by  no  means  at  a  discount  with 
Mr.  Newcombe,  manager  ofthe  Theatre  Royal.  Patronised  by  the  Earl 
and  Countess  of  Morley,  Lady  Elisabeth  Bulteel,  and  other  of  the 
luhionable  inhabitants  of  the  vicinity,  this  theatre  is  crowded  night 
after  night  to  witness  the  performances  of  one  of  the  most  eflicient  and 
attractive  companies  ever  employed  in  a  provincial  town.  The  leading 
members  of  the  troupe  are  Messrs.  J.  Davis,  Mills,  Emery,  and  Gates ; 
Misses  Pitt  and  Aldridge ;  Mesdamss  Harding  and  Russell ;  not  to  forget 
Mr.  Newcombe  himself,  whose  gentlemanly  conduct  and  polished  deport- 
ment have  gained  him  an  entrSe  into  the  first  circles  of  society,  and 
whose  liberality  and  invariable  kindness  have  endeared  him  to  the 
members  of  his  eaUbliahment,  where  his  versatile  talenu  have  won  him 
the  unanimous  suffrages  of  the  public. 

Maidstonb. — ^The  theatre  was  crowded  on  Wednesday  15th,  on  the 
belipeak  of  CoL  Middleton  and  the  officers  of  the  dep6t.  We  are  glad 
to  be  able  to  say  that  Mr.  Melville,  who  is  a  good  and  deserving  actor, 
had  a  prodoctive  benefit  last  evening.  His  selections  were  the  Lady  of 
Lyons  and  Afory  BUme.  That  well-established  public  favourite,  Mr.  B. 
Ware,  takes  his  benefit  on  Thursday,  which  will,  we  doubt  not,  prove  a 
bumper.  The  last  night  of  performing  will  be  on  Friday,  when  the  season 
will  dose.  The  Panorama  opened  last  evening,  and  if  we  may  judge  by 
the  thousands  who  visited  it,  from  far  and  near,  when  last  in  Maidstone, 
the  new  panorama  of  the  late  war  in  India,  which  has  been  very  highly 
spoken  of,  is  likely  to  be  wdl  attended.— Afouti/one  Oazetie. 

Maegatb.—- The  Harmonic  Sodety  of  this  town  gave  a  grand  concert 
on  Thursday  evening  last,  at  the  London  Bazaar,  High- street.  The  per- 
lormances  of  the  band  were  highly  creditable,  and  drew  forth  much 
applause.  It  is  proposed  to  continue  the  entertainment  every  week 
throughout  the  winter.-^  Maiditone  Gazette, 

WATroBD,  Dec.  5^ — (From  our  own  Correspondent^ — We  had  a  great 
musical  treat  yesterday  morning,  when  Madame  Dulcken  gave  a  brilliant 
dispUy  of  her  talent  as  a  pianist,  in  a  great  variety  of  styles,  from  Handel 
down  to  Schulhoff,  in  aU  and  every  of  which  she  was  loudly  and  deser- 
vedly applauded.  Mr.  John  Parry  sung  two  of  hia  songs,  both  of  which 
were  rapturously  encored.  Our  Masonic  Hall  was  fiUed  by  a  very  elegant 
company. 


mitCELLANEOUS. 

Shrewsbury.— The  organ  in  St.  Mary's  Church,  which 
hat  undergone  the  moat  complete  repair^  together  with  many 
alterations  and  extensive  additions,  was  again  opened  for 
divine  service  on  the  5th  instant.  The  original  organ,  by 
Harris  and  Byfield,  which  has  been  retained  in  its  fall 
integrity,  comprised  a  great  organ  and  choir  organ,  tlie  com- 
pass being  what  is  termed  short  octaves,  and  at  a  later  period 
a  feeble  swell  of  four  stops  to  middle  G  had  been  added  by  a 
modem  builder.  This  latter  baa  been  removed  and  replaced 
by  one  of  nine  atops  to  tenor  C,  the  keys  being  continued  to 
CC,  and  coQUQQuicated  with  the  basa  of  the  choir  organ ;  and 


the  compass  of  the  other  manuals  has  been  altered  to  the 
German  scale.     The  new  swell  contains— 


Double  Diapason 


Prindpal 
Fifteenth 


Open  Diapason 

Stopped  Diapason  Sesquialtra,  3  ranks 


Hautboy 

Cornopean 

Clarion. 


The  cornopean  is  a  splendid  reed  stop,  and  it  is  altogether  of 
that  rich  and  brilliant  tone  (more  especially  in  the  reed  stops) 
so  characteristic  of  the  builders  (IVfessrs.  Gray  and  Davison,  of 
London)  who  have  been  employed  to  execute  the  work.  Two 
notes  of  pedals  from  CCC  16  feet  to  D,  with  large  open  pipes 
through  >ut,  have  been  added,  together  with  the  various  coup* 
ling  stops  ;  and  it  may  now  with  truth  be  pronounced  the  most 
complete  church  organ  in  the  county  of  Salop.  The  parish- 
ioners of  St.  Mary's  are  fortunate  in  possessing  in  the  person 
of  Mr.  George  Hay,  the  organist,  who  succeeded  the  late  Mr. 
Tomlins,  a  musician  of  talent,  and  a  skilful  performer, 
qualified  to  develop  the  power  and  capibilities  of  his  in- 
strument. 

Miss  Emma  Lucombe,  according  to  La  France  Musicale, 
has  recently  been  making  considerable  sensation  in  the 
fashionable  salons  of  Paris.  Her  first  public  appearance  was 
at  a  concert  given  for  the  benefit  of  M.  Killiane  Jeune  a  bene' 
fidaire  whose  name  is  new  to  us.  Here  our  young  country- 
woman made  a  great  impression  by  her  execution  of  the  air, 
•*  Casta  diva,"  from  Norma.  Miss  Lucombe's  next  triumph 
is  preparing  for  her  by  M.  M.  Escudier,  at  the  second  concert 
of  La  France  Musicale,  for  which  she  has,  with  much  discretion, 
profferred  her  services,  thereby  securing  the  gratitude  and 
invaluable  protection  of  MM.  L6on  and  Marie,  whose  delight 
is  to  puff  the  Academie  Royale  de  Musique,  and  pepper  the 
English  nation. 

Mr.  Lumlby,  Bays  La  France  Musicale^  has  engaged  two 
tenors,  for  next  season,  of  whom  report  speaks  highly-— ^ 
Ferrari  and  Casini.  We  have  never  heard  of  the  first,  but 
that  says  nothing.  Our  Milan  correspondent,  T.  E.  B.,  in  a 
private  letter  to  ourselves,  speaks  of  the  latter,  in  respect  to 
his  personal  appearance  and  manners— of  which  he  has  had 
occasion  to  judge,  having  met  him  on  the  road  from  Genoa  to 
Naples,  during  a  recent  tour— in  the  highest  possible  terms, 
but  he  has  not  heard  him  sing,  Casani  is,  according  to  our 
correspondent's  account,  "a  young  man,  gocd-looking,  and 
exceedingly  agreeable  in  his  conversation  and  deportment." 
In  the  same  letter,  by  the  way,  T.  E.  B.  alludes,  in  glowing 
terms,  to  a  basso  profondo,  by  name  Haigh — an  Englishman, 
who  is  studying  singing  at  Milan— the  brother  of  Mr,  Joseph 
Haigh,  well-known  some  years  ago  in  the  London  concert 
world,  and  at  present  resident  in  Venice.  This  Haigh,  it 
would  appear,  has  been  for  some  time  the  subject  of  conver- 
sation in  the  salons  of  Milan,  but,  hitherto,  has  persisted  in 
declining  all  offers  from  impresariL 

Hemry  Russell  has  concluded  a  successful  tour  through 
the  north  of  England,  having  attracted  crowded  audiences  to 
his  vocal  entertainments. 

Royal  Academy  of  Music. — ^The  examination  of  candi- 
dates for  the  two  King's  Scholarships,  vacant  every  Christmas, 
took  place  at  the  institution  on  Friday,  the  17th  inst.  The 
following  professors  composed  the  board  of  examiners:--" 
Mr.  C.  Potter,  chairman ;  Sir  G.  Smart  (who  was  prevented 
from  attending  by  indisposition) ;  Mr.  Goss,  Mr.  C.  Lucas, 
Mr.  W.  S.  Bennett,  Mr.  J.  Elliot,  and  Mr.  J  Bennett.  The 
successful  candidates  were  Miss  Dorothy  Watkins,  and  Master 
W.  G.  Cusins.  The  following  candidates  distinguished 
themselves  at  the  examination  :  —Misses  M.  E.  Smith,  B.  M. 
Strut,  and  C.  Eraser  ;  Messrs.  Layland,  Nicholson,  and 
Von  Hoist. 


8U 


THE  MTJSICAL  WORLD. 


On  the  opening  night  of  the  Glee  Club,  on  Saturday, 
several  vocal  compositions,  in  parts,  were  performed  by  a  host 
of  vocalistt;  and  Dr.  Hayed't  round,  "Thi«  tomb  be  thine," 
was  Bung^  as  a  tribute  to  the  memory  of  the  late  Charles 
Taylor,  many  years  a  member  of  the  Club.  The  oldest 
member  living  is  Mr.  J.  B.  Sale,  who  was  elected  in  1797. 

It  is  reported  that  both  Madame  Dorns  Gras  and  Miss 
Dolby  will  take  atrip  with  Jnllien  through  the  provbces  ;  two 
concerts  will  be  given  at  Manchester  the  1  st  week  in  January. 

Mr.  Ransford,  with  his  son  and  daughter,  have  lately 
^ven  concerts  at  several  places  in  the  vicinity  of  the  metro- 
polis ;  also  at  Bedford,  Rochester,  &c.,  with  great  success. 

Carols.— In  former  years  most  of  the  churches  in  Wales 
used  to  be  lighted  up,  about  three  o'clock,  on  Christmas  day 
in  the  morning,  when  carols  were  sung  by  several  per- 
sons, some  of  thera  accompanied  on  the  "Welsh  harp ;  but 
the  old  custom  is  fast  falling  into  decay.  On  those  occasions 
the  churches  were  c  rowded  by  persons  who  seldom  entered 
them  save  on  that  day,  so  attractive  was  the  singing  of  carols. 
In  the  earliest  times  the  tunes  sung  by  persons  for  dandng 
were  called  carols ;  and  the  old  Italian  carola  was  a  song  of  a 
plain,  simple,  popular  melody,  to  be  sung  to  a  dance;  the 
Welsh  exalted  the  character  of  the  carol  by  writing  sacred 
words  to  a  simple  melody,  and  singing  it  in  the  churches. 

Sir  Johk  Leman  Rogers,  Bart.,  died  on  the  4th  instant, 
aged  61,  at  his  residence  near  Ivy  Bridge,  in  Devonshire.  Sir 
John  Rogers  was  for  many  years  president  of  the  Madrigal 
Society,  and  the  composer  of  several  glees,  madrigals,  anthems, 
ftc«     His  death  is  deeply  lamented. 

ExETn  HALL.-^The  Messiah  was  given  last  night,  with 
the  usual  perfection,  to  the  usual  crowd*  and  by  the  same 
performers  as  last  week. 

RoTAL  SociBTT  OF  MusiciAKS.— His  Royal  Highness  the 
Duke  of  Cambridge  will  preside  at  the  110th  anniversary 
festival  of  the  Royal  Society  of  Musicians,  which  will  be 
celebrated  in  February,  on  the  same  extensive  scale  as  hereto- 
fore. His  Royal  Highness  will  give  a  prize  next  season,  as 
patron  of  the  Melodists*  Club,  for  a  song,  to  be  sung  by 
Mr.  Lockey,  with  a  harmonised  burden  for  four  equal  voices ; 
the  musical  members  of  the  club  (of  whom  there  are  twenty,) 
alone  can  become  candidates. 

Remarkable  Influbmce. — A  remarkable  effect  from  a 
femote  cause  came  under  observation  last  week,  but  whether 
it  is  attributable  to  mesmeric,  sympathetic,  neurohypnotic,  or 
other  subtle  and  occult  influence,  we  must  leave  to  the  sagacity 
of  those  learned  in  such  mysteries  to  discover.  Mr.  Templeton» 
the  popular  vocalist,  arrived  in  Liverpool  last  week,  and  after 
he  had  settled  his  preliminary  business  at  the  Medhanks' 
Institution,  where  he  was  to  sing,  sought  for  himself  a  lodging, 
deciding  on  his  location  with  the  becoming  casdon  of  "  a 
canny  Scot."  Voice,  a  precious  commodity  to  professional 
singers,  being  in  these  days  of  influenza  easily  impaired,  he 
desired,  in  combination  with  interi<»:  comfort  and  convenient 
position,  salubrity  of  situation.  Thu*  it  happened  that  he 
took  up  his  abode  in  a  house  where  he  had  not  before  resided 
on  any  of  his  former  visits  to  Liverpool.  Next  morning  he 
was  tr3nng  his  voice  in  order  to  discover  if  he  had,  by  any 
misfortune  lost  his  G,  or  any  of  his  other  notes*  during  hi« 
journey  to  Liverpool.  No,  not  a  note  was  impaired,  "  I  asi 
in  capital  voice  this  morning,"  he  remarked  to  his  friend, 
Blewitt,  «  only  hear  ?*'  and  again  he  ran  from  his  Icwer  not* 
to  the  top  of  his  compass  and  back  again.  Just  theai  the 
smiling  mistress  of  the  house  entered  the  room.  ••  You  are  ia 
capital  voice  this  morning,  Mr.  Templeton,  I  hear,"  •*  Ebc- 
cellent,"  replied  Templeton.  *•  Well,"  said  she,  '•  it's  easily 
^Uicounted  for ;  you  slept  in  Alboni's  bed  last  night." 


TO  COmESTONDCNTS. 

A  ConsTAVr  fLEAOt%.-^The  agent  /of  aU  maiiefi  rf  artUiie  impcfUmeif 
at  Milan,  theatrieai,  muHcal,  or  olherunse,  U  Mr.  ALfRED  lVo£L,  whatt 
hng  retidenee  in  the  dtif,  and  ineanable  whttidfy  U  foreifnm^t  ^^^M 
to  th$  lofty  poHtkm  A#  enjo^  in  the  cmnmenui  vorM^  tf<»glMJi»»wiSfW 
mtUmdcaU  ihorouponf  him  for  maaf  yMTf  hoin  mUmmUf  r$c9g9imi. 

A  tRAVKLtEii  TO  Milan.— »^e  strongly  recommend  the  Cqft  UartinL  tie 
name  of  which  alone,  re-caHing  the  ceUirafed  Padre  Martini,  fHendand 
adviser  qf  Mozart,  and  one  qf  the  mupealghriee  qfltalv,  muttrecaeemend  H 
to  alt  looera  tf  the  dmne  art  /  nmremftr,  we  em  teetifffnen  permmi  m^^ri' 
ence  that  Uis  the  best  caiiinMUan— in  short  {JBngUJi9ieiiersiePmrismdU 
understand  us)  it  deserves  the  nsmm  </  the  C^h  du  Cs*i\uai  sf  Umlf, 
Among  other  advantages  enjoyed  by  the  habitu£  sf  the  Caft  Martim  if  uc 
opportunity  of  assoekUton  vdth  the  aecompliehed  and  celebrated  Tareiss, 
one  rf  the  foremost  qf  Italian  literati,  who  frequents  the  erfe  dedXsf* 


H.  A.  Tr-In  the  matter  ^ Miss  — '#  age  we  are  as  esiee  smdweeseeeri 
(he  Editor  of  the  Era.  Whatever  be  the  nmmber  rf  her  tmmwre  she  eerrian 
them  bravely,  and  hokt  both  youthful  and  handsome.  But,  whertfeee  tMe 
indiscreet  and  forbidden  curtosity  on  the  part  qf  our  correspondent  f 


A0VUTIS»IENTS# 

THEATKB  BOTAI,  DBUBT  LAME. 

'OOO- 


On  HONPAT,  December  27Uk,  Her  MiOvty't 

"^  * *-^evr  Opera 


Ifr.  BALFE'sNevr< 


'THE    MAX0   OF   HOHaR.** 

Mndpal  Charactert  by  Wm  Bibck,  Mn..  VnaSy  Mte 
Mr.  Sims  Kaxm,  Mr.  ^hitwortk  and  Ms.  wui 


MamWAim^yt9eMsAihmJliWMQMKKmMABnniCmOar 
ALriuco  Cbowauii.  and  Aimi»t  Sum*  and  oAaa 

IllIAX  BUSH,  or  HABLEatJIH  *  S3H»  GOLD. 

Doriog  Uie  Week  and  until  ftwAer  Notk%  tb^ThMlMirittte  ««W 
and  the  perfbrmance  commeuce  ai  Sevent  o'clock. 


LONDON    ASSURANCE    CORPORATION, 

(BatabUAcdby  Itoyal  Charter,  in  Aeidfn  afKlBSOfleiBeMBHnt,  a«li>  ni^ 

Tsn  Goiwmora  and  Krmsmn  of  tkU  Gen&ntiom  gtm  aatin^  mth^jSk  ISff 
Assurance  PoQciee  on  tkeir  aeriea  of  1848,  opowd  witb  tiMM  priov  tff  tli9 1*  ei 
January  next,  will  participate  in  the  appropriation  of  profits  to  be  made  at  Otf  end 
off  the  yen  1850,  either  by  a  baaue  to  be  added  to  «be  pofiqr,  n  payment^  tiatt» 
oraredoctmkofpnniMnlbetha  aMCatdiaf  ftra  yeanv  or  Imp  M^wMfetefM 

^  The  policy  holders  under  the  series  off  1831»  are  iDfarmed  that  the  anmui  abate- 
ment of  premiuma  will  be,  on  the  ist  January  next.  «ff28  9s,  4d.  per  cent  at 
addition  to  the  pesmaaent  iwhiction  ttade  on  the  M  Jmary,  1S46,  e^fmmato 


a  bonus  of  three  per  cent.  Mr  annoai  on  aU  potioieobut  iWe  yewoin  saOsfsmmi 
Prospectuses  and  aff  inibrtnation  may  be  had  by  •  written  orjgimOnjI  appye»> 


tion. 


JOHir  LAtnKENCB,  flfec 


The  Greatest  Sale  of  aitjr  Xedicine  in  the  GloBe. 
HOLLOWAY'S  PILLS. 

SjOractof  a,l4tt«r  ibem  ifr.  GhartoaWllHm^ai^  1 
dated  February  I8th,  1847- 

"  SiB.-Havinjr  taken  your  Pills  to  remove  a  disease  of  theStpma^and  UfV, 
nnderwhielfr  I  had  Hmr  snifered,  and  haviny foHowed  your  |iriirt«tB«nictlOMf 
I  have  regained  that  health,  which  1  had  thonght  lost  ft»r  ever.  I  h«d  pr«ri^ash[ 
had  recourse  to  several  medicalmen,  who^arocetebnrterflbr  their  ddll,  but  instead 
of  curing  mv  complaint,  it  iacreMed  to  a  most  alarmmg  degree.  Hnaiwr 
speafefag,  year  P01a  have  saved  my  liflBl  Msm  tMed  tb  diisuadb  m«  fhan  astng 
them,  and  1  doQbt  not  but  that  bsNidreda  are  delerrad  ftom  ^riunff  yow  ^^ 
ceUent  med&cine,  In  consequence  of  the  impositions  practised  by  i&^TJ^^f^'rK- 
penona;  birt  what  a  piCy  it  i» that  the  deeeptfon  used  by  othen^  shdfM  bjJBp 
means  of  preventing:  many  unhappy  persons,  undar  disesae,  f«om  regainiiig  Mani^ 
by  the  use  of  yotulvis.  When  I  commenced  the  use  of  your  PiUs,  Fwas  &  a  most 
wretched  condftion,  and  to  my  gnat;  deiiglit,  in  »f0W  dayvalttfwaid^  tha«»  mm 
a  considerable  change  for  the  better,  and  by  oontinuiag  to  use  ttwrn- «•  apBsa 
wedu,I  hnve  been  perfectly  RBtored  to  health,  to  the  surprise  of  attwjto  yye 
witnessed  the  state  to whieh  I  hadbeen  reduceci  by  tlw  disoiderad  sMof  «b 
Liver  and  Stomach ;  would  to  God,  that  every  poor  sufferer  would  avail  htmaelf  of 
the  same  astonishing  resMdy." 

"  To  Profesaor  Hcdlaway.'^ 

These  truly  iuvalaable  Fflls  can  t 
Hqi^lowat,  3M,  Strand^  (near  1  etnple  1 
Vendors  of  Medicines  throoglwut  the  eiviliaed  WorM^  i.,^ 
is.Hd..  9i.9A,  4a.0d.,  llv.,  01.,  «ndm,eichBoz.   TOknfM  ^  i 
saying  by  taking  the  laqseir  aises. 


THE  MUSICAL  WORLD. 


825 


7&ENCH    FLAYS, 

nnt  AyrwmfaMm  ut  M$  Tkeatrt  rftht  eelebraM  Lyrical  Tragedy  tf 

▲  VVIttOVB. 

In  wluch  the  emineQt  Actor, 
mONtlEUK     BOOACe, 

Wm  fUrtidn  the  prindpsl  character  of  <<  CREON,"  aa  originallv  performed 

to  Mm  at  the  Theatre  de  L'Odeon.  Paris,  and  hy  whom  the  UUb  •«  Sewe 

at  this  Theatre  will  be  conducted;  the  character  of  <'ANTIOONE"  by 

KADAKS    RABUT    FBOHTBR, 

(Her  First  Appearance  this  Season,) 

Mr.  Mitchell  respectfully  announces  that 
On   WSDNBSDAV    SVeNINO^   JANUABV   9€h|     , 
Will  be  produced  the  Lyrical  Tragedy  of 

ANTIGONE, 

From  the  Greek  of  Sophocles,  with  the  entire  Music  of  the  Ultistrioiu  composer 

MBNDEI.SSOHN. 

XMndor  </  <*«  3#tMie        .        .        Jlf.  JUhEB  BR^CEDICT. 

DISTRIBUTION  OF  THE  CHARACTERS. 

MONSIEUR  SOCAGE. 
MONSIEUR  FECHTER. 
MONSIEUR  LEMONIER. 


CRBON    . 
HBMON  - 
TIRESIAS 
LE  GARDE 
LE  CORYPHEE 
ANTIGONE 


MONSIEUR  ST.  MARIE, 
MONSIEUR  HENRI  ALIX. 
MAOiAME  RABUT  FECHTER, 
(Her  First  appearaDce  this  SeasonJ 
ISMBNE             -          -  -       MADLLfe.  BAPTISTS. 
BURYDICE        -           -  -       MADLLE  BERTHE. 
For  the  eflEUnentPerfbnnance  of  this  celebrated  Composition,  the  following 
Ftofessors  have  been  egpreisly  engaged,  and  will  constitute 
OEOBB8TRA1 


Director,          . 

•    M,  BENEDICT. 

VioUns. 

Flutes, 

Messn.  BUROTTB, 
DELOFFRE, 

Messrs.  RIBAS. 

KING. 

NBWSHAM, 

Oboes, 

MELLON, 

THIRL  WALL, 

Messrs.  GRATTAN  COOKE, 

BROWN. 

NICHOLSON. 

GOPFRIE, 
MORRIS, 

Clarumettes. 

BLLA, 

Messrs.  BOOSEY, 

MAYCOCK. 

PAYTON, 
ZBRBINI, 
NEWSHAM,  Jmi. 

Comi. 

ELMORE, 

Messrs.  CHARLES  HARPER, 

WATSON. 

CALLCOTT. 

TiHort* 

Bassoons, 

tf  CBsn.  LYON, 

GLANVILLE, 

Messrs.  LARKING, 

WINTERBOTTOM* 

WE8TLAKB, 

Trumpets. 

R.  BLAGROVE, 

Messrs.  THOMAS  HARPER  , 

yiohncellos. 

HANDLEY, 

Mesars.  LUCAS, 

Trombones. 

FILET, 

Messrs.  SMITHIES, 

LOVELL, 

HEALEY, 

GUEST. 

WINTERBOTTOM. 

IkMe  Ba$m, 

Drums. 

Messrs.  HOWELL, 

CAMPANILE, 

Mr.  CHIPP. 

Harp. 
Mr.  WRIGHT. 

SEVERN, 
GRIFFITHS. 

TBS    OHORU81 

UmDSII  TBI   SUPBMMTKNDINCB   OV  Mb.  GRICE« 
WILL  INCLUDB 

_Ieian.  ».  MILLAR.  GIFFIN,  WALSH.  LOMAX,  HAMMONDL  STIRLING, 
ORICB,      SHARpSI     JAM&     PRICE,     MORGAN,    SMITH,     RAIKBS^ 

OOLLBTT,  r 
CHATRLAIN, 


m 


A  NEW  80BNB, 
BeprestmHng  the  Proseonbim  if  am  awiesA  Greek  Theatre^ 
Has  been palniedeJPi^'y  ^ *^® subject'by  Mr.  Muir  and  Assistants^ 
%*  Boiei^  Sfal^    ^ckets,  and  Season  Prospectases,  may  be  had  at 
Mr.  MiTCBiLL'i^  iM^  Library,  33,  Old  Bond  Street. 


MUSICAL  PRIZE,  or  CHBISTMAS  FBESENT; 

This  Day  is  published,  Price  10s.  6d., 
__jX  07  SONG,  beautifully  illustrated  and  illuminated  in  colors,  by 
Jrandard,  contafniur  new  Son^s  and  Duets,  bv  the  Hon.  Mrs.  Norton,  Lady 
Dufferin,  Balfe,  O.  Xanley,  Val.  Morris,  Barker,  Maynard,  Macfarren,  &c. 
The  h'onsrs  are  by  the  most  popular  Composers,  and  have  been  selected  with 
the  greatest  care  in  order  to  form  a  highly  attractive  Musical  Album,  at 
halfthe  usual  price. 

In  a  few  days  will  be  published,  as  a  Companion  to  the  above, 
L'ALBUK  PU  BAL,  by  Charles  d'Albert,  composer  of  the  Bridal  and  Helena 
Polkas,  &c.,  comprisiDfc  Waltzes,  Polkas.  Quadrilles,  and  Galops,  splendidly 
illustrated  and  illmninatcd  in  colors,  by  Brandard,  Price  10s.  6d. 

Madame  ANNA  THILLON's  New  Song.  "  The  Lily  lies  droopiiig,'' 
Is  now  published,  Price  2s.  <'The  Ballad  by  Mr.  Val.  Morris,  'The  Lily 
lies  drooping,' seemed  moat  to  the  taste  of  the  audience,  and  was  redemanded 
as  it  were  with  one  voice ;  and  a  very  pretty  ballad  it  is,  and  charmingly 
was  it  rendered  by  Madame  Thillon.''— Musical  World,  Nov.  20. 

KEW  PIANO  FORTE  MUSIC. 

Kuhe'sGemsof  Alboni,       4s. 

Chaulien'sIlSegretoporesserfelice, Ss. 

BurgmMer's  Robert  Bruce,  Nos.  1  and  S|  each       Ss. 

Ditto        L'Aldeana  Valse, 8s. 

Ditto        Brune  Thdr^se,       8s. 

Hunten's  Souvenir  de  Jenny  Lind,         ..        ..  Ss.  6d. 

Ditto       Tyrolese  Air,  Ss. 

Ditto       Le  Mason, 2b.  6d. 

Ditto        Nel  Lasciar  la  Normandie,         3s.  6d. 

Ditto        Le  Bouquet  de  PInfante, 8s. 

G.  Mayur's  Air  Italien—'*  II  Tremolo,^'  as  played  by  Made.  Dulcken,  Ss.  6d 
CHAPPCLL,     50,     NEW     BOND     STRCCT. 

In  the  Press,  the  whole  of  the  Vocal  and  Instrumental  Music  of  Balfe's  New 
Grand  Opera,  ^<THK  MAID  OF  HONOR,"  produced 'at  the;  Theatre  Royal. 
Dniry  Lane,  on  Monday  last,  for  which  performance,  BOXES.  STALLS,  ana 
FRONT  SEATS  in  the  DRESS  CIRCLE,  in  the  best  situations,  can  be  procured 
at  CHAPPELL'S,  60,  NEW  BOND  STREET. 


HOPKINSOIM'S  PIANOFORTE 

AND  GENERAL  MUSIC  ESTABUSHMBNT, 
Removed  from  70,  Mortlm«r  Street,  to  27,  Oxford  Street, 

Where  may  be  seen  for  Sale  or  Hxrb  a  Snpeirior  Stock  of  the  Pianofortes  by 
J.  and  J.  H.,  so  highly  approved  by  the  celebrated  Pianist  THALBBRG,  and  the 
most  eminent  Musicians  Of  the.  day;— also  a  Chbapbu  Class  of  Instruments, 
warranted  of  weTl  seasoned  materials  and  sound  workmanship,  and  Muca 
SUPERIOR  IN  Touch  and  Tonb  to  the  generality  of  Cheap  Pianofortes. 

NBW    BCUSIO,   Just  PntoliiSlied, 

8.    d. 

"A  Song  of  Wood  Nymphs."  Poetry  by  Barry  Comwafl,  Mnsic 
by  John  Bopkins6n.  Sung  by  Miss  Anne  Williams, 
Miss  Cubitt,  Mrs.8underland,  fte S       0 

The  Fairy  Quadrilles    (as  pubUsbed  in  the  Qneta's  Boudoir^  for  1848). 

by  John  HoiAmson, 8       0 

A  *'Nunc  dimlttis"  (suitable  for  Congregational  flinging),  by  John 

Hopkinaon,  Organist  of  St.  Mark's  Church,  Tentonville         . .        1       6 

<*  O  Zion  that  bringe^  glad  tidings  I"  an  Anthem  by  William 

Jackson 3       6 


GRIMSTONE'S  AROMATIC  REGENERATOR,  for  Improving  and  Promoting 
THB  GROWTH  OF  HUMAN   HAIR. 

To  THB  Ladibs.— A  lady  had  the  following  letter  inserted  in  the  ^sMff  news* 
paper  on  Angust  7, 11^.  Reader,  remember  this  letter  was  pot  into  the  paper  by 
the  lady  herself,  as  a  tfttimony  to  the  virtues  of  Grimstone's  Aromatic  Regenerator: 

'*MrB.  Weekley^of  No.  8,  Swan-street,  Borough,  takes  this  opportunity  of  public- 
ly thanking  Mr.  W.  Grimstone.  of  the  Herbary,  Highgate,  Ibr  the  efficacy  of  hia 
Aromatic  Regenerator,  in  having  completely  restored  the  hair  on  her  head,  after 
using  it  about  four  months,  and  the  whole  of  her  hair  is  much  stronger  and  more 
luxuriant  than  it  ever  was  before  the  baldness  appeared.  She  will  feel  a  pleasure 
in  answering  any  lady  of  respectability  to  the  above  facts.— 3,  Swan-street, 
Borough." 

The  most  delicate  ladies  may  use  this  delightful  product  of  the  most  aromatic 
herbs  and  dowers  with  confidence ;  its  reAiesning  odour  removes  head-ache  and 
makes  it  a  most  necessary  companion  to  the  toilet.  In  cases  of  nervous  bead-ache, 
pour  ten  or  twelve  drops  on  the  crown  of  the  head:  if  very  bad,  repeat  it  every 
quarter  of  an  hour.  In  most  cases,  relief  is  certain  in  ten  minutes.  It  produces 
hair  on  children's  heads  in  a  few  applications.  If  used  on  infants*  aeads,  it 
has  such  a  peculiar  cooling  influence  on  the  brain  as  to  prevent  convulsions, 
as  well  as  promoting  the  growth  of  hair.— See  pamphlet  of  testimonials  with 
every  bottle. 

CASE  OF  RING-WORM   CURED. 

14,  Devonshire-sq.,  Bishopsgate-st.,  19th  July,  1847. 

'*  Mr.  Fhiderick  Bradshaw,  having  lost  some  portion  of  his  hair  from  rinir-worm, 
has  had  it  so  perfectly  and  so  wonderfully  restored  by  only  a  short  application  of 
Mr.  Grimstone's  **  Aromatic  Regenerator,"  feels  tbas  called  upon  gratefully  and 
publicly  to  acknowledge  it.  Mr.  F.  Bradshaw  has  much  pleasure  in  thas  bearing 
testimony  to  the  efficacy  of  the  remedy,  and  Mr.  Grimstone  is  at  perfect  liberty  to 
make  any  use  of  this  communication  he  pleases. 

To  Mr.  W.  Grimstone.  Herbary,  Hiagate,  near  London." 

Sold  by  Mrs.  J.  and  B.  Atkinson,  34,  Old  Bond^treet ;  Messrs.  Fisher  and  Toller, 
Conduit-street ;  J.  Sanger,  Chemist,  &c.,  150,  Oxford-street :  Messrs.  Barclay  ana 
Son,Farriiigdon-stfeet;  Mr.  Johnston,  08,  Gomhitt;  Thomas  Keating,  ChemisCf 
St.  Paul's  Churchyard ;  Messrs.  Hannay  and  Co.,  83,  Oxford-street:  and  by  all 
Chemists,  Druggists,  and  Medicine  Vendors.  Sold  in  triangular  bottles,  at  4s.y 
7s.tiBinB.eM&)  and  forwarded  by  post  at  4s.  0d.,  78.8d.,  and  I2s.,  case  te 
dud  ed ,  for  looney  orders  only,  SeU  OHly^  Wholesale,  at  the  Herbary,  HighgaMT 
The  7s  .contains  two  4s.^  the  lis.  four  times  the  quantity  of  the  4s« 


&26 


THE    MUSICAL  WORLD. 


HBNRY  WTLDE'S    MEW   COMPOCVTZONS, 

V{z.~For  the  inuoforte— Grand  Sonata  in  4^'m^jor,  Fantasie  aar  un  air  ikvori  * 
Sketch  in  A  ma|or.  Bfarche  Triomphante  pourqnartre  mains;  fyt  the  voice— 
Hoffhnnf '8  and  teh  bin  lo  aebr  aUeine :  forming  Not.  4  and  5  of  lUnBtrationa  of 
Schiller  and  GoCthe;  rang:  by  Herr  Fischek. 

Jnat  pabliihed  by  R.  MILLS,  140,  New  Bond  Street 

• J  '  * 

Kew  Mrjuc  for  the  Goncertiiia  and  Piano-Forte. 

Jtiit  pubUihHl,  b)^  M{!un.  WHBATSTONiandCo.,  BatenteM  and  Manoihc- 

turenciflh«Conc!t£rt1ntt  lift,  Conduit  street,  Rcfent  Street.                         s.  d. 

Genu  of  tbelUlinn  Oppta,  byOforgeCatei           ..           ..           each    8  6 

No.  1.  Tu  vedrai  Jt  ftvcnturate,  from  "IlPirata." 
—  a.  IM  nggio  twiinghier,  from  "Seairimlli." 

FatLtl«ii  from  Liicrezib  Ikir^iH,  (ly  Richard  Blagn^Vie              ..               ..8  < 

JnllleQ'i  Bridal  Wn Hz,  orranKed!  by  Carlo  Minati  ..               ..               ..8  6 

No.  75  or  ^ircE  .Meltxlii's*  t^optuining  Rosaini*a  (^e  to  Pope  Fina  IX. 

fcrraDged  by  Joat'ph  Warren.          .,            >..              .,              ..    i  • 


NEW  MUSIC. 


PIANO  SOLO. 


•<  La  FdOette,'*  Waltz  Sflndino.               B.  J.  Weatrop,  S 

Twenty  popolar  Sacred  Mdodies,  S  Books,                 ..  Ditto,       .   ea.  S 
Twelve  New  DiveftiuemenU  on  popular  Operatic  and ) 

National  Aira, C  C  Chanlieo,  ea.  S 

BriUiantFantigia  on  Swedish  Aire,                            ..  Ditto,'  S 

Souvenirs  Dramatiqne,  Ko.  7, "  Robert  le  Diablew'*    ,.  Ditto.  8 

Fantasia  Brilliant,'^ I  due  Foscari,"        Rosellen,  4 

— snr  Motifs  de  **  Belisario,*' W.  Plachy,  8 

Three  New  Polkas, F.Kohler,  3 


PIANO  DUST. 


Divcrtinement  on  Airs, «  Nino,*' 

"Emani,"  

—      "AnnaBoIeoa,** 

— ^— — •      "  La  Sonnambnla,"    . 

"IduFoscari*' 

.      ..  "LaFlgUadelReggimento    .. 


B.  J.  Westrop,  8  0 

Ditto,  S  0 

Ditto,  8  0 

Ditto,  8  0 

Ditto,  8  0 

Ditto,  8  0 


J.B.Dnvemoy,  ea.S       e 


PIANO  DUBT8. 
DeuxFsntasiasQrdeMotifii,deBelHni,  ..  ) 

No.  1 ,  Sonnambole,  Ko.  3,  Les  Fai^tains,. .  ( 

Thret  Divertimentos  on  fsvorite  Airs,  "Leonora,") 

and  '•UFkvorita." ^  L.Traisi,      ea.  3      « 

No.  Ilk  3,  "  Leonora,'*  No.  8,  **  La  Favorita."  . .         > 

London;  Z>  T.  FUHPAY^  45,  Bttgh  Holbom> 

Britannia  I^e  Assurance  (Company; 

1,  Ances  Street,  Bank,  London. 

Mmpomertd  hp  Special  Act  of  Pm-Hmauni,  IV.  Viet.,  emp.  IX, 

Capital  iB10,00,000  SteHlnv. 

ADVANTAGBS    OF    THIS    INSTITUTION. 
Mutual  Assueakce  Bsanch. 
Complete  Security  afforded  to  the  Asrared  by  means  of  an  ample  subacribed 
capital,  and  the  larg^  ftind  accumulated  from  the  premium^  on  upwards  of  0000 

Half  the  amount  only  of  the  annual  premium  required  during  the  Urst  Ave 
years,  the  remaining  half  premiums  beinjr  paid  out  of  the  profits,  which,  alter 
five  years,  will  be  annually  divided  anoong  the  Assured. 
Pbofribtauy  Buanch. 

The  lowest  rates  consistent  with  security  to  the  Assured. 

An  increasing  scale  of  premiums  peculiarly  adapted  to  cases  where  assurances 
are  effected  for  the  purpose  of  securing  Loans  or  Debts. 

Half-credit  rates  of  Premium,  whereby  credit  is  given  for  half  the  amount  of 
premium  for  seven  yesrs,  to  be  then  paid  olT,  or  remain  a  charge  upon  the  Policy, 
at  the  option  of  the  nolder. 

BXTRACTS  FROM  THB  TABLES. 


MUTUAL  ASSUmANCB  BRANCH.        | 

PBOPBIBTABT    BRANCH.                | 

Half  Premium 

Whole  Pre- 

Half Premium!   Whole  Pre- 1 

Age. 

first  five 

mium  after 

Age. 

first  seven 

mium  after 

years. 

five  years. 

years. 

seven  years. 

S     9.      d. 

^   M.    d. 

^  9.    d. 

£    9.     d. 

90 

10    0 

9    0    0 

90 

0  18    0 

1  16    0 

35 

1    9    3 

3    4    4 

35 

0  19    7 

1  19    3 

80 

I    4  11 

3    9  10 

80 

I    1    9 

3    8    6 

88 

18    0 

9  17    0 

85 

1    4  11 

3    9  10 

40 

1  18    8 

8    6    6 

40 

1    9    3 

3  18    4 

4S 

1  19    6 

8  19    0 

45 

1  14  10 

8    9    8 

M 

3    7    9 

4  15    6 

SO 

3    3    6 

4    5    0 

« 

3  18  10 

5  17    8 

55 

3  13    9 

8    5    6 

PBTBR  MORRISON,  RaaiDBirT  Dibbotob. 


(!DIn{caI,iVkiica()^<SfeiieraI'S4{e  ^ssurana  Octets. 

In  addition  to  Assurances  on  Healthy  Lives,  this  Podety  continues  to  grant 
Policies  on  the  Lives  of  Persons  raUect  to  Gout,  Asthma,  Rupture,  and  other 
diseases,  on  the  payment  of  a  Premium  proportioned  to  the  increaaea  risk.  The 
plan  of  graiitingAssuranoes  on  Invalid  Lives  .origiwHted  with  this  ofllce  in  the 
beginning  of  1834.  Every  descriptfon  of  Assurance  may  be  eflTected  with  this 
Society,  and  Policies  are  grantedlon  the  Lives  of  Persons  in  any  statior  and  of 
every  age.  BONUSES,  ;; 

The  two  first  Divisions  averaged  jf33  per  dent,  onthe  Amniums  paid ;  the  third* 
jtf38  per  cent.  The  fourth  bonus,*  declared  Jan.  1847,  averaged  rather  more  than 
jes6  percent.;  and  ftxnn  the  large  amount  of  Profit  reserved  for  future  a^  propria* 
tion  and  other  causes,  the  Bonuses  hereafter  are  expected  to  exceed  that  amount. 

Tsbler  of  Rates,  with  a  ftill  Report  (recently  printed),  can  be  obtained  at  the 
Society *s' Agents,  or  by  addressing  a  letter  to 

'  OBO.  H.  PINOKARD,  T 

No.  99,  Great  Rnssdl  Street,  Bloom'sbury,  London. 


FAMILY 


CHAULIEU'S 

PIANO-FORTE 


MAGAZINE. 


Including  Classical  and  Drawing-Room  Pieces. 
Monthly  Parts,  Five  ShllUnca.    Aanuat  Bubaeiriptltfn,  iBB  B^ 

Just  Published,  C  H  R I  S  T  M  A  8 1  a  Characteristie  Sonata  t 
l.~ChristBBas  Bve.    3.~Tlie  Shepherds.     8.^The  Kings.  '  4.«GhristBBaB  Day. 


To  be  had  of  all  Mosicsellers  and  Stsitioneri ;  and  at  the  OlBce,  8,  Alfired  Plaoe, 
Bedford  Square. 

N.B.-COUNTRY  AGENTS  .WANTBD. 


9 
10 


Kew  Music  for  the  Concertina  ft  Piano  Forte. 

JUST  PUBUSHBD  . 

By  aCATBS,  32^  NEW  Bi»n>  STBiaBT. 

a.    ,d 
«*THB  8WIS9  GIRL.**  as  sung  by  Miss  Dolby,  at  M. .  Jutlien's 
Concerts,  armnged  with  variations,  P.   F.  accompanimpnt 

ad  lib:  GioUo  Regondi, •..   •     ....        4 

•<THOU  ART  GONE  FROM  MY  GAZE,**  (G.  Iin1ey):arranged  with 

variations,  P.  F.  accompanimeDt  ad  lib,  GiQlio  ReidDfldi  ..  8  i 
Sblbotion  ftimi  <*LA  FIGLIADBl  RBOGIMBNTO,*'  GiiUio  Begondl  9  i 
TROIS  RECREATIONS  pour  les  Elives.  No.  1,  in  G/  No.  2/itt  C. 

Ginlio  Recondi,  each '      ..        ..        9 

No.  3,  of  LE  PARI'ERRE,  arrsnged  by  J.  Scates«  containing  Glover's 
celebrated  Duet,  **  We  come  to  thee.  Savoy ; "  **  Un  Segretto ;  *' 

"The  Standard  Bearer,"  &c 

GIUUO  RBGONDI's  Rudiments  for  the  Concertina,  3nd  edition,  price 

J,  80ATBS,  OoBceirttna  iaanafttctiir«r,  BSi  N«w  Bend  Stra«t« 

JUST  PUBLISHED,  Price,  10s.  6d. 

A   M0SXGAL    SKETCH    BOOKi 

Contataiing  SO  Numbers,  Fbaombnts  ob  Rbcollbctioms  for  the 

pianoforte. 

Selected  flrom  the  works  of  ma"  v  Composers,  both  Ancient  and  Modem ;  iateaded 

as  Musical  Recreations  for  leiture  moments.    The  whole  newly  compiled 

and  written  from  memory  , 

BY  J.  B.  CRAMER. 
MAmr  or  tub  subjbcts  havb  nbvbb  bbbobb  bbbn  »ububhbo, 
The  above  work  will  contain  Specimens  from 
Carl.  P.  E.  Bach-J.  C  Bach— J.   S.  Bach— Beethoven  Btangini— Clementi— 
J.  B.  Cramer— Chembini— J.  L.  Dnssek— John  Field— Gluck—Gr^uy—Handel^ 
J.  N.  Hummel— Joseph  Haydn— Thomas  Linley— Meyerbeer— W.  A.  Moxart^ 
W.  A.  Moxart  fils— Theof :  Mnilht— G.  Onslow- PaesteUo—Ries-G.  Rossini^ 
Salvator  Rosa-nJ.  J.   Rousseau— Domenico  Scarbitti-^  Shield  — Weber-and 
Joseph  Woelfl. 

LondoiL :— R.  lOLIS  date  BirohalD,  140,  Hew  Bond  Street. 


Printed  and  Published,  for  the  Proprietors,  at  the  "  Nassau  Steam  Press,**  by 
William  Sfbncbb  Johnson,  60,  St.  Martin's  Lane,  in  the  parish  of 
St.  Martin's  in  the  Fields,  in  the  County  ci  Middlesex ;  where  all  communica- 
tions for  the  Editor  are  to  be  addressed,  post  paid.  To  be  bad  nf  O.  Purkesa. 
Dean  Street, Sobo;  Strange, Paternoster  Row;  Yickers, HolyWell Strsst ;  and 
all  Book^lers;  City  Agent,  Mr.  G.F.  Denning,  9»  fiockl«nbnjrir,-fta«nlar» 
95, 1847* 


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